Nora Lighting Review Paper When a woman is blackmailed and tries to hide from her husband that she had taken a loan behind his back, she uncovers the truth of her marriage through her web of lies. This is the story of Nora, originally a story about the struggles of a woman in 1879. It is a story that is quite realistic. However, under the direction of Stacy Ray, the play reached points of elevated realism. It was the lighting designers job to help translate this idea of heightened reality in his lighting, and that is what he did. Through the use of script reinforcement, mood, selective visibility, and rhythm Joe Governale created an effective and strong way to light Nora. One of the factors that made Nora such a great show was the cohesivity …show more content…
There are many ways to pull focus away from a scene. One thing a lighting designer should always look for is elements in the script that the lights should reinforce. Sometimes if the lights don’t match what the dialogue is saying it could cause an audience member away from investing into the story. Luckily our lighting designer stayed consistent with the script. Since most of the show was grounded in realism most of the lights focused in the performing circle used the McCandless method as a basis. In the McCandless method a mixture of cool and warm lights are used to emulate natural lights and shadows. Governale also used LED lights behind the actors to add some color and mood to the scene without pulling from its realistic …show more content…
Since Nora is a dramatic piece Governale probably focused on mood the most. There were many instances where lights were used to evoke emotion. One of the moments that I could recall was the use of blues on the mailbox that had a hint of red to reinforce the severity of the moment when Krogstad places a letter explaining Nora’s situation to Torvald. There was another moment in scene five where a purple light was used on Nora. I did not understand the use of the light the first time I watched it but, on my second go I saw that it was used to emphasize the guilt that Nora was feeling when torvald was criticizing Krogstad for the exact same thing Nora had done. Even in the first cue when Nora begins to dance to Meghan Trainor’s “Me Too,” Governale set the ambience of a club party feel using a purple light which faded into natural lighting seamlessly. This was an important cue because, it established the way that his lights would be used throughout the
In "Constant Star", lighting told much about the play as soon as it began. Low, yellowish lighting and a bit of fog spread by ceiling fans filled the stage as the play started. This gave the stage the look of an old photograph, so the audience immediatly gathered that the show was taking place in the past. The mood was often set by lighting as well. Red lighting gave the audience a sense of foreboding while yellow indicated happy times. Also, lighting could substitute for props. During scenes involving the train, lights would flash on and off, making the stage look as if it was actually moving. This effectively created the illusion that the cast was on a train. Also, lighting was innovatively used to create a "jail" in one of the scenes by creating vertical bars on the stage around the convicts.
The lighting in this movie is very effective. It helps to establish the characters very well. The audience is helping in distinguishing the bad and the good characters through the lighting. The movie overall is very stylized. There are some other strange lighting patterns brought out by Hype Williams, but by far the most effective lighting patterns are ones that help to characterize the main players in the film.
The use of lights throughout the play did not vary often. Throughout most of the play, bright overhead lights portrayed the play’s main set room: a small town beauty salon. The lights created an atmosphere that was not only cheerful, but also warm and inviting. On each side of the stage, warm, more natural lighting was used to make the small outdoor areas more realistic. Lights were also used to convey
Luhrman uses a similar technique In Strictly ballroom. The scenes in which Scott dances with Fran are juxtaposed to those of other dancers who are under Barry Fifes rule. The lighting is natural and simplistic compared to the harsh theatrical lighting, which is otherwise used to demonstrate the fake and falsehood of federation. As well as the use of shadows and half-light, which is used to create a sense of fear or suspicion. This makes for a great metaphor and image of Doug secretly dancing in, out and around the spotlight in the otherwise dark room. This use of lighting suggests to the viewer that contrast of belonging and not.
...le that Nora expects and the miracle that actually happens are entirely different. Nora dreams of the day that her husband will sympathize with her and cease to be the dominating figure with the "upper hand" in their relationship. She expects him to understand her struggles with the law and to be willing to take some of the blame himself. However, when he reacts to Krogstad's letter by exhibiting more dominance and control than ever before, Nora becomes more aware of her own individual needs as a woman in society. She understands that in order to be free, she must develop her own view of the world, by setting herself apart from the control and determinism that males have over her life. Therefore, Nora's decision to leave her husband and family is ironic because it proves to be the "miracle" she is waiting for, rather than the one she originally expected. Nora becomes a feminist heroine in the play by showing what women can achieve, but rarely attempt. The determinism that many men force on their women partners in society (in forms of control, dominance, and power) restricts the women's ability to strengthen as individuals, and gain their own self-determinism.
At the beginning of A Doll’s House, Nora Helmer seems stable in her marriage and the way that her life has panned out. She doesn’t seem to mind the her husband, Torvald, speaks to her, even if the audience can blatantly see that he is degrading her with the names he chooses to call her. “Hm, if only you knew what expenses we larks and squirrels have, Torvald” (Ibsen, 1192). Nora is notorious throughout Act I to play into the nicknames that Torvald calls her. She portrays that she is this doll-like creature that needs to be taken care of. Furthermore, we see that Nora is excited for her husband’s new job that will increase their income substantially. This is the first mask that the audience is presented with. As the play continues, Nora reveals yet another mask, this is a mask of a woman who so desperately wants to be taken seriously. The audience learns that Nora had previously taken out a loan to save her husband’s life. She proves that ...
... does not hesitate to fib, and can, at a pinch, condescend to forge.” Unfortunately with this play Nora do not give the audience a view of adult hood when her childish tricks don’t hide her lack of maturity and moral character when she without remorse or looking back.
I really liked this play along with the other ones we have read in class. However, this plays seems to stand out to me because it takes a feminist point of view. It is always good to go inside the role of a woman and see how they feel and act upon their own thoughts. Good literature helps us to learn about how other people think and act. Moreover, when we can relate the characters actions to our lives or the world around us the meaning is more personal and beneficial. For some reason, I feel like many women out there really do feel like Nora. They are trapped in economic circumstances because it is the safe way to go. Many times woman do not truly love their husbands and are rather there just to live a safe and comfortable life. Even though I am not a woman I feel Nora's pain and her urge to "break free." It is the social constraints of society that despise woman to "break free," but Nora defies these constraints.
Nora is presented with many choices, one of them being the option to lie to her husband, Torvald, or not to lie. Most of these tiny, white lies include when Nora tells Torvald that she has not eaten macarons. She goes about her choice to lie in a way that she believes is rational. Nora also has the foresight to weigh her options. If she lies to Torvald, they will have a happy marriage, but if Nora deceives him, everything will crumble beneath her feet. Choosing the former, Nora lives in fear that Torvald will discover her, but is happy living in falsehood. Eventually it becomes normal for Nora to lie, almost like nothing is wrong. Although, deep down inside, Nora is hiding a greater secret from Torvald, underneath all the tiny white lies. This falsehood regards a large sum of money that she borrows to save her husband 's life. Nora has acquired a lump sum from Nils Krogstad, that she knows she does not have the means to pay back in full by his set deadline. Nora’s fear of Torvald finding out weighs heavily in her decision of how to go about breaking even with
Nora is a dynamic character. When the play begins Nora is viewed and presented as a playful and carefree person. She seems to be more intent on shopping for frivolous things. But, as time goes on it becomes apparent that Nora actually has a certain amount of seriousness in her decisions and actions in dealing with the debt she incurred to save Torvald’s life. Nora’s openness in her friendship with Dr. Rank changes after he professes his affections toward her. Her restraint in dealing with him shows that Nora is a mature and intelligent woman. Nora shows courage, not seen previously, by manipulating her way around Krogstad and his threats to reveal her secret. After feeling betrayed by Torvald, Nora reveals that she is leaving him. Having
In the beginning of this drama readers are introduced to a woman,Nora, can be taken as a young girl by her immaturity. Author, Kelly King Howes gives a good explanation as to why she may be this way in her article:
In the beginning of the play, she shows her love toward her children, she plays with them and buys them toys, thus symbolizing Nora’s life, and that she is defined by her children. Majority of the women including Nora during her time period were defined by who their family was. Their lives were defined by children they raised and the husbands they married.
Nora engages in a mutually dependent game with Torvald in that she gains power in the relationship by being perceived as weak, yet paradoxically she has no real power or independence because she is a slave to the social construction of her gender. Her epiphany at the end at the play realises her and her marriage as a product of society, Nora comes to understand that she has been living with a constr...
Role play is a big part of “A Doll House” by Henrik Ibsen because all the characters pretend to be someone there not instead of being their selves. The one who stands out the most though is Nora. It’s almost like she lives two different lives because of how differently she acts. Nora is claimed to be Torvald’s childish, loving wife and is unknowingly a strong, independent woman. She was known as the playful, trophy wife by everyone at the beginning of the play, but as the play goes on she is shown as a self-empowering, eager woman.
Many assume A Doll’s House to be a play purely about the emancipation of women. Nora is often seen as a catalyst for women’s equality within a dominant male society. Indeed when A Doll’s House firs...