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A Doll House


A Doll House was one of Henrik Ibsen's most controversial plays. He wrote this realistic play in 1879. Ibsen's writing style of realism was clearly shown in this play. This play was controversial at the time it was written, shocking conservative readers. But, at the same time, the play served as a rallying point for supporters of a drama with different ideas.

Towards the end of the nineteenth century, the Art Nouveau style became an international movement. For the first time in decorative arts history there was a simultaneous movement throughout Europe and America. Art Nouveau brought the finest designers and craftsmen together in order to design buildings, furniture, wallpaper, fabrics, ceramics, metalwork and glasswork. Art Nouveau was considered more than a style, it was a philosophy. From this philosophy carefully designed articles for the home were designed intended to fit into the scheme of the whole Art Nouveau style. Line was the most important aspect of the Art Nouveau period. Art Nouveau was a rebellion against machine made articles of the 19th century that were copies of past designs. Art Nouveau was also a reaction against the old Victorian tradition. Art Nouveau designers borrowed from the past but because of the emphasis on line and adaptation of natural forms to design. Art Nouveau is easily distinguishable from any other period in decorative arts.

In conjunction with Art Nouveau style, the Edwardian style of costume and dress was also implemented during this time period. The Edwardian style embodied both extravagance and pageantry.

A Doll House was a play written well ahead of its time. This play was written in a time when it was considered an outrage for a woman such as Nora not only to display a mind of her own, but also to leave her husband in order to obtain her freedom. This play relates to the Art Nouveau and Edwardian period because just as the furniture and clothing were considered decorative pieces, so were women. Women were expected only to tend to the husband's and children's needs. Women were not supposed to do anything without first consulting the husband and certainly never do anything without his prior knowledge and approval. Women were expected to be at home and always looking presentable for their husbands.

*Please note all visual elements for this term paper can be viewed at the conclusion of this project.

Scenery plot

In this play A Doll House, the entire play takes place in Nora and Torvald's apartment. All of the three acts take place in the same apartment therefore scenery is not a major aspect of the play. The apartment set up goes as follows: there is a back wall, there are two doors, the door to the right leads out to the hall while the door to the left leads to Torvald's study. In the middle of the left-hand wall is a door with a window on its nearer side. In the wall on the right-hand side, somewhat to the back, is a door. The floor is carpeted.

Costume plot

1) Torvald Helmer in Act One is dressed like a businessman wearing a waistcoat. Later in the act, he is wearing an overcoat and hat as he leaves the apartment. In Act Two, Torvald Helmer is wearing the same attire as in Act One. In Act Three, Torvald is wearing a black coat and evening attire.

2) Dr. Rank in Act One he is dressed in business attire with a fur coat on top. In Act Two, Dr. Rank is wearing the same attire as in Act One. In Act Three, Dr. Rank is wearing evening attire.

3) Nils Krogstad in Act One is wearing business attire. In Act Two, Krogstad is wearing traveling clothes, high boots and a fur cap. In Act Three, Krogstad is wearing the same clothes as in Act Two.

4) Porter who is only seen in Act One is wearing gray pants with a dark jacket, and a dark coat with a matching dark cap and gloves.

5) Nora Helmer in Act One is wearing street clothes which consists of a long dress with side pockets, a coat, gloves, and a hat covering her head. In Act Two, Nora is wearing the same clothes as in Act One. In Act Three, Nora is seen first in her Italian costume with a black shawl. Later in the act, she is wearing Torvald's coat and then changes into a dress. As the act ends, she is wearing a coat and a hat.

6) Mrs. Kristine Linde in Act One is wearing traveling clothes - a long cape-like coat, a scarf and bonnet type hat. In Act Two, Mrs. Linde is seen in the same clothes as in Act One. In Act three, Mrs. Linde is wearing traveling clothes, hat and cape.

7) Helen, the maid, is wearing a long black sleeved dress, with a long white apron on top in Act one. She is wearing the same clothes in Act Two and does not appear in Act three of the play.

8) Anna -Marie appears only in Act One and Two in which she is wearing a long, plain house dress.

Properties Plot

Scenery pieces for Act One: Nora and Torvald's apartment is an inexpensive but comfortably furnished room. In the back wall, there are two separate doors. The door to the right leads out to a hallway while the door to the left leads to Torvald's study. Between the two doors, there is a piano. In the middle of the left-hand wall is a window with a door adjacent to it. Next to the window is a small sofa and a round table covered with cloth. Armchairs are located next to the round table. In the wall on the right-hand side, is a door. A lit tiled stove is also located in the right-hand side wall with easy chairs and a rocking chair in front of it. Between where the stove is located and the wall, there is a small table standing. A cabinet with china ornaments and a small bookcase with fine bound books can also be seen in the room.

Act Two takes place in the same room as Act One. A stripped Christmas tree with the remains of the burnt-out candles is standing in a corner by the piano.

Act Three takes place in the same room as Act One and Act Two. The chairs and the table have been relocated to the middle of the room. A lit lamp is standing on the table. The door that leads to the hallway is open and dancing music can be heard from the apartment located above.

Hand props:

Following are the hand props necessary in Act One.

Nora's hand props are an armful of packages, a purse and money, a bag of macaroons, needlework, Christmas decorations which consist of red flowers and candles. The armful of packages are Christmas gifts that include a children's suit, a toy sword, a toy horse, dress lengths, a trumpet, a doll, a doll's bed, handkerchiefs, and a parcel.

The delivery boy's hand props are a Christmas tree and a basket.

Torvald's hand props consist of a pen, a wallet and money, and a bundle of papers.

Nils' only hand prop is a piece of paper.

In Act Two, the succeeding hand props are needed:

Nils' hand prop is a letter.

A cardboard box carried by the nurse.

Mrs. Linde's hand props include needle and cotton and the dress that Nora is going to perform in.

The maid's hand prop is a lamp and a business card.

Nora's props are the dress that she will be performing in, flesh-colored silk stockings, a tambourine and a long colored shawl.

Torvald's hand props are a bundle of papers and a letter.

The hand props necessary for Act Three are:

Mrs. Linde's hand props are a book and some knitting.

Nora's hand props are a match, bag, keys and wedding ring

Torvald's hand props are keys, a cigar case, letters and a bond paper.

Dr. Rank's only hand prop is a cigar which he is smoking.

After researching all the necessary mechanics of putting on a production of a play such as a A Doll House, I have come to realize how much work needs to be completed in order to accurately depict the time period that is chosen for the production. Originally I had no concept of what was necessary to produce such a play, but after completing this term project, I now have an understanding of how important the research part of the play affects how well the production can be presented to an audience.

BIBLIOGRAPHY

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2. Garner, Philippe. "Furniture and Interior Design." In Philippe Garner, ed. The Encyclopedia of Decorative Arts, 1890-1940. Cincinnati: Van Nostrand Reinhold Company, 1978: 62.

3. Garner, Philippe. "Furniture and Interior Design." In Philippe Garner, ed. The Encyclopedia of Decorative Arts, 1890-1940. Cincinnati: Van Nostrand Reinhold Company, 1978: 63.

4. Haslam, Malcolm. "Alternative Styles and Tastes." In Philippe Garner, ed. The Encyclopedia of Decorative Arts, 1890-1940. Cincinnati: Van Nostrand Reinhold Company, 1978: 44

5. Laver, James. Costume and Fashion: A Concise History. New York: Oxford University Press, 1969: 207.

6. Byrde, Penelope. A Visual History of Costume: The Twentieth Century. New York: Drama Book Publishers, 1986: 16.

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14. Cunnington, Willett C. English Women's Clothing in the Nineteenth Century. London: Faber and Faber Ltd., 1937: 385.

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