Henrik Ibsen
Henrik Ibsen (1828-1906)
A Doll’s House
Norwegian
Realism
Henrik Ibsen is called both “the father of Realism” and “the father of modern theater” in Europe, which is to say that he was the first playwright to use Realism on stage. Ibsen’s impact on theater makes him the most influential European playwright since Shakespeare. For Ibsen, art should be both challenging and a force for social change; his plays often expose what he saw as the moral hypocrisy of society. In particular, Ibsen’s plays peel back the veneer of respectability of the Norwegian middle class, revealing what happens when people only pretend to be moral. No group or ideology was safe from his criticism, and often there are no characters in a play who are completely without blame. For example, in An Enemy of the People (1882), the outright villains may be the businessmen who are poisoning the local water source, but the locals are equally at fault for refusing to believe the truth for selfish reasons, and the supposed hero of the story makes matters worse with his stubborn temper. In Ghosts (1881), Ibsen broke several taboos in his depiction of how a husband’s repeated infidelities lead to passing on syphilis to his unborn son. As guilty as the husband was, everyone from the pastor to the wife bear some responsibility for looking the other way, even after the husband’s death. Ibsen’s goals for A Doll’s House (1879) are every bit as broad as his other works. Nora and Torvald try to live up to their society’s ideals for how men and women should behave, but both of them become victims to society’s unrealistic expectations. The truth in this case is a lit match that leads to a metaphorical explosion. The fact that Nora and Torvald do not agree on the definition of what is right appears to be a product of which gender holds the power in society, rather than an actual gender issue. A Doll’s House does not offer a conventional happy ending, which so shocked audiences that some theaters actually rewrote the ending when staging it. The ending is also complicated by the fact that Nora’s rebellion against expectations has no guarantee of success in a society where women could not even borrow money without a man’s signature. A common theme in Ibsen’s plays, therefore, is that truth does not always set you free; in fact, sometimes the very best intentions are doomed to failure if society refuses to listen or change. It is a problem that Ibsen faced himself, since his efforts to influence change were invariably seen as shocking and controversial. It is a testament to his persistence and talent that audiences now expect the theater to address social issues.
Consider while reading:
- What are the possible interpretations for the play’s title?
- Does Nora change during the course of the play? Explain.
- Do you agree with what Kristine does? Why or why not?
- How do the time period and the location affect the play? How would the play be different if it were set in another time period or location?
Written by Laura Getty