A Doll’s House †Henrik Ibsen Essay

Henrik Ibsens in one of his most revolutionary simulated military operations, A Dolls House, filled his set and floor with symbols that emphasised the idea that above everything, one must be an individual. Doors, macaroons and the tarantella are all symbols that are used by Ibsen to convey to the audience that the conduct of Nora and Torvald isnt what it seems to the naked eye. The doors in the dolls house set, are emphasised, to typify the separate worlds Nora and Torvald live in the illusive macaroons symbolise the control Torvald has over his wife and the wild tarantella dance is symbolic of Noras desire to escape from her restricted and heavily defined existence.Doors in A Dolls House are not just a wooden blocks that can be used as a thoroughfare in the midst of rooms they are used to distinguish between the two different spheres, Noras sphere and Torvalds sphere. All throughout the play, Nora never enters her husbands world. Guests for Torvald were instructed to not come in here (Noras living room), and they went on into Torvalds study. As Krogstad slammed the door on the way out of his house, Noras world was smashed into a million shards of tiny fragile pieces. The character of Nora is sent into a spiral of depression, anxiety and out-right craziness that turned a ostensibly normal dance into a nineteenth century movement of oppressed feelings.The macaroons that Nora possesses in the beginning of the play are more than just a roughhewn snack. Nora has the macaroons in the early stages of the play, with Torvald around. They give the audience the k like a shotledge of Noras child-like behaviour and emotions. All through A Dolls House, Torvald treats Nora like an unseasoned child, and the macaroons are one of many indications of this. She offers it to guests as they enter her world, but not to her husband, in which she hides them from him. The child-like behaviour is also witnessed in the scene where Nora is cont sack with her children, calling t hem little dolls and playing with them like they are her friends and shes not their mother. This child-like behaviour was encouraged by Torvald, by simple nicknames, such as frolic and mockingbird, to make Nora be more immature towards Torvald and keeping her youthfulness that he liked so much.The infamous dance, the tarantella, was an expression of the oppressed society that cleaning lady had to go through in the 19th century. The tarantella was used to convey emotions that woman couldnt express in normal, everyday life. They used raw thrust to express that raw emotion. In A Dolls House, Nora uses, just as other woman have, to express and release the oppressed emotion that was given by Torvald towards her. In the scene where Nora is dancing for Torvald as practice of the dance and Dr. Rank comes in, Torvald keeps telling Nora to stop it and do it as I say. Nora is completely oblivious to Torvald and keeps on dancing in her own style. Dr. Rank comes in and takes over Torvalds fi ctitious character as piano player to fuel the singe that Nora was burning. The dance becomes more and more wild as the scene progresses, until the music stops and Nora is just still. The oppressive moment of woman in the 19th century created this dance.A Dolls House uses this symbols of child-like behaviour, different worlds and an oppressed dance to show the audience that the world of the 19th century wasnt a blissful place where men and woman were equal in everything they had rights to, like they do now. Torvald showed that he was a man of conformity and tried his best to contort his family into the social norms of the time. Torvald never let Nora have her way and treated her like a child, making her regress into one and up to now making her be his child. She was frightened to wrong by her husband, even hiding a simple sweet from him so he wouldnt find out that she was eating it.By the end of A Dolls House , Nora grows up. After the problems arisen by Krogstad, she learns tha t her husband isnt her saviour anymore and she doesnt love him. The party ended when Torvald valued to leave. Nora got home and changed out of her formal attire, and into outdoor wear, making Torvald wonder, Why are you dressed like that? The taking off of her formal clothes gives the impression that Nora is now taking off her old life, her oppressed life, and starting afresh. After an emotional discussion with Torvald, she ends up leaving him and the children. Walking out of her house, through the door, again is symbolise the end of something. This time its Noras life with Torvald. As the door closes, this time its Torvald who breaks down, mirroring Noras emotions when Krogstad leaves theletter in the letter box.Symbolisation is a major part in any play, even more so in A Dolls House. The emotion scenes with Nora, Torvald, Dr. Rank and even Krogstad wouldnt be the same without objects such as the doors or macaroons, or the two different spheres dividing Noras world and Torvalds. The dance itself plays a vital role of showing emotion without the notice of Noras own husband. Without such devices, A Dolls House wouldnt be the same revolutionary play that we see today it would just be mere words on a page.BibliographyA Dolls House Henrik Ibsen