Details
are also the thing in the sphere of psychology.
God
preserve us from generalisations. Best of all, avoid depicting
the hero's state of mind; you ought to try to make it clear
from the hero's actions. It is not necessary to portray
many active figures. The center of gravity should be two
persons - he and she.
(Anton
Chekhov to his brother Alexander from Ernest Simmons ''Introduction
to Russian Realism)
Introduction
-
The
turn of the century saw a move towards selectivity rather
than generalisations in the work of modern dramatists
-
The
emphasis was on human psychology and the relationships
between men and women
-
Realists
such as Henrik Ibsen favoured work which reflected social
problems whilst Emile Zola, a naturalist writer, advocated
scientific observation (hence the rise of naturalism
in theatre) where life was revealed indiscriminately
in a non-selective, photographic way
-
In
short, drama was no longer represented in artificial
and contrived ways - melodramatic and romanticised approaches
to dramatic form was rejected.
-
Realism
fuelled by advances in modern science and rational thinking
(deduction and explanation). The work of Charles Darwin
(1859) gave impetus to the dramatists with its focus
on environment and heredity.
Distinctions
between realism and naturalism
Let'
s consider the differences between the work of the realists
(e.g Ibsen) and those of the naturalists (e.g Chekhov and
Zola). We can do this best by considering two speeches from
associated plays. (reference: 'Acting in Person and in Style',
1980)
For
eight years I've been waiting patiently; I knew, of course,
that such things don't happen every day. Then, when this
trouble came to me - I thought to myself; Now! Now the wonderful
thing will happen! All the time Krogstad's letter was out
there in the box, it never occurred to me for a single moment
that you'd think of submitting to his conditions. I was
absolutely convinced that you'd defy him - that you'd tell
him to publish the thing to all the world; and that thenÉ
(Nora
to Torvald. 'A Doll's House' by Henrik Ibsen)
Not
only in two or three hundred years but in a million years
of life will be just the same; it does not change, it remains
stationary, following its own laws which we have nothing
to do with or which, anyway fly backwards and forwards and
whatever ideas, great or small, stray through their minds,
they will go on flying just the same without knowing where
or why. They fly and will continue to fly, however philosophic
they may become; and it doesn't matter how philosophical
they are so long as they go on flyingÉ
(Tusenbach
'The Three Sisters' by Anton Chekhov)
Nora's
speech (realism)
-
In
Nora's speech, the flow of words is orderly and selective,
logical in intent
-
The
lines are believeable and truthful although a little
heightened
-
The
character is inwardly motivated - this is a realistic
speech
Tusenbach's
speech (naturalism)
-
A
closer representation to everyday, real life conversation
with its uneven flow of cascading thoughts with at times
a repetitious quality
-
Truthful
and believeable with a use of silences and pause if
so desired - this is a naturalistic speech.
The
rise of Naturalism
- Zola
proposed the first naturalistic doctrine in 1873 in the
introduction to his play Therese Raquin
- Regarded
man forming laws of human conduct through the powers of
observation, analysis and classification
- A
rebellion against stereotyped formula of morality of the
Romantic movement
- Prescribed
lifelike scenery, costumes and methods of acting 'a slice
of life.'
- Action
on stage simplified and lifelike, characters psychologically
motivated and physiologically correct in the way that
looked and acted on stage
Reference:
Crawford, J. (1984). 'Acting in Person and in
Style' Wm.C.Brown Pub: IA.
Henrik
Ibsen (1828-1906) - a brief overview
- Born
into a wealthy family but father faced bankruptcy in 1828
- Consequence
was for Ibsen an early life of poverty with an inferior
education
- Left
home in 1844 to become a pharmacist and only returned
home once from that point
- Early
life of poverty left Ibsen resentful, stubborn, rebellious
and aloof
- In
his adolescence formed a radical club dedicated to Scandinavian
unity and freedom - heavy drinking and gambling (and an
illegitimate child at 18) became a lifestyle
- Began
to write patriotic verses and by 1850 had written his
first play Cataline whilst studying at university
- His
writing caught the attention of Ole Bull, the great Norwegian
violinist who helped Ibsen secure a job as theatre poet
and stage manager at the Bergen theatre
- In
1858 married Susannah Thoresen and in 1857 became director
of the Norwegian theatre
- His
interests were soon neglected however and he began drinking.
This ended in depressive and drunken periods.
- He
left Norway in 1864 for Italy (where he wrote his best
works) and did not return until 1981 when he retired
Ibsen's
golden years of playwriting:
Romantic
Period 1850-1873
Realistic
Period 1877-1890
Symbolic
Period 1892-1899
- 1866
- Brand, well received and gave him a pension for
the rest of his life (government granted)
- 1867
- Peer Gynt (versed drama)
- 1873
- Emperor and Galilean (historical narrative)
- 1877
- Pillars of Society (realistic phase)
- 1879
- A Doll's House (causing an uproar)
- 1881
- Ghosts (another uproar about VD)
- 1882
- An Enemy of the People (comedy)
- 1892
- The Master Builder (with many in between)
- 1894
- Little Eyolf
- 1896
- John Gabriel Borkman
- 1899
- When We Dead Awaken (verse drama)
- Ibsen
died in Norway in 1906
Reference:
Edward T.Byrnes, Assistant Professor of English, Seton Hall
University,
A
Doll's House - An overview
- Written
in Rome at a time of revolution in Europe
- A
play in the realist genre, it did challenge the traditional
well-made play mode which worked from the exposition,
through to the rising action of the situation to the final
solution or unravelling of a play's tensions or issues.
- The
last moments of the play where Nora tells Torvald she
will leave him turns the tradition upside down for the
audience.
- Characters
portrayed in realistic mode as imperfect and dimensional
- The
most obvious underlying theme is that of feminism; Nora's
rejection of marriage and motherhood shocked audiences
and many German productions of the 1880's altered the
ending, which deeply upset Ibsen. (he called this 'a barbaric
outrage!')
Focus
on thematic, metaphoric and symbolic underpinnings
Setting:
- Dramatic
action takes place in one room where Nora has been described
as being 'trapped in domestic comfort'.
Male
and female:
- The
place of women is explored through the institutions of
motherhood and marriage (the children are like 'dolls'
to Nora)
- Torvald
holds tight to the traditional view of women as homemakers
and good mothers, the moral guardians of the children
and the home.
- He
regards women rather like children who are helpless who
need protection from the harsh realities of life; men
are independent and the guardians
- Nora
is called many names throughout the play, 'little songbird.'
'little skylark,' 'little person,' 'squirrel.' 'lark,'
'little featherhead.' 'little woman,' 'little rogue,'
'helpless little mortal,' 'child.' 'charming little darling,'
'my frightened little singing bird,' 'miserable creature,'
'thoughtless woman,' 'blind foolish woman,' 'a heedless
child,' - all indicating a lack of equality and respect
for Nora's personage.
Materialism
versus people
- A
great deal of importance is place on materialism rather
than people
- Money
and materialism are viewed as ways of avoiding dealing
at a personal and close communicative level with people.
Reference:
ClassicNote on 'A Doll's House,'
www.classicnotes/Titles/dollshouse/themes.html
Notable
symbols:
Black
hat and black cross - a symbol for death
Fisher
girl costume - symbolises Nora's pretence of enjoying life
Italy
- the good false image of Nora's life
Norway
- reality
Doll
house - the tendency of the characters to role-play
Toys
- the act of pushing the roles onto Nora's children
Macaroons
- Nora's deceit to her husband
Tarantella
- Nora's agitation at her struggle with Krogstad and her
husband
Christmas
tree - the mood of the play
Stockings
- Nora's attitude trying to please men and flirting with
Rank
Letterbox
and letter - stereotypes pressed on woman
Ring
- marriage and its demise
Skylark
- Torvald treating Nora like a child