Critics & adaptations Flashcards
Valency
pathologisation of female resistance
Valency dismissed Nora’s awakening as “an example of female hysteria”
Because of the way she abruptly abandons her home, husband, and children, defying 19th-century gender norms. Her transformation from a seemingly devoted wife to an independent woman happens rapidly, which could be seen as impulsive or emotionally driven rather than rational. Additionally, during the period when the play was written, women who challenged societal expectations were often dismissed as hysterical or irrational, reinforcing patriarchal views that women were overly emotional and incapable of making sound decisions. From this perspective, Nora’s dramatic exit could be misinterpreted as an emotional outburst rather than a calculated act of self-liberation.
Meyers
Ibsen’s portrayal of love
“Ibsen shows romantic love to be an illusion, inhibiting the free development of the individual”
Someone may agree with this statement because A Doll’s House portrays romantic love as a societal construct that traps individuals in restrictive roles, preventing personal growth. Nora and Torvald’s marriage appears affectionate, but it is ultimately based on control and illusion rather than true partnership, leading Nora to leave in search of self-fulfillment. However, one could argue that Ibsen does not completely dismiss romantic love, as the relationship between Mrs. Linde and Krogstad suggests that love built on honesty and equality knowing the hardships of life can coexist with individual freedom. They are not the theatrical depiction of love but a genuine relationship of compassion & support.
Worrall
Nora exploiting her sexuality
“Throughout the play, Nora adopts a series of poses. With Helmer she is the child-wife who uses her sexuality to get her way and is pleased to be pampered and protected”
McNamara
Torvald as the weaker character
“It is made clear that Torvald’s apparent ‘strength’ is wholly dependent on Nora’s ‘weakness”
This viewpoint suggests that Torvald’s sense of authority and strength in A Doll’s House is an illusion, propped up by Nora’s submissiveness and dependence on him. Throughout the play, Torvald assumes the role of the dominant, rational husband, treating Nora like a child and reinforcing the idea that she is weak and in need of his guidance. However, it becomes evident that his confidence and control exist only because Nora plays along with this dynamic, acting as the dutiful and obedient wife. When Nora asserts her independence and refuses to conform to his expectations, Torvald’s supposed strength crumbles—he panics, begs, and reveals his true insecurity. This reversal exposes that his authority was never intrinsic but rather upheld by Nora’s socially conditioned “weakness,” which she ultimately rejects.
Dean
Christine represents…
Christine represents an
Christine represents an “independent woman’s voluntary return to a patriarchal institution”
Christine actively pursues a relationship, suggesting that she sees value in companionship and security within a patriarchal system. However, her independence remains intact because her relationship with Krogstad is based on honesty and mutual need rather than submission. This makes her return to marriage a conscious, pragmatic choice rather than one forced by societal expectations, reinforcing the idea that women can engage with patriarchal institutions on their own terms.
1973 film adaptation
Nora imitates the sounds and actions of animals in response to Torvald’s name calling, especially when he gives her money — this reinforces Nora’s deceptive fulfilment of her dehumanised role as Torvald’s property and doll-wife
both Nora’s dance routine and Torvald’s prideful reaction to her performance is shown
Torvald slaps Nora after reading Krogstad’s letter, this physical violence hyperbolises his lack of love or genuine respect for Nora
2007 stage adaptation
male characters played by dwarves while the female characters were played by women over 6 foot
tall
plays on the absurdity of the social order, makes Torvald’s patronising and condescending tone all the more comedic and ironic, seeing as Nora towers above him
women having to squeeze themselves into a cramped set that takes no account of their proportions - represents how society caters to men and ignores the capabilities of women, preventing them from being comfortable and truly free
symbolises societal restrictions and suggests that the true potential of women goes far beyond these restrictions and can barely be contained
Olive Schreiner
ADH reveals a hidden side of women
“Sides of women’s nature that are not often spoken of and some people do not believe exist”
By portraying Nora as a complex, evolving character who defies traditional gender expectations. At the start, she embodies the conventional, playful, and submissive wife, reinforcing the stereotype of women as dependent and naïve. However, as the play progresses, Nora demonstrates intelligence, agency, and moral strength—qualities often denied to women in the 19th century. Her decision to leave her family to seek independence was especially shocking at the time, as it challenged the belief that women were naturally maternal and fulfilled only by marriage. By showing Nora’s capacity for self-awareness, ambition, and rebellion, Ibsen highlights aspects of women’s nature that society often ignored or dismissed.
Thomas
everyone being a victim
“Torvald…. is as much a victim as Nora”
rewriting of the ending in some productions
the ending was so far from being happy that in some countries, the being of the play was rewritten so that all is resolved and Nora stays
for instance, in Germany, Torvald finds Nora in Mrs Linde’s house, she asks if he has forgiven her and he pulls out a bag of macaroons as a symbol of forgiveness and redemption
in another German production, Nora is confronted with her children and chooses to stay
2012 Young Vic production
Nora and money
in the 2012 Young Vic production of A Doll’s House, Hattie Morahan’s Nora displayed visible excitement every time the word ‘money’ was mentioned which lead the audience to view Nora as greedy and selfish
however, the scene with Krogstad demonstrated that she was excited at the prospect of not having to see him ever again rather than at the material nature of the money itself
the Methuen Student edition of the play
Nora as naive and foolish rather than deceitful
in the Methuen Student edition of the play, it is suggested that Nora did not attempt to copy her father’s handwriting and actually signed his name on his behalf - she did not intend to deceive anyone
this interpretation presents Nora as foolish and naïve, a young girl who did not know any better and did not see anything wrong with her actions
whereas if she had intended to forge her fathers signature she’d resemble Krogstad as a criminal
Moi
the tarantella
Toril Moi has suggested that the tarantella displays the torment of her soul
Bleiman
Krogstad’s motivation
“His motivation is for his motherless children, thus casting a slightly sympathetic light on his otherwise cruel character”
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Cracknell’s 2012 Young Vic production
Carrie Cracknell’s 2012 Young Vic production featured a revolving set in which the audience was able to see all rooms in the apartment
Hattie Morahan’s Nora moved within it like a mouse in a cage
her tarantella was accompanied by sinister music that suggested the noise in Nora’s own head and highlighted her sheer terror
the final scene was one that quickly turned from disillusionment to rage, with Nora shouting at and striking Torvald
David Thacker’s 1992 production
the final scene
to make the ending more shocking, David Thacker’s 1992 production with Juliet Stevenson as Nora stressed the pain of the final confrontation
Nora did not waver in her determination to leave but she did have to comfort Torvald, who was weeping like a child
she sat down next to him, took his hand and explained her decision very quietly rather than with anger, which demonstrated a complete role reversal
How well did
production of ADH in Chile, 1980’
Nora as a symbol of freedom
under Pinochet’s regime, freedom was extremely restricted so in this production, when Nora speaks her mind and criticises Torvald’s controlling behaviour she became a symbol of the courageous defence of free speech
one critic claimed that she represented the “entire Chilean people” and Torvald represented authoritarian rulers like Pinochet
Eva Le Gallienne
the silk stockings
the scene with the stockings has been interpreted in various different ways
some believe that it highlights Nora’s ability to manipulate and influence the men around her
however, some translators and performers such as the pioneer of women’s theatre, Eva Le Gallienne consider the whole scene demeaning to Nora and actually left it out of the play
