- Realism: Emerged around the mid-19th century, focuses on showing life as it really is in real life in literature as well as theatre. In drama, the actors will perform stories that depict real life without the involvement of supernatural beings
- Naturalism: Believed to have emerged from 1880-1930s, naturalism is a form of realism, it shows life as it is in its creations. Shows how things like science and technology can affect society as a whole. Focuses on society and genetics affecting an individual’s life. Actors tend to “act more natural” and realistic. Acting as we would in real life.
Naturalism
in A Doll’s House:
- Stage time tends to equate to real time (not the case in Doll’s House)
- Set and props were detailed
- Action of the play takes place in a single location over one-time frame.
- This is true for A Doll’s House as the play is set in the Helmer’s living room over the backdrop of Christmas.
- Characters who are shaped by circumstance and controlled by external forces or by the social and economic environment.
- True for A Doll’s House as Nora doesn’t think about being free until she realises that she has been controlled by the external force of Torvald. Certainly, her social and economic background will not help her.
- Plays tend to focus on taboo subjects in a serious manner
- True for A Doll’s House as Ibsen was forced to write a second ending in which Nora saw the children and decided to stay. Certainly, a radical text.
- Scenarios presented as being realistic.
- Certainly true, the marriage between Nora and Torvald is a sham. “playing” at marriage rather than an authentic partnership.
- Torvald’s arrogance, authority and selfishness for his job. His concerns for his wife that aren’t romantic. – product of society
- Ending of the play is realistic. Endings should have an “unhappy conclusion.”
- The extent to which this can be agreed with is debatable. The conclusion of the play is consistent and reasonable given the circumstances but the not consistent and reasonable if we think about Nora’s position as an oppressed housewife, especially if she leaves the household.
Structure:
- Five characters, one setting.
- Move from traditional five acts to three reinforces the realistic framework placing emphasis on psychology rather than action.
- Two plots: The main plot of Nora and Torvald and the subplot: Krogstad and Mrs Linde which are meant to serve as parallels but not meant to distract from the main plot.
- Nora vs Mrs Linde (for example, ML gets by in life through her liaison with Krogstad whilst Nora goes off on an alien journey) and Krogstad vs Helmer.
- The contrast of the sinful past with the calm present.
- Makes it more realistic as Nora is presented (at the beginning) as playful but her dominant trait is revealed as the play progresses
- Ibsen presents the characters are constructs who adapt according to social circumstances and attitudes
- The audience who are led to believe Nora will find the happy ending but ultimately doesn’t happen.
Language:
- Ibsen creates a habit of speech for each character reflecting social class and personality.
- Nora: Exclamatory phrases such as “pooh!” Short phrases with questions “We’ll have to celebrate”
- When she leaves the household, her speech becomes more dominant “I have another duty”
- Helmer: Paternalism and sense of importance. Use of endearments “skylark” which define his attitude towards his wife.
- Krogstad: His speech shows his legal training through the use of questions. Humble speech as he blames others for his fall in society
- Mrs Linde: Collective, ready-made phrases without any hint of indirectness. Sarcastic, sounds bitter and cold.
- Dr Rank: Speech is guarded and more perfect than others as a man of sophistication
Setting:
- Set in the Helmers’ living room. Internal setting suggesting family growth which is ironic given that the family certainly doesn’t unit.
- Set around Xmas time which is meant to symbolise family renewal but anything but happens.
- Nora who retreats to the stove when things get touch. A way of requiring the growth and warmth needed in order to
- Set in “every suburb in Europe” – George Shaw. Shows that this play is a real play, about real issues, which is what Ibsen wanted to show. Allows audiences to put themselves into the position of Nora and Helmer. No place to hide from the issues of the play. Feels as though we’re imposing on the Helmers’ which makes the ending seem more dramatic.
Dialogue
and Voices:
- Weirdly how Nora has the most stage presence through the majority of lines being of hers. Showing the progression from ‘skylark’ to admirable woman who no longer listens to what her family says.
- Torvald’s speech which becomes more confused as he gathers his thoughts on Nora’s departure from the household.
- Mrs Linde who doesn’t speak much but speaks enough so that the audience feel as though she is cold and bitter.
- Krogstad who provides the background information needed to establish the characters.
Narrative
Perspective:
- Limited as it is a play which has characters.
- Nora, Krogstad and Mrs Linde who provide insight into the background of the characters.