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أكـاديـمـي
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رد: l|][Ξ¯▪ Last Year 1st Semester ▪¯Ξ][|
اقتباس:
المشاركة الأصلية كتبت بواسطة Angel Eye
بنات من اللي طلعت عن الستيج دايركشن؟؟ يآآريت تحطونه هنـآآآ  |
Introduction:
The definition of Stage Directions:
Stage directions are directions given to the actor(s) by the director. They involve the set of the stage as well as the physical movement of the actors on stage. It is a way to help readers to visualize the characters and to give a pictorial dimension to the play.
Ibsen uses non-verbal elements such as screen directions and setting descriptions to symbolise aspects of characters and their relationships to each other.
A. Stage directions- Set
Ibsen’s stage directions in A Doll’s are very specific and systematic. The way the objects are extensively described to allow the reader to vividly visualize the set exactly like what Ibsen intended without being showed on stage. For instance, EVERY WALL IS DESCRIBED with the position of every door and what lies behind it.
B. Stage Directions- Physical Movements
Ibsen’s stage directions also reflect his realistic view of his characters. He writes down every movement, however slight it might seem. Peter Watts describes how Ibsen sees his characters as if from out of a mist until they gradually emerge into clear images
A. Stage Directions- Set:
1. Torvald
The stage directions also go on to describe Torvald's office, showing his personality, independence and occupational status with one small description. By the end of the play, we see that Torvald’s obsession with controlling his home’s appearance and his repeated suppression and denial of reality have harmed his family and his happiness irreparably
2. The Christmas Tree
The Christmas tree, a festive object meant to serve a decorative purpose ,it symbolizes Nora’s position in her household as a plaything who is pleasing to look at and adds charm to the home. There are several parallels drawn between Nora and the Christmas tree in the play. Just as Nora instructs the maid that the children cannot see the tree until it has been decorated, she tells Torvald that no one can see her in her dress until the evening of the dance. Also, at the beginning of the second act, after Nora’s psychological condition has begun to erode, the stage directions indicate that the Christmas tree is correspondingly “dishevelled.”
2. The Stove:
The porcelain stove has very symbolic meaning throughout the play. It is portrayed as the heart of the domestic space. It is often referred to as a provider of warmth and comfort. "lets get cozy here by the stove." Additionally, the stove symbolises Nora's place as a wife and the way society expects her to act in this role. Whenever Nora moves towards the stove in the play she moves back to her place as a wife
B. Stage Directions- Physical movement:
1. After Krogstad pays Nora a visit for the first time, the stage directions play a large role in displaying Nora's anxiety. "She starts to busy herself by tidying the children's clothes, but soon stops". Soon, she moves on to her needlework, but after only a stitch or two, she stops. She begins "busily decorating the tree" until her husband comes home. It is easy for the audience to see that Nora is uneasy, and by keeping herself busy, she distracts herself from her fears. Ibsen's stage directions are effective in creating greater depth and feeling in his characters, making them more real to the audience.
2. Stage directions allow readers to Examine Nora's actions when trying to wheedle money as her present from her husband. Ibsen states 'playing with his coat buttons and without raising her eyes to his' and then 'speaking quickly'?
this intensive sketch enable readers to come to a conclusion that because of Ibesn’s making up to him by touch is habit, but guilt over her reasons for asking prevents her from looking at him
she is psyching herself to ask for the money and is being manipulative, knowing that her touch will melt him; she doesn't look straight at him at first but meets his eyes dazzlingly when she asks for the money
3. The most memorable line is a stage direction: "From below, the sound of a door slamming shut." Every analyst of this drama voices some variation of the "door slam heard round the world," symbolizing closure of the 19th century and Victorian assumptions regarding the role of wife and mother, of tradition, religion and law.
The Production of A Doll’s House:
Two weeks before the premiere a print run of 8,000 copies of the script had been published, and it already had sold out. The world premiere of A Doll’s House (Et dukkehjem) took place at the Royal Theatre in Copenhagen on December 21, 1879 with Betty Hennings as the first Nora and Emil Poulsen as Torvald, and H.P. Holst as the director of the production. The premiere date was fitting for the Christmastime setting of the play. the play was so heatedly debated in Scandinavia in 1879 that, as critic Frances Lord observes, "many a social invitation in Stockholm during that winter bore the words, 'You are requested not to mention Ibsen's Doll's House!"
Writing for the Norwegen newspaper Folkets Avis, the critic Erik Bøgh admired Ibsen's originality and technical mastery: "Not a single declamatory phrase, no high dramatics, no drop of blood, not even a tear."
Ibsen was obliged to supply an alternative ending for the first German production when the famous leading lady Hedwig Niemann-Raabe refused to perform the role of Nora, stating that "I would never leave my children!" Since the playwright's wishes were not protected by copyright, Ibsen decided to avoid the danger of being re-written by a lesser dramatist by committing what he called a "barbaric outrage" on his play himself and giving it an alternative ending in which Nora did not leave. Because of a lack of success, Niemann-Raabe eventually restored the original ending. Finally, The first British production opened on 7 June 1889, starring Janet Achurch as Nora.
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