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A Doll's House de Henrik Ibsen

A Doll's House

Autor Henrik Ibsen Editat de Edmund Gosse
en Limba Engleză Paperback – 12 ian 2009
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A Doll's House (also translated as A Doll House) is a three-act play in prose by Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month.

A doll's house. What image comes to mind when you hear those words? A "perfect" family? A peaceful, innocent domestic situation? Friends dropping in? Preparations for a holiday celebration? Play-time Yes, Nora and Torvald seem to have the perfect life. Certainly, they have weathered some challenges in life but they have survived.

Here we see them with a lovely home, two servants, three playful children, friends, and enough money to celebrate Christmas in the traditional way.

Nora plays with the children while Torvald chats with a friend in his study. Another friend arrives unexpectedly. There are fond memories of "the old days." How pleasant But ... enter one more character - a childhood friend, a disgruntled colleague, a jilted lover, a partner in crime (all wrapped up in one person) - and the situation deteriorates quickly.

Beneath the calm surface swirls an overwhelming tangle of secrets, fears, suspicions, deceptions, and expectations.

Ignorant of her own complicity, Nora attempts to manage the situation but the tangle is too complex. The unravelling is beyond anyone's control. Nora is panic-stricken, anxious, and agitated; she distracts herself by "waiting for a wonderful thing to happen" after the Boxing Day costume party, after she dances her famous tarantella for all the party-goers.

In the end, though, the " wonderful thing" is not what anyone expected - neither Nora nor Torvald nor the reader/audience. Play-time is over. The doll's house is a house of mirrors. The distortions are revealed for Nora to see. How will she respond?

The play is significant for its critical attitude toward 19th-century marriage norms. It aroused great controversy at the time, as it concludes with the protagonist, Nora, leaving her husband and children because she wants to discover herself.

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Specificații

ISBN-13: 9781437452808
ISBN-10: 1437452809
Pagini: 124
Dimensiuni: 152 x 229 x 7 mm
Greutate: 0.19 kg
Editura: Kessinger Publishing

Descriere

Descriere de la o altă ediție sau format:
Nora Helmer, wife to Torvald and mother of three children, appears to enjoy living the life of a pampered, indulged child. But as her economic dependence becomes brutally clear, Nora's acceptance of the status quo undergoes a profound change. To the horror of the bewildered Torvald, himself caught in the tight web of a conservative society which de

Notă biografică

Henrik Johan Ibsen was a Norwegian writer and theatre director who lived from 20 March 1828 to 23 May 1906. He is credited with helping to build modernism in theatre. His best-known works are Rosmersholm, The Master Builder, Brand, Peer Gynt, An Enemy of the People, Emperor and Galilean, Hedda Gabler, Ghosts, The Wild Duck, When We Dead Awaken, Emperor and Galilean, and A Doll's House. In Skien, Norway, Henrik Johan Ibsen was born into a wealthy merchant family. His forefathers were mostly wealthy city merchants and shipowners or members of the Upper Telemark "aristocracy of officials." Ibsen quit school when he was fifteen. Henrik Wergeland and Peter Christen Asbjrnsen and Jrgen Moe's Norwegian folktales served as inspiration for him. Under the alias "Brynjolf Bjarme," he published his first play, Catilina (1850), but it was never staged. He would only make a few trips to Norway during the following 27 years, spending most of them in Germany and Italy.After suffering many strokes, Ibsen passed away at his house at Arbins gade 1 in Kristiania (now Oslo) in March 1900. He was laid to rest at Oslo's Vr Frelsers Gravlund, often known as "The Graveyard of Our Savior." Ibsen exclaimed "On the contrary" ("Tvertimod!") as his final words before passing away.

Caracteristici

Simon Stephens is highly regarded as a playwright, especially among young people, and so his take on a classic play will hold much interest among the drama and student communities.

Recenzii

Simon Stephens's agile new version [is] . . . quick and clear and full of subtle touches
A sensible, sensitive and spirited version . . . that chimes with the debt-laden times we're trapped in and poses still-pressing questions
The supple new version of the text by Simon Stephens is [a] great plus point . . . in this definitive take on a classic
An astute, often savagely funny version by Simon Stephens . . . And as the doll at the play's heart and hearth cracks like porcelain and the woman emerges, it's with a force that's shattering.
Simon Stephens's new English-language version of the text . . . makes the characters' anxieties feel contemporary despite the period dress. "Feminism" may not have been in Ibsen's vocabulary, but he was undoubtedly concerned with the roles we all play and why.