Essay IV: Ibsen's A Doll's House


Understanding the Stage


The “Well-Made” Play


- Beginning, middle, and end (3 or 5 acts)

- Balance between development of plot, character, and action

- Peripeteia = reversal in the external situation or fortunes of the main character

- Anagnorisis = Recognition in which character responds to peripeteia

- Perhaps also recognition of Hamartia (error)

- Catharsis = a purgation of these emotions (audience)

- Pathos = a destructive or painful act, such as deaths on stage, paroxysms of pain, woundings (audience)


Text, stage and screen categories


1. play area


2. scenery


3. properties


4. light


5. sound effects


6. music


7. physical constitution


8. mimicry


9. kinesics (gestures, movements)


10. proxemics (stage positions)


11. make-up (incl. hair)


12. costume


13. paralinguistic signs


14. linguistic signs


How to Cite Drama


- If an edition provides line numbers and a playwright includes scenes and acts, the appropriate way to cite dramas is as follows:

Rationale:

- Drama editions differ in page numbers--almost always. Providing the 'universal' code of act, scene, and line numbers allows scholars to refer back to different editions of the same play. Dramas are also often appear in cramped editions. Page numbers, then, do not really give a good sense of where a citation is located.

- Large Roman numeral signifies the act, small Roman numeral the scene, and Arabic numeral the line numbers.

- Drama written in meter (like Shakespeare's) needs to be noted just as poetry is (hence the line breaks). Metered verse is signified by capital letters in most editions.

- The list of Works Cited should follow traditional MLA standards. Editions of plays, especially ones in translation or those written before 1900, can have pretty significant differences. Here is an example for the above citation:


Shakespeare, William. "Hamlet." The Harcourt Anthology of Drama. Ed. W. B. Worthen. Orlando: Harcourt, 2002. 182-228.

- If the play did not originally appear in English, the translator must be noted (in the same place as, or after, the editor).




Group work: A) Define PLAY, DRAMA, PERFORMANCE, or THEATER and consider the significance of your category. B) Why are there so many names for one thing?




















Play

Drama

Performance

Theater/Theatre

Used in English since 893, spiking after Hamlet

Latin and Greek in origin, but not used until 18th century; rel. to melodrama

Not in use until late 16th century

Earliest known use in English 14th century

1. A literary work written for performance on the stage; a drama. The performance of such a work.

2. Activity engaged in for enjoyment or recreation.

3. Fun or jesting: It was all done in play.


OED: A literary composition in the form of dialogue, adapted for performance on the stage with appropriate action, costume, and scenery, in imitation of real events; a dramatic piece, a drama. (ca. 1440)

From drân = "do, act"

1. A prose or verse composition, especially one telling a serious story, that is intended for representation by actors impersonating the characters and performing the dialogue and action.

2. Theatrical plays of a particular kind or period: Elizabethan drama.

3. The art or practice of writing or producing dramatic works.


1. The act of performing or the state of being performed.

   2. The act or style of performing a work or role before an audience.

   3. The way in which someone or something functions: The pilot rated the airplane's performance in high winds.

   4. A presentation, especially a theatrical one, before an audience.

   5. Something performed; an accomplishment.

   6. Linguistics. One's actual use of language in actual situations.


Greek theatron = "seeing place"


1. A building, room, or outdoor structure for the presentation of plays, films, or other dramatic performances.

   2. A room with tiers of seats used for lectures or demonstrations: an operating theater at a medical school.

   3. a) Dramatic literature or its performance; drama. b) The milieu of actors and playwrights.

   4. A large geographic area in which military operations are coordinated: the European theater during World War II.










Free write for 10 minutes about the following topic: What is tragedy?


Xenophanes (570 B.C.E.), Greek philosopher: “A tragedy, then, is the imitation of an action that is serious and also, as having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions.”


Jean Racine (1639–1699), French playwright: “A tragedy need not have blood and death: It’s enough ... that it all be filled with that majestic sadness that is the pleasure of tragedy.”


Horace Walpole (1717–1797), British author: “The world is a comedy to those that think, a tragedy to those who feel.”


Percy Bysshe Shelley (1792–1822), British poet: “Tragedy delights by affording a shadow of the pleasure which exists in pain.”


D.H. (David Herbert) Lawrence (1885–1930), British author: “Tragedy looks to me like man in love with his own defeat. Which is only a sloppy way of being in love with yourself.”


Susanne K. Langer (1895–1985), U.S. philosopher: “Tragedy dramatizes human life as potentiality and fulfillment. Its virtual future, or Destiny, is therefore quite different from that created in comedy.”



Anti-Aristotelian Theater

1. Not unified time

2. Character/plot not unified

3. Not “great characters”






Henrik Ibsen (1828-1906)



1828: Born in Skien to a merchant father


1836: Father declares bankruptcy, family leaves mansion


1846: Supports his illegitimate child (mother, servant girl of employer)


1850-64: Works for Mollergate Theater in Christiania (Oslo)


1867: Peer Gynt

1879: A Doll's House (ET DUKKEHJEM)


1881: Ghosts; Autobiography (unfinished)


1887: Rosmersholm


1890: Hedda Gabler


1891: Returns to Norway


1900: Suffers a series of strokes that leave him unable to write


1906: Dies


A Doll's House in Context


1792

Mary Wollstonecraft's A Vindication of the Rights of Women in England

1848

Revolutions in Europe

1859

Darwin's Origin of Species

1867

Louisa May Alcott's novel, Little Women

1869

Susan B. Anthony begins suffrage movement; John Stuart Mill's essay "The Subjection of Women" (UK) influences Norwegian feminist movement

1879

Ibsen's A Doll's House (ET DUKKEHJEM)

1888

First beauty contest in Spa, Belgium

1889

Gerhart Hauptmann produces first play, Before Sunrise, at German Free Theater in Berlin

1891

Independent Theater produces Ibsen's plays in London

1913

Shaw writes The Quintessence of Ibsenism

1920

Women permitted to vote in USA



A propaganda play?


1) "Whatever I have written has been without any conscious thought of making propaganda .... I am not even quite clear as to just what this women's rights movement really is."

Ibsen to the Norwegian League for Women's Rights in Christiania, 26 May 1898, in Ibsen: Letters and Speeches, ed. Evert Sprinchorn (New York, 1964), 337.

2) Speech to working men of Trondheim in 1885: “The transformation of social conditions which is now being undertaken in the rest of Europe is very largely concerned with the future status of the workers and of women. That is what I am hoping and waiting for, that is what I shall work for, all I can.”

3) In his notes to A Doll’s House: “A woman cannot be herself in contemporary society, it is an exclusively male society with laws drafted by men, and with counsel and judges who judge feminine conduct from the male point of view.”


Some feminist connections:

- the Norwegian feminist Camilla Collett

- Mother-in-law, the Danish writer Magdalene Thoresen, was a "New Woman"

- In 1879 tried to open post of secretary and secure voting rights in the Scandinavian Club in Rome to women




Discussion L. 26

1. What’s the significance of the first line?


2. What’s the central conflict in the play?


3. What is the significance of the drawing room SETTING?


4. What’s the significance of Nora’s many names?


5. What kind of marriage do they have?


6. What do you make of the subject of inheritance?


7. FROM what we know about them, how would you characterize each figure? What motivates each character?




Discussion L. 27--Answer your assigned question as a group. Find passages in the play to support your findings.

I. FAMILY: How many different familial tragedies occur in Ibsen’s drama? What is ‘family tragedy’ according to Ibsen? What does the play say about fatherhood and motherhood?


II. SETTING: What problems happen in the outside world the audience cannot see but hears about? How does this reflect on the meaning of the drama’s title?


III. PERFORMANCE: How do you see Nora “performing” throughout the play? In other words, is she just pretending to be naïve in the first act, or does she actually evolve/change by the end? Does that change your (feminist) evaluation of the play?


IV. CLASS: What is the role of class (a.k.a. work and money relations) in the play? Is the cause of women at all related to the cause of workers in general?