A Doll's House Play Vs Movie

In A Dolls House, Torvald has a very narrow definition of women 's roles. He believes that it’s a woman duty to be a mother and a good wife, however he thinks women are helpless and childlike. Nora’s understanding of freedom changes during the play. In the first act, she believes that she will be “free” as soon as she repays her debt, because she will be able to devote herself to her domestic responsibilities. However after she gets blackmailed by Krogstad she reconsiders her understanding of freedom and questions whether she is happy in her house. By the end of the play, Nora seeks a new kind of freedom. She wishes to be relieved of her family obligations to pursue her own ambitions, beliefs, and identity.

Throughout A Doll’s House, Torvald views Nora’s actions as being deceiving not only towards him but also towards her family. However, Nora gain her perspective on her own actions and begins observing it differently than Torvald’s. The play states, “ It was me they told that his life was in danger...well, well, I thought, you’ve got to be saved somehow. And then I thought of a way-,” (Ibsen 35-36). Within Nora’s and Mrs. Linde’s private conversation, Nora conveys that her manipulation of money revealed how she deceives her husband even though it was in good intent to save his life. In addition, this demonstrates Nora’s willingness to think about others, such as her husband, before realizing for herself that there were going to be consequences for her later on. Within the play, Nora states, “ You have never understood me. A

Nora starts off the play essentially as Torvalds toy. She is obedient, she is cute, she rarely goes against his wishes, and she is nothing without her “owner”, Torvald. The reader, however, discovers early on that all is not what it seems to be. Nora is actually a very rebellious woman who enjoys going against Torvald’s wishes. There are scenarios where she does this out of the sheer enjoyment she gets. Nora loves macaroons.

During this period, women were subjected in their gender roles and were restricted over what the patriarchal system enforced on them. Everyone was brought up believing that women had neither self-control nor self-government but that they must capitulate to the control of dominate gender. The ideology that “God created men and women different - … [and they should] remain each in their own position.” (eHow, Ibsen's Influences on Women's Rights) is present in A Doll’s House with Nora’s character, as she is seen as the ideal women during the Victorian Era, who is first dutiful as wife and mother before to her own self. Whenever Torvald gives Nora money, she spends it on her children so that they are not “shabbily dressed” (Act 1). Though she loves her children it is all the more shocking when she leaves them.

Nora serves only to entertain Torvald and does not realize Torvald sees her as nothing but a little doll to play with. Nora ironically points out: “We shall have a lovely tree—I’ll do all the things you like, Torvald, I’ll sing and dance.” Right after Nora mentions the tree, she willingly goes along with her role as a submissive female and this represents her initial characterization which will then develop to her rejection of her submissive role.

Kristine Linde is not the typical nineteenth century woman. Mrs. Linde is a widow, and is able to

In the beginning, Nora acts and speaks like a child saying things like “Pooh!”(Act 1). Ibsen showshow he thinks dependant and uneducated woman are naive and almost childlike. Nora and Torvald’s relationship is almost exactly how her and her father’s relationship had been, with the man completely controlling Nora, and Nora acting like an obedient child. Nora had not been independent with her father and when she marries Torvald she is also completely dependant on him for everything she wants or needs. Both Nora’s father and Torvald coddle Nora and treat her like a delicate doll so she is never fully is independent. At one point in the play Torvald even admits he finds Nora more attractive because of her dependence on him. Christine Linde is

Throughout the play Nora’s family is referred to as a doll house. Hence the name of the title, but why is it a doll house? Nora and her kids are like dolls in Torvald’s game. It is like her family is always playing house. It seems to Nora that her life is being used as a game instead of actually getting to live happily. She and her husband have more of a father and daughter relationship, rather than a husband and wife relationship. “The child shall have her way (Ibsen 2.385).” When Torvald says this he sees his wife as a child and not an adult. He does not see her as capable as himself, therefor he does not share responsibilities. This makes him treat her like a child, and he tries to play her into doing what he thinks the story would be best doing. She even says “Surely you can understand that being with Torvald is a little like being with papa (Ibsen 2.217).” She even refers to her relationship with her husband being like her relationship with her dad. It shows that she has respect for her husband like her father, and that she listens to any command he may bark at her.

At the moments that Nora angers him by her seeming stubbornness, she becomes the terrifying creature, "a woman," which is a term of abuse for Torvald [. . .]. He cannot handle her then, for she no longer fits into the doll house. (376)

This can be seen when she calls her youngest child her "sweet little baby-doll," and later when she reassures her children that "the doggies wouldn't bite [her] pretty little dollies" (22).2  Nora seems to be overlooking the fact that these little, doll-like figures are real people that she is responsible for.  In this same scene, Nora plays hide-and-seek, "laughing and shrieking," with her kids (23).  As the argument-that Nora is being selfish-states, she is her children's playmate.  Yet, shouldn't a mother be more than just a fellow playmate?  A mother has a responsibility to teach and train her children, not just play with them.  This scene is the only time we see direct interaction between Nora and her kids; it suggests that being a playmate or else using them as her play toys, are two of the only ways Nora knows how to be a mother.  Nora herself admits to Torvald, in their final confrontation, that the children "have been my dolls" who "thought it was fun when I went and played with them" (81).

Both, in the play and the movie, Nora is a person that lives under the orders of her husband and both works entwine to demonstrate the reader or the watcher that marriage at that time was an unmerited weapon to submit ladies yet that at last, ladies must take it into their own hands to get any kind of equity. Through changes in the last scene, Nora is portrayed as substantially more womanly and noble than she was ever introduced to the play. At the end, the director added a scene that is not in the play, where Nora goes and says goodbye to her children before leaving forever, this is a key aspect since, in the play, the reader is not allowed to see any regret from Nora because she is abandoning her kids, somehow it gives her decision a selfishness and merciless feeling. . Here, it is anything but difficult to see that while the play intended to indicate Nora as persecuted it additionally incorporated her blemishes and her flaws as a mother and lady, while the play meant to demonstrate Nora as a casualty to her marriage and society and legitimate in her choice to take off. All things considered, albeit both could pass on a similar message, the film was considerably more successful in its utilization of sentiment in Nora. Both the film and the play transmit an indistinguishable topic of marriage from a severity to ladies, the film can summon a great deal more sensitivity and evaluation for the character of Nora than the play was ever ready

Torvald is only concerned with, in regard to his relationship with Nora, how well she makes him look and what other people think about it. If he has a beautiful, obedient wife and joyful relationship, people will respect him. They’re relationship, on the outside appears to be happy. But, when you analyze their relationship, you see Nora is treated like a child in this relationship, but as the play progresses she begins to realize how phony her marriage is. Torvald sees Nora 's only role as being the subservient and loving wife. He refers to Nora as "my little squirrel" (185), “my little lark” (185), or “little spendthrift” (185). He only sees her as a possession. Torvald calls Nora by pet-names and speaks down to her because he thinks that she is not intelligent and that she can not think on her own. Whenever she begins

     A Doll’s House, a play by Henrik Ibsen, tells the story of Nora, the wife of Torvald Helmer, who is an adult living as a child, kept as a doll by her husband. She is expected to be content and happy living in the world Torvald has created for her. By studying the play and comparing and contrasting the versions presented in the video and the live performance, one can analyze the different aspects of it.

He always maintains his authority over the house. He always kept the keys of the letterbox with him. Torvald just uses her as a showpiece. To him Nora is like a trophy which he can flaunt everywhere . He says, “Yes, just look at her! She’ s worth seeing , if you ask me ! He always tries to degrade Nora he says , “ Little Nora talking about scientific tests” . Even when he discovers what Nora has done for him he refers her to a ‘wretched woman’ contradictory to what Nora was imagining

A Doll’s House is an example of a literacy work with numeral possible themes. The idea of the play is an expression of the need for women to escape from the confinement and restriction that they faced in nineteenth-century European society, it is supported by the condescending manner in which Torvald treats Nora and by his frequent references to the respective value of men and women. Another theme is in order for a marriage to be successful, the people involved should know and trust each other, show view each other as