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‘A Doll’s House’ set in a dolls house

‘A Doll’s House’ set in a dolls house. By Katie, Ross & Livvie. The concept of our idea.

atalaya-faridoon
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‘A Doll’s House’ set in a dolls house

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  1. ‘A Doll’s House’ set in a dolls house By Katie, Ross & Livvie.

  2. The concept of our idea • 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’.

  3. Nora’s Room Hallway

  4. ‘Promenade’ style theatre • 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 time 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 getting them to question and think about how things have changed in societysince then. • This style of performance also breaks the fourth wall and we think this will engage the audience more- as its more active, it breaks tradition of normal theatre- symbolising how Nora’s breaking tradition. • Because of the staging we think it would it would be appropriate to have a relatively small audience number (not so small to not make profit)- roughly 15-20 people per performance- to make sure we don’t loose out on profit more performances will take place (2 per day- over a long time period)

  5. Nora’s Room • 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, paintings • Change from dull brown/beige to puffier 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.

  6. Study • 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, filling 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.

  7. Entertaining/Dining Room • 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 furniture • Drinks 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

  8. Living Room • Stays the same throughout the play • Contrast to the rest of the rooms • The 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 first 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

  9. Hallway • A series of paintings along the hallway to Nora’s room • The 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 fit 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.

  10. Nora’s outfits • Nora will have 4 costume changes throughout the production 1800’s Dress 1920’s flapper dress 80’s power suit 21st century M&S suit

  11. 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’.

  12. How we want the actors to act • 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 flirty 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.

  13. 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 affectionate • Mrs Linde • Patronising, strong and independent woman, exampling how Nora could be. • Dr Rank • Affectionate to Nora, does whatever she says with a longing smile • To Torvald, cold, blunt and resentful

  14. The maids • 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.

  15. Tarantella scene • 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 filled 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=KQ4VFRgaNus http://www.youtube.com/watch?v=yNAOHtmy4j0

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