Certain characters undergo characterization in both plays. The character that struck me from “A Doll’s House” by Henrik Ibsen was Nora; which in this case is the main character. From the “The Crucibles” by Arthur Miller the character that stood out to me with her independence was Elizabeth. Both of these characters have their own personality, which we can establish through the stage directions and quotes in the play. The plays illustrate that women both in the plays portray submissive behavior, but just set in different time and place. “A Doll’s House” was set in Norway in the19th century, where as “The Crucibles” was set in Massachusetts in the 17th century. This demonstrates the diverse between both characters. Both of the characters illustrate what they stand for and don’t fully commit to their submissive role, though being less submissive is more shown in Nora’s part. Nora is a very intriguing character to experience while reading the play since she is supposed to be a typical submissive wife, but actually she is very manipulative. One of the examples for Nora’s behavior is when she is eating her macaroons that she is not suppose to have with her, which goes against her husband’s dominance; this shows lack of submissiveness. “[Puts her bag of macaroons into her pocket and wipes her mouth.] Come in here, Toravald, and see what I have bought.”(pg12) Nora’s is portraying that she is not allowed to have the macaroons and carefully hiding them from Helmer. “[Wagging his finger at her.] Hasn’t Miss Sweet-Tooth been breaking rules in town to-day?”(pg14), “No, I assure you, Torvald” (pg14), “Not been nibbling sweets?”(pg14) This illustrates how Nora is not being fully submissive to her husband and not going by the rules of her ... ... middle of paper ... ...nd, and dos not judge him anymore for what he has done.”(pg145) Both are very different characters but have some similarity with the submissiveness. In the beginning of the A Doll’s House Nora was acting submissive, towards her husband Helmer, but what the audience saw a different view. We saw how Nora disobeyed him in many situations, and how childish her actions were compared to Elizabeth. In the play we can notice how she suddenly could not take the pressure any more and needed to leave her husband to find her own life. In Elizabeth situation she was a good, honest wife towards Proctor and showed constant submissiveness, until John lost her trust. This is where she began to judge and not be on her husband side. At the end though Elizabeth came to her adults senses and realized and understood that in serious, scary situations she must forget and be my husband.
The movie recreating The Crucible written by Arthur Miller does a great job bringing everything to life. When reading a book, the reader oftentimes have a certain idea of what the character would look and sound like. When I read the book followed by watching the movie, I found that the characters that I had created in my head were perfectly matched by the actors and actresses that featured in the movie. Although the movie and book are very similar and show few differences, the handful of things that were changed, or added in the movie tend to stick in our brain rather than the similarities.
Nora and Mrs. Wright’s social standing when compared to the men in each play is inferior. Both works expose their respective male characters’ sexist view of women diminishing the women’s social standing. Each work features egotistical men who have a severely inflated view of their self-worth when compared to their female counterparts. The men’s actions and words indicate they believe women are not capable of thinking intelligently. This is demonstrated in “Trifles” when Mr. Hale makes the statement about women only worrying about mere trifles. It is also apparent in “A Dollhouse” when Torvalds thinks his wife is not capable of thinking with any complexity (Mazur 17). Another common attribute is of the women’s social standing is displayed as both women finally get tired of feeling like second class citizens and stand up to the repressive people in the women’s lives (Mulry 294). Although both women share much in common in their social standing there subtle differences. Torvald’s sexist view of Nora is more on a personal level in “A Dollhouse” while the male characters’ sexist views in “Trifles” seem to be more of a social view that women are not very smart and their opinions are of little value. This attitude is apparent in “Trifles” as Mr. Hale and Mr. Henderson’s comments about Mrs. Wright’s housekeeping (Mulry 293). As the women in both works reach their emotional
To begin, in both plays the men dismiss the women as trivial. In Trifles, when Mrs. Wright is being held in jail for the alleged murder of her husband, she worries about the cold weather and whether it will cause her fruit to freeze which will burst the jars. After the women come across a shattered jar of canned fruit, they converse about Mrs. Wright’s concern about the matter. Mrs. Peters states, “She said the fire’d go out and her jars would break” (Glaspell 918). The women here identify with Mrs. Wright’s concern, because they understand the hard work that goes into canning as part of the demanding responsibilities women endure as housewives. The Sheriff’s reply is “Held for murder and worryin’ about her preserves” (Glaspell 918). In other words, the men perceive the event as insignificant; they clearly see women as a subservient group whose concerns hold little importance. Likewise, the reader can relate to this treatment in A Dollhouse, when Torvald complains to Nora about spending Christmas time the previous year making frivolous ornaments instead of devoting it to family. Torvald says, “It was the dullest three weeks that I ever spent!” (Ibsen 1207). He believes her role i...
In each of these plays, the protagonist is a woman who has a very independent mindset, but is limited by society in how much she is able to do for herself. For example, after Antigone buries Polynices, she tries to defend what she did to Creon. However, he refuses to listen to her because he doesn’t want to seem like he would listen to a woman (Sophocles 37). His refusal shows that men are supposed to be dominant over women and a man who listens to a woman is not masculine. It also represents the idea that during this time period, women have no valuable opinion. Additionally, in A Doll’s House, Nora is criticized for taking out the loan on her own, like when Mrs. Linden says, “Why, a wife can’t borrow without her husband’s consent!" (Ibsen 151). This criticism demonstrates the idea that women are unable to make their own decisions and decide things for themselves. It also shows the belief that only men have the sense to make a business deal, and w...
Henrik Ibsen’s A Doll House, which was written during the Victorian era, introduced a woman as having her own purposes and goals, making the play unique and contemporary. Nora, the main character, is first depicted as a doll or a puppet because she relies on her husband, Torvald Helmer, for everything, from movements to thoughts, much like a puppet who is dependent on its puppet master for all of its actions. Nora’s duties, in general, are restricted to playing with the children, doing housework, and working on her needlepoint. A problem with her responsibilities is that her most important obligation is to please Helmer. Helmer thinks of Nora as being as small, fragile, helpless animal and as childlike, unable to make rational decisions by herself. This is a problem because she has to hide the fact that she has made a decision by herself, and it was an illegal one.
Throughout history, a woman's role is to be an obedient and respectful wife. Her main obligation is to support, serve, and live for her husband and children. In Henrik Ibsen's A Doll's House and Susan Glaspell's Trifles, two different women make a decision to take matters into their own hands by doing what they want to do, no matter what the outcome may be and in spite of what society thinks. These two women come from different homes and lead very different lives yet, these two women share similar situations--both are victims, both are seeking individuality, and initially, both women end up alone. There are many ways that Nora and Mrs. Wright differ. First of all, both come from completely different households. Nora's home is "tastefully [. . .] furnished" and always "pleasant"(917). She lives in a lavish home eating macaroons, drinking champagne, and hosting banquets. Nora often has guests at the house and there are even maids to watch her children. Her husband, Torvald, is often home and has guests over. On the other hand, Mrs. Wright's home is unpleasant, in an "abandoned farmhouse"(977) in a secluded area. Mrs. Wright seldom has company, nor does she have any children. She does not leave the house very often and her husband, Mr. Wright, wants no outside interference. Mr. Wright refuses to get a "party telephone"(978) because he enjoys his "peace and quiet"(978). It is obvious that these two women lead different lives with different types of people, yet they share similar situations that are not so obvious.
The enforcement of specific gender roles by societal standards in 19th century married life proved to be suffocating. Women were objects to perform those duties for which their gender was thought to have been created: to remain complacent, readily accept any chore and complete it “gracefully” (Ibsen 213). Contrarily, men were the absolute monarchs over their respective homes and all that dwelled within. In Henrik Ibsen’s play, A Doll’s House, Nora is subjected to moral degradation through her familial role, the consistent patronization of her husband and her own assumed subordinance. Ibsen belittles the role of the housewife through means of stage direction, diminutive pet names and through Nora’s interaction with her morally ultimate husband, Torvald. Nora parades the façade of being naïve and frivolous, deteriorating her character from being a seemingly ignorant child-wife to a desperate woman in order to preserve her illusion of the security of home and ironically her own sanity. A Doll’s House ‘s depiction of the entrapment of the average 19th century housewife and the societal pressures placed upon her displays a woman’s gradual descent into madness. Ibsen illustrates this descent through Torvald’s progressive infantilization of Nora and the pressure on Nora to adhere to societal norms. Nora is a woman pressured by 19th century societal standards and their oppressive nature result in the gradual degradation of her character that destroys all semblances of family and identity.Nora’s role in her family is initially portrayed as being background, often “laughing quietly and happily to herself” (Ibsen 148) because of her isolation in not only space, but also person. Ibsen’s character rarely ventures from the main set of the drawi...
In A Doll’s House, which ‘opened the door to a whole new world for women2’, Nora Helmer, wife to Torvald Helmer, is treated insignificantly by her husband. This is in relation to the title of the play. A doll is not a human being; it becomes what its owner makes of it. It does not have a role to play in public life. In the final act of the play, Nora certainly disputes this, by saying in the final act that ‘before everything else I’m a human being.’
A Doll’s House illustrates two types of women. Christine is without a husband and independent at the start of the play whereas Nora is married to Torvald and dependent on him and his position at the bank. Both begin at different ends of the spectrum. In the course of the play their paths cross and by the end of the play each woman is where the other started. It appears that a woman has two choices in society; to be married and dependent on a man or unmarried and struggle in the world because she does not have a man.
In the plays A Doll's House, by Henrik Ibsen, and Trifles, by Susan Glaspell, the male characters propagate stereotypes and make assumptions concerning the female characters. These assumptions deal with the way in which the male characters see the female characters, on a purely stereotypical, gender-related level. The stereotypes and assumptions made in A Doll's House are manifest in the way Torvald Helmer treats his wife, Nora, and in the way Nora acts to please her husband. These include the beliefs that women are lesser people, childlike in their actions and in need of being controlled. Nora knows as long as she acts in accordance with the way she is expected, she will get what she wants from Torvald. The stereotypes and assumptions made in Trifles are those of the women being concerned only with trifling things, that they are loyal to the feminine gender, and that women are subservient to their spouses.
Ultimately, she decides to break away from her husband and children to leave behind the society that has oppressed her. She feels compelled to learn more about herself and what she wants in life. In the play, A Doll’s House, Henrik Ibsen highlights the negative treatment that women received during the late 1800s and uses Nora to rebel against society’s expectations for the role of women.
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
A contrasting difference in the characters, are shown not in the characters themselves, but the role that they play in their marriages. These women have different relationships with their husbands. Torvald and Nora have a relationship where there is no equality. To Torvald Nora is an object. Hence, she plays the submissive role in a society where the lady plays the passive role. Her most important obligation is to please Torvald, making her role similar to a slave. He too considers himself superior to her.
A Doll House was a play written well ahead of its time. This play was written in a time when it was considered an outrage for a woman such as Nora not only to display a mind of her own, but also to leave her husband in order to obtain her freedom. This play relates to the Art Nouveau and Edwardian period because just as the furniture and clothing were considered decorative pieces, so were women. Women were expected only to tend to the husband's and children's needs. Women were not supposed to do anything without first consulting the husband and certainly never do anything without his prior knowledge and approval. Women were expected to be at home and always looking presentable for their husbands.
During the time in which Henrik Isben's play, A Doll?s House, took place society frowned upon women asserting themselves. Women were supposed to play a role in which they supported their husbands, took care of their children, and made sure everything was perfect around the house. Nora is portrayed as a doll throughout the play until she realizes the truth about the world she lives in, and cuts herself free.