Ibsen critics

A.S Byatt (end of the play)

she found herself "‘judging Nora with less and less sympathy”

Young Vic's 2020 production of Nora: A Doll’s House Stef Smith

Three different actresses play Nora in each time period, showing the evolving struggles and choices for women across a century.

In contrast to Ibsen’s singular focus on Nora’s individual struggle, this production looks at the broader, evolving nature of female freedom.

Unlike Ibsen’s original, where Nora walks out without the children, the Young Vic production presents Nora’s departure more open-endedly.

The ending is less about her “slamming the door” and more about the complexities of motherhood and personal sacrifice

Sara Grand

‘women using marriage to escape an unhappy childhood’

Duncan

‘in melodrama loose dishevelled hair signals a womans sexual availability or madness’ - tarentella

1879 production in copenhagen

Raphaels Madonna and Child was included in the Helmers home - reminder of domestic setting, religious values and sacrifice of mary - figure of mothers to look up to.

John Ruskin

‘women were meant to be the angel of the house were a place of refuge for the men folk’

Millet

nora is ‘caged within a child toys structure’

Sara Nneroa :an african dolls house

nora took her children with her

ibsen himself

‘really a domestic family drama,dealing with contemporary problems in regard to marriage’