Elements of Drama in ‘A Doll’s House’

Answer

Elements of Drama in ‘A Doll’s House’

Artists use various literary elements in their works to not only make them interesting but also to communicate with the audience in a manner they could not otherwise do. Henrik Ibsen does well in this regard in his play A Doll’s House, where he uses a number of elements of drama to compliment the piece. This paper analyses the play, albeit shallowly, using a few of those elements.

Setting

Ibsen effectively uses this element in the play. Although the piece is set in the artist’s native Norway, its characters do not dwell so much on issues that are particularly Norwegian. Notably, he uses one setting for all the scenes, which is Helmer’s living room. Arguably, the room is typically representative of any modern and respectable room anyone would have found at that time. By choosing to make the setting somehow generic, Ibsen allows audiences in different places to superimpose their lives onto those of the Helmer family. This way, the message as to the need of spiritual awakening cannot be evaded, since the audience connects what is happening in their lives to present events as seen in the lives of the Helmers.

Tone

The play’s tone seems biased for sometime but ultimately comes out as being objective. As it sets off, it seems Ibsen is asking the audience to sympathize with Nora, especially considering how Torvald addresses her in reference to the macaroons (Ibsen, 2). It becomes clear he is overbearing in character, even for chauvinist male of his time. It is so demeaning to Nora when he calls her little pet names. It is vvery difficult for anyone to get on his side from the onset. However, Ibsen ‘rescues’ him towards the end when the audience learns that he has experienced a spiritual awakening not any different from Nora’s. In general, it is observed that the piece shifts in tone. The audience is moved from perceiving Nora as a prisoner to Torvald to realizing that almost all the characters have been prisoners in one way or another. One easily sympathizes with a majority of them, and thus the play’s tone emerges as being objective.

Plot and Structure

Ibsen uses an efficient and rigid structure where the story’s climax marks the beginning of drama. It is common for most artists to build the plot on a secret, one that would be usually known to the audience and two or three of the characters. Ibsen employs this approach and starts his piece with suspense, offering a pattern of gradual tension delivered through appropriate exposition and timely arrival of characters such as Vik and Krogstad in various scenes. The manner weighty news is broken is also appropriate, an excellent example being the Mayor’s information concerning the Morte Kiil and the last will. As the well-made play progresses, the protagonist’s fortunate change from a low point and gets to a climax where the villain is confronted and defeated by the protagonist. He employs an array of structural elements, constantly varying and departing from the established pattern to fulfill his realistic intentions. A most notable variation is the confrontation between Nora and Krogstad. This development does not yield a satisfactory resolution; rather it precipitates a more significant confrontation with her husband, much as it may be intractable.

Symbol

The play is realistic and, just like many that fall in the same category, full of contextual symbolism. For instance, the title itself is symbolic of the dependent as well as dehumanized role/position of the wife in traditional middle-class family/marriage settings. A remote connection of symbolism is in ‘dukke’ the Danish word for doll, which also means ‘marionette’ or ‘puppet’. In this breath, a direct impression is that women cannot act on their own (without their fathers of husbands).

In a word, Ibsen has done well in using various elements to communicate meaning in his piece. The manner they have been discussed here gives insight into various issues emerging in the play. Ibsen could not do better.

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