By Katie, Ross & Livvie.

‘A DOLL’S HOUSE’ SET IN A DOLLS

HOUSE

Upon studying ‘A Doll’s House’ we thought that the main theme was the progression of women at that time, breaking out of their social constraints, shown through Nora’s struggle to become something other than a ‘doll’ trapped in Torvald's ‘doll’s house’

We thought the best way to show this would be to stage the production in a dolls house, letting the audience ‘promenade’ around the dolls house to experience what Nora's point of view is. Together, with modernising the rooms gradually as Nora's attitude modernises, we strived to visually show how, by the end of the play, Nora is ready to break out of Torvald’s ‘doll’s house’.

THE CONCEPT OF OUR IDEA

Nora’s Room

Hallway

Promenade staging, to make the audience see things through Nora’s eyes.

We want them to have the perspective of how women were expected to act in that t ime period. We thought this would be the best way in which to show it

This gives the audience an aspect of brechtian style performance, by gett ing them to question and think about how things have changed in society since then.

This style of performance also breaks the fourth wal l and we think this wi l l engage the audience more- as i ts more active, i t breaks tradit ion of normal theatre- symbol ising how Nora’s breaking tradit ion.

Because of the staging we think it would it would be appropriate to have a relat ively small audience number (not so small to not make profi t)- roughly 15-20 people per performance- to make sure we don’t loose out on profi t more performances wi l l take place (2 per day- over a long t ime period)

‘PROMENADE’ STYLE THEATRE

Starts off 1870’s style and progressively gets more modern as the production progresses and Nora’s actions develop from a woman of her time to a woman of todays society.

What would change: Sheets, curtains, rug, paintingsChange from dull brown/beige to puffi er duvets

(pastel feminine colours)Lighting-beginning of productions this room will be

dimly lit, each time a scene is set in the room the lighting will be brighter than the previous scene. This will symbolise the gradual realisation Nora has.

We have also decided to set the last scene in there, with the lights at their brightest to show how Nora has ‘seen the light’ and has decided to move out.

NORA’S ROOM

This room stays the same throughout the production to emphasis how Torvald in stuck in his ways

Grey and brown colour scheme- bookcase, desk, chair, fi lling cabinet all hard uncomfortable items.

Audience cannot go in the study but only look through a gap in the wall

This is to get the audience on Nora’s side by getting them to see Torvald from her point of view- as we never see Nora in the study the audience will see how she is at a distance from Torvald.

The lighting will be dim and dark to represent how it’s a dangerous place for Nora.

STUDY

Dimly lit yellow lights to create warmth and comfortable lighting.

With royal, red, velvet settees to give an expensive feel to the room.

Also dark brown coloured furnitureDrinks cabinet- most of the drinks quite full until start

of act 2- when all the bottles will be empty- to show how things have lost control and to explain why Torvald gets drunk in the ‘tarantella’ scene.

Scenes that occur here: - Tarantella - Where Rank tells Nora that he loves her - Where Torvald finds letter- Where they find out Rank dies - Krogstad and Nora scenes

ENTERTAINING/DINING ROOM

Stays the same throughout the playContrast to the rest of the roomsThe rest of the rooms show a truth about the

atmosphere of the production, whilst the living room provides a cosy illusion for the superficial reality of the house, therefore in the fi rst scene the superficial, even ‘fake’ acting between Nora and Torvald is reflected in the superficial nature of the room.

Comfortable looking sofa’s fairly light cream colours used

Not many scenes take place here to show the characters never feel completely comfortable

LIVING ROOM

A series of paintings along the hallway to Nora’s roomThe painting closest to Nora’s bedroom is modern day

picture (eg. Banksy) and as you get further away the paintings get progressively more old fashioned.

We decided on this because the audience will recognise the more modern paintings and begin to question why some of the painting don’t fi t in with the house.

The rugs in the hallway change throughout the play progressively getting more modern throughout

There will be spotlights on each individual painting.

HALLWAY

Nora will have 4 costume changes throughout the production

NORA’S OUTFITS

1800’s Dress 1920’s flapper dress

80’s power suit

21st century M&S suit

MEN’S OUTFIT

Stays the same throughout

Staying the same highlights how men are stuck in their ways.

The colour: brown signifying stability, structure and support.

This highlights how Nora relies on the Men and how men in the 1800’s were the head of the household and ‘wore the trousers’.

Nora Childish and reliant on Torvald (Especially in the beginning) Flirty with Dr.Rank and Torvald Panicked whenever with Krogstad and when Torvald receives

the letter Gradually becomes more empowered and independent

throughout

Torvald When Nora is childish he reacts to her in a patronising way When Nora is fl irty he should treat her like a sexual object When she is panicked he is angry and controlling using his

strength against her When she becomes empowered he should become childish

and reliant on her.

HOW WE WANT THE ACTORS TO ACT

Krogstad Two faced: Towards Torvald; be a ‘suck up’ and looking up to him, playing up

to him to be liked by him. Similar to how Nora is towards Torvald. Towards Nora; blunt, non-tolerating and stubborn, being harsh

whenever he can Towards Mrs Linde; shy, timid and aff ectionate

Mrs Linde Patronising, strong and independent woman, exampling how Nora

could be.

Dr Rank Aff ectionate to Nora, does whatever she says with a longing smile To Torvald, cold, blunt and resentful

HOW WE WANT THE ACTORS TO ACT

The maids are the stagehands.

While the audience are walking around, and throughout the play, they’re the ones who move the set around and change the rooms to modernise them.

Maids to be patronising towards Nora.

Mothering to the children, who are constantly running around the set

‘Wifelike’ towards Torvald, causally bringing hot drinks to him throughout the production.

THE MAIDS

MUSIC – the music will vary as she dances going from the original Tarantella music and dance to more modern music and dancing.

LIGHTING- spotlight on Nora, with the rest of the entertainment room fi lled with red, to reflect the ‘dancing for your life’ style of the tarantella.

HAZING - shows the cloudy chaos of Nora's thoughts.

2 Examples of music and dance styles we’ll use:http://www.youtube.com/watch?v=KQ4VFRgaNushttp://www.youtube.com/watch?v=yNAOHtmy4j0

TARANTELLA SCENE