A DOLL’S HOUSE
Henrik Ibsen 1828-1906
The Play was written in 1877
Lesson 1: A Dip into Context
Lesson Objectives:
Today you are going to learn about:
 the changes in Norwegian societies that spurred
Ibsen to write A Doll’ s House
 the changes in literary conventions that affected A
Doll’s House
LINKS
After the first reading of the text, you should explain in
sentences how elements of the background booklet relate
to Ibsen’s play and characters. Example:
In the nineteenth century, the Norwegian Parliament fought to maintain
its independence. Similarly, in Ibsen’s A Doll’s House, Nora fights to
gain independence after Torvald’s angry outburst in Act III, ‘Do you
understand what you’ve done? Answer me! Do you understand?’ In the
long and painful confrontation that follows, Nora asserts her desire for
independence very clearly. First, she makes public her desire for
independence with words ‘I must educate myself. And you can’t help
me with that. It’s something I must do by myself’. Then, Nora confirms
that same desire with actions, as she leaves her marital house alone to
face an unknown future.
Historical, cultural and literary
background.




Norway and the Norwegian Economy
New Moral Codes
Women: A Different Perspective
New Dramatic Style
Devise a fun, witty and short TV news clip to show these changes
Prep



Read Act I to Torvald’s exit (p.18 Dover Thrift Ed).
Complete the Comprehension Questions
Prep for hols – read and enjoy A Doll’s House
Plus:
1. Paper 1 practice – prose
2. Begin to read Perfume
Use the Chapter Summary
Grid, and questions to make a
record of your reading.
Next slide
The Exposition – Setting Up our
Expectations
Objectives



To understand Stanislavski’s ‘Given Circumstances’
To complete GC for Nora and Torvald at this point.
To create a symbol tracker.
Let’s begin
TOK issue
1. How do you become you?
2. What are the socialogical, historical and cultural
influences that make you who you are
STANISLAVSKI’S GIVEN CIRCUMSTANCES
The term Given Circumstances is a principle from Russian theatre
practitioner Konstantin Stanislavski's methodology for actor training,
formulated in the first half of the 20th century at the Moscow Art Theatre.
The term Given Circumstances is applied to the total set of environmental
and situational conditions which influence the actions that a character in a
drama undertakes. Although a character may make such choices
unconsciously, the actor playing the character is aware of such conditions
on a conscious level to help the actor deepen his understanding of the
motivation behind the character's actions. Given Circumstances include
conditions of the character’s world (e.g. specifics of time and place),
elements from the history of the character's environment and elements from
the character's personal situation.
Complete the Given Circumstances Sheet for each character as we read.
This is necessary to understand the characters’ nuanced changes throughout
the play.
Act 1 Scene 1
Read the first scene of A DOLL’S HOUSE from the
beginning of the play to ‘TORVALD goes into his
room. The MAID shows in MRS LINDE’ .
Consider the ‘Given Circumstances’ using this
reading and your knowledge of context.
Complete Planning Documents




Planning Document I: ‘Given Circumstances’
Use all your knowledge to record your ideas about the ‘Given
Circumstances’ for Nora and for Torvald to this point. I suggest you
dedicate at least a page for each character’s ‘Given Circumstances’
and you can add to this page as we read on.
3. Planning Document II: Symbolism
Ibsen used symbolic language to reveal characters’ traits and
hidden truths. Dedicate at least another one page to a Symbolism
Grid where you can record all your ideas on symbolism. Again, the
answers to some of the comprehension questions will give you ideas
on this. Think in particular about Torvald’s objectification and
dehumanization of Nora in this part of Act I.
Consider:


At the start of the play,
what vision of Nora do you
have?
How does Ibsen introduce Nora?
What LINKS, if any, are there to the ideas of
the context we studied: new moral codes;
women; literary conventions; Norway? Other
areas? Get out your ‘Context’ booklets!
Introducing Nora
Act 1
Objectives:
1. To analyse two different
interpretations of Nora at
the start of the play
2. To create our own
interpretation,
kinaesthetically.
Get Going!
3. To evaluate that
interpretation, using IB
Assessment criteria.
Have a macaroon.
Describe the sensation using figurative
language.
How Does Ibsen Introduce Nora?
Listen to two different interpretations of
this scene.
•What is the difference?
•Which do you prefer - why?
Can you suggest any reasons for the
different interpretations? Think about
the time period and the accents.
http://www.youtube.com/watch?v=m81oiq5yvCc.
Audio is on my mac
How do you think Ibsen introduces Nora?
1. Work in threes. Read the text again quickly.
2. Create a freeze-frame which encapsulates your
interpretation of the character of Nora at this point
in the play. To help you create this freeze-frame,
consider:
•Stage Directions
•Imagery
•Nora’s dialogue and actions
•Torvold’s dialogue and actions
3. You must justify the freeze-frame, based on
textual evidence. Explain what you have done using
evidence from the dialogue, stage directions etc.
Remember
Assessment Criteria:
Criterion B: Knowledge
and understanding of
the text.
Criterion C:
Appreciation of the
writer’s choices
10 minutes
Why do you think Ibsen introduces Nora this way?
Assessment: Part I Texts in
Translation
Criterion B: Knowledge And Understanding Of The Text
3–4 Shows knowledge and understanding of, and some insight
into, the work.
5–6 Shows detailed knowledge and understanding of, and
perceptive insight into, the work.
Criterion C: Appreciation Of The Writer’s Choices
3–4 There is adequate appreciation of the ways in which
language, structure, technique and style shape meaning.
5–6 There is excellent appreciation of the ways in which
language, structure, technique and style shape meaning.
Explain, or draw a picture of how you see Mrs Linde
Act I: Nora and Mrs Linde
Lesson Objectives
1.
Continue the close-reading of A
Doll’s House in order to understand
plot and characters.
2.
Analyse characters’ given
circumstances.
3.
Consider links between Nora/Mrs
Linde’s confrontation and the
historical/social background.
Christine Linde and Nora



What is Mrs Linde’s principal
reasons for visiting?
Why do you think Nora feels
the need to boast about
Torvald’s job and her own
capabilities?
Nora and Christine went to
school together. What clues
are there in the passage as to
there relationship?
Mrs Linde’s views on Nora


“Nora, Nora, haven’t you learned senses
yet? In our schooldays you were a great
spendthrift.” Do you think Mrs Linde
looks down on Nora?
What links are there between
Nora and Mrs Linde’s
confrontation and the
historical/social background we
have discovered?
Next slide to remind you of those
…
Contextual Information
Think back to your analysis of some contextual
information:
 Norway and the Norwegian Economy
 New Moral Codes
 Women: A Different Perspective
 New Dramatic Style
What LINKS to this information is there in this
exchange between Nora and Mrs Linde
Prep due Wed 26th
For what purpose does Ibsen introduce
Mrs Linde at this point in Act I?
What does the exchange of words
between Nora and Mrs Linde tell us
about both characters?
Just 500 words.
Don’t forget to PEE at all times.
Remember Assessment
Criteria:
Remember
Assessment Criteria:
Criterion B: Knowledge and
understanding of the text.
Criterion B: Knowledge
and understanding of
Criterion C: Appreciation of
the text.
the writer’s choices.
Criterion C:
Criterion D: Organisation and
Appreciation of the
Development - quotations.
writer’s choices
Criterion E: Register and Style
and Terminology .
Krogstad, Nora and Dr Rank
Act 1 pp23-28 Prestwick House
Objectives:
1. To continue close reading of
the text.
2. To discuss the main
developments in this part of
Act 1 using comprehension and
evaluation questions
3. To explain character’s Given
Circumstances, by becoming
actors.
BECOME AN ACTOR
You are the actor playing one of these characters.
Use Stanislav’s Given Circumstances and your knowledge
of symbolism and of the context to explain how your
character would feel/act and why.
Use the comprehension questions to guide your response.
Act I: Krogstad’s Second Entrance
Lesson Objectives:
1. Continue the close-reading of A Doll’s
House in order to understand plot and
characters.
2. Explain the links between Nora’s
misdeed, prompted by love for her
husband, and Krogstad’s blackmail.
Get Going!
3. Analyse and evaluate the character
of Krogstad at this point in the play
… and further on in the play?
How would you draw
Krogstad plysically?
Krogstad
Villain?
Look at Krogstad’s second entrance in Act I
(p.28 Prestwick House) where Nora and the
children are playing.
In silence, read the scene and be prepared
to answer your question
Krogstad Second Entrance
Krogstad: Villain?
Krogstad is the villain of the play when he disturbs
Nora’s game of hide and seek. Here, he appears
much like a monster who is going to disturb the
family’s sense of serenity .
He is a criminal: he has committed forgery like
Nora. By experience he has learnt society’s distain
for such crimes.
He is a now a nefarious blackmailer. He is
threatening and cold-hearted towards poor Nora
Or Victim?
He’s been jilted by Mrs Linde, made a widower
and a single-parent. And he has received no
support from society.
Despite the financial strain that he found
himself under as a single parent, Krogstad still
brought up his children as best he could.
And just at the point of getting onto the ladder
of social acceptance again he finds that it is
being taken from him. How else would you expect
a man of such single-mindedness to react? He
does whatever it takes to protect his family and
himself which, in this case, turned out to be a
spot of blackmail.
So what is
he to you?
With the evaluation of Krogstad’s character based on our response to
the questions, all decide how to stage this scene.
Krogstad, Nora, the children, directors, stage hands etc. Don’t forget to
consider paralinguistic features, stage props etc.
Justify your interpretation – IB Criterion B and C
So, what are your views?
1.
2.
What are the links between Nora’s misdeed, prompted
by love for her husband, and Krogstad’s blackmail?
Do you consider Krogstad a victim, or a villain?
Read Act III Scene 1 –
Krogstad and Mrs
Linde before the next
lesson
Jilted
How does it feel?
Do you think you have/would/are capable of doing
anything rash as a result?
Krogstad – Victim or Villain
Quick jump forward to Act III to continue
our study of Krogstad.
Objectives:
1. To complete our understanding of Krogstad through close
reading of the text
2. To create a character walk for Krogstad, using our
interpretation of him, and through this,
3. To evaluate his character, using our personal reflection –
victim or villain?
Krogstad – Victim?
Krogstad’s last appearance in the play is in act 3, scene 1, in which Mrs
Linde reveals her true feelings to him and each lays all their cards on the
table. Garland (1973) shot the scene in Krogstad’s house rather than at the
Helmers’ which serves to show Krogstad in a more favourable light as the
poor, dimly lit house contrasts starkly with the Helmers’ luxury. With all of the
deceit from the other characters in the play, this scene comes as a breath of
fresh air. We can see some of the emptiness Krogstad carries inside himself
when he says, “When I lost you, it was just as if the ground had slipped
away from under my feet.”
When Krogstad sees the possibility of a new beginning with Mrs Linde you
can see the true man emerge from beneath the weight of oppression. When
this hope shines through, Krogstad remains truthful and makes sure she is
aware of his past deeds as well as what people think of him. He even makes
sure she knows about his current dealings with the Helmers, to which she
replies:“I know how far a man like you can be driven by despair.” In effect,
Krogstad's story is a testament to the redeeming power of love and
challenges the notion held by Torvald that moral dissolution, like the Calvinist
notion of 'original sin,' is permanently ingrained.
Character Walk
Remember our Villain in Act I
Recall our Victim now.
List the top five reasons he is either victim or villain. Don’t
forget our LINKS to context.
You, and others, are either the voice of victim or the voice of
villain. Krogstad will walk between you. Whisper all those
reasons why he is either victim or villain.
Now, Krogstad, walk the walk and decide. Tell us clearly …
So? What do you think?
Victim or Villain
Evaluate the character of Krogstad,
using personal reflection – victim or
villain?
Assessment Criteria
Criterion B, C, D, E
It’s in the Genes
Are there any illnesses or afflictions that you have in
common with your parents?
What about emotional states? Is your dad as arrogant
as you are? Does your mum cry as much as you do?
How much do you think our faults – whether they are
physical or emotional – are the result of our ancestors?
TOK Issue
End of Act I: The Helmers’
Relationship
Objectives:
1. To evaluate the relationship between Nora
and Torvald.
2. To consider lies, dishonesty and immorality:
can they be hereditary?
Get Going!
Having read Act III.1, do you think it is fair to
call Krogstad a villain?
For all those of you who were absent yesterday.
The End of Act I
Higher-order questions: analysis and evaluation
Choose two of the following questions to
answer. Remember to use quotations to answer.
1. Is Torvald’s espousal of honesty
tainted/ruined by the fact that he judges
Krogstad harshly?
2. What does the end of Act I tell us about
Torvald’s value system?
3. According to Ibsen, is Torvald’s espousal of
absolute honesty negative or positive?
4. Who really seems to be the villain here:
Nora or Torvald?
Remember Assessment Criteria:
Criterion B: Knowledge and
understanding of the text.
Criterion C: Appreciation of the
writer’s choices
Criterion E:
Language – choice of register,
style and terminology
Peer Assessment
Look over the IB Criteria for the
world lit assignment.
Swap books and read your partner’s
response. Write down their score
based on the mark scheme.
Remember Assessment Criteria:
You must justify your mark.
Criterion C: Appreciation of the
writer’s choices
Then give them a target based on
your marking. Write this target down
on your partner’s answer sheet.
Criterion E:
Language – choice of register,
style and terminology
Criterion B: Knowledge and
understanding of the text.
Plenary
Review Objectives:
1. To evaluate the relationship between Nora
and Torvald.
2. To consider lies, dishonesty and immorality:
are they hereditary?
Act II: The Helmers
Objectives:
1.
To read and analyse scene 1 of Act II using
comprehension and analysis Qs
2.
To evaluate the characters of Nora and Torvald
Get Going!
What does the Christmas tree look like at the beginning of Act II? Why?
Add to your symbol tracker.
Why is Nora ‘walking about uneasily’?
Act II Nora-Helmer
Reading:
From the start of Act II to Dr Rank’s
entrance.
Answer the questions as we go along.
Evaluate the character of
Nora and Helmer at the end
of this scene.
In particular, comment on these lines:
Helmer: ... I’ve enough strength and enough courage, believe
me, for whatever happens. You’ll find I’m man enough to
take everything on myself.
Nora: That is something you shall never, never do.
Tip: Nora’s response can be ambiguous, but it becomes apparent later that what
she means is that she will prevent him from ‘taking everything on [him]self’, not
that she does not believe he would do it.
Prep: due Wednesday
What is the Tarantella?
Explain:
• Its history – when and why it was
invented
• What it was intended to cure.
• What the symptoms of this disease were.
Why, then, do you think Ibsen has Nora
dance the Tarantella?
Bullet points is
fine – no need
for an essay this
time.
Act II: The Helmers
Objectives:
 To create key moments in this scene
 To use assessment criteria in order to evaluate our
choices and describe them appropriately.
Get Going!
Is Helmer a real man? Is he man enough, do you think, to
take on all the problems?
Create a Freezeframe
Remember Assessment
Criteria:
Find three key moments in scene
Criterion B: Knowledge and
understanding of the text.
Present those key moments with a freeze.
Come alive from your freeze to include
quotations and explain:
1. Why it is key
2. What is suggests about the character(s)
3. What is shows about Ibsen’s choices think of Ibsen’s choices, eg language,
paralinguistic features, stage directions
etc, and the effect on the audience.
4. What LINKS if any there are to our
understanding of context.
Criterion C: Appreciation of
the writer’s choices.
Criterion D: Organisation and
Development - quotations.
Criterion E: Register and Style
and Terminology .
Act II: Dr Rank and Nora
Objectives:
1. To analyse the relationship between Nora
and Dr Rank.
2. To evaluate the plot, themes and symbols in
this scene.
Get Going! (EMBARRASSMENT FACTOR!)
• What is it like to flirt?
• What are the different qualities of flirting, and being in love?
• Does the latter come with responsibilities that are not always
pleasant?
Nora and Dr Rank
Act out Act II from Dr Rank’s entrance (p47 Prestwick House to his
exit into Helmer’s room (p52 PH)
WARNING: you have to be brave!
Consider:
What is the meaning of Dr Rank’s following words?
• ‘With death on my hands? And all this to atone for
someone else’s sins? Is there justice in that? And in every
single family, in one way or another, the same merciless
law of retribution is being exacted’. (p48 PH)
Nora distinguishes between people one loves, and people
‘whom it’s almost more fun to be with’. What does this
distinction tell us about Nora? Is she speaking as a mature
person? Why?
What does this scene tell us about Nora’s view of love?
Themes?
Inherited illness
Nature of love
Your ideas?
Prep due Sunday
Read Act III
Mark up your text with the answers to the
comprehension and evaluation questions.
Make sure you do this!
Act II: Nora and Krogstad,
Mrs Linde and Helmer
Objectives:
1. To understand and analyse plot in this part
of the play. (PH pp52-end Act II)
2. To evaluate character development.
Get Going!
• How do you think Nora is going to prevent Helmer
having to be ‘man enough’ to take on her troubles?
End of Act II Nora, Krogstad,
Mrs Linde and Helmer
Three parts to this last section of Act II.
Part I: Nora and Krogstad: Nutalya and
Omar
Part II: N and Mrs Linde: Victoria and
Dervela
Part III: N and Helmer: Caleb and Abbas.
When you are not presenting, you are
responsible for answering the comprehension
and analysis questions for that part.
And for analysing the characters involved –
next slide
Remember Assessment
Criteria:
Criterion B: Knowledge and
understanding of the text.
Criterion C: Appreciation of
the writer’s choices.
Criterion D: Organisation and
Development - quotations.
Criterion E: Register and Style
and Terminology .
Krogstad?
Act II: Nora and Krogstad,
Mrs Linde and Helmer
Character Analysis:
1.
Are they round or flat characters?
2.
How have they developed?
Krogstad: Caleb and Dervela
Mrs Linde: Joe, Victoria and Abbas
Helmer: Omar and Nutalya
Nora: everyone
How did they do? Peer Assessment
Remember Assessment
Criteria:
Criterion B: Knowledge and
understanding of the text.
Criterion C: Appreciation of
the writer’s choices.
Criterion D: Organisation and
Development – quotations.
Criterion E: Register and Style
and Terminology .
Prep due Tuesday 11th
Act III preparation
Prepare an oral presentation on your area of
Act III, to last around 5 minutes
Consider the following:
-Plot development
-Character development
-Ibsen’s craft
-Context
Krogstad and Mrs Linde – Abbas and
Nutalya
Nora, Helmer and Mrs Linde – Joe and
Victoria
Nora, Helmer and Dr Rank – Caleb, Omar
and Dervela
Can you make it interactive
or visually engaging?
Think of all we’ve done so
far.
Get the audience involved.
Remember Assessment Criteria:
Criterion B: Knowledge and
understanding of the text.
Criterion C: Appreciation of the
writer’s choices.
Criterion D: Organisation and
Development - quotations.
Criterion E: Register and Style and
Terminology .
Review Act II
Objectives:
1. To consider key moments from Act II.
2. To design your version of these scenes,
considering dialogue, action, stage directions.
3. To compare your ideas to Ibsen’s and assess
Ibsen’s choices as a result.
Groups:
1. Abbas, Victoria and Omar
2. Caleb and Dervela
3. Joe and Nutalya
Get Going!
Tip:
Remember our study of Act II. What are the key
moments for you? Why?
Focus on our last
few lessons!
Key Moments
Act II Key Moments, from …
1. The Exchange between Nora and Dr Rank
2. The Exchange between Nora and Krogstad
3. The Final Exchange between Nora and
Helmer – distracting him from the letter and the
Tarantella practice.
OR YOUR OWN IDEA …
Remember Assessment
Criteria:
Criterion B: Knowledge
and understanding of the
text.
Criterion C: Appreciation
of the writer’s choices.
Key Moments
The Task
Remember Assessment
Criteria:
Criterion B: Knowledge
and understanding of the
text.
Using your past analysis of Act II, and the model as a Criterion C: Appreciation
guide, consider how you would stage your key moment. of the writer’s choices.
Consider themes and characterisation and think about
dramatic techniques you would deploy to support
them.
Paralinguistic features, movement, props, lighting.
Would you do it differently to the stage directions (if
there are any)?
What is your assessment of writer’s choices therefore?
Review
1. Why is your moment key – theme, character,
context etc?
2. What dramatic devices would you deploy, why?
3. Are there differences between yours and
Ibsen’s? If so, why have you changed the
original? What do you think of Ibsen’s choices?
Act III: Your interpretations
Objectives:
1.
2.
3.
4.
To explain the action in Act III, up to Dr Rank’s exit.
To analyse main areas of development (plot and
themes and character and contextual links)
To evaluate Ibsen’s choices
To peer assess, using WIT Assessment Criteria.
Get Going!
Who is your favourite character? Why?
Extension: What
literary device am I
using herer?
Your Presentations
Krogstad and Mrs Linde
Abbas and Nutalya
Nora, Helmer and Mrs Linde
Joe and Victoria
Nora, Helmer and Dr Rank
Caleb, Omar and Dervla
The Task
Your oral presentation on your area of the start
of Act III, to last around 10 minutes
Consider the following:
-Plot development
-Character development
-Ibsen’s craft
-Context
-Remember – interactive to engage your reader
Assessment
When you are not presenting, you are
responsible for feedback.
Decide which presenter you are focusing on, and
complete the feedback sheet for them.
1. State at least one area that was good and
one area that could be improved.
Remember Assessment
Criteria:
Criterion B: Knowledge and
understanding of the text.
Criterion C: Appreciation of
the writer’s choices.
Criterion D: Organisation
and Development quotations.
Criterion E: Register and
Style and Terminology .
2. Give them marks for the WIT Assessment
Criteria
Finally,
How has our understanding of plot and character
and Ibsen’s craft developed?
Extension:
What lit device
have I used here?
Get Going!
What aspects of Torvald’s personality do these quotations
illustrate?




“I shall protect you like a hunted dove that I have
saved from the talons of a hawk”.
I’ve often wished that you were threatened with
imminent danger so that I could risk everything
for you.
No man would sacrifice his honour for the ones he
loves.
“Play-time’s over, now comes lesson time.”
The Final Scenes
Objectives:
1. To analyse character development in the final
scenes.
2. To evaluate Nora and Torvald’s actions, in
relation to the context of the play.
Act III – Final Scenes
(Dr Rank’s departure to the end)
Helmer tells Nora that “I have often wished that you might be threatened by
some great danger, so that I might risk my life’s blood, and everything for your
sake.” Nora, taking this as proof that he is “man enough’ to take on her
troubles, turns to actually encouraging Torvald to read Krogstad’s letter.
Torvald reads it and immediately chastises Nora, claiming she has wrecked his
happiness and ruined his future. Torvald explains that Nora can stay in the
house but will be unfit to raise the children. “From now on,” Torvald claims,
“happiness doesn’t matter; all that matters is . . . the appearance.”
When a further letter arrives including Nora’s cancelled debt, Torvald is happy
again. But Nora is forever changed by her husband’s reaction, and after
removing her masquerade costume, she sits down with Torvald to share the first
serious conversation of their eight year marriage.
Act III – Final Scenes
Declaring she has been “wronged greatly” by both her father and
her husband, Nora compares her existence in their homes to a doll
in a doll house. When Torvald declares his wife cannot leave
because her husband and children are her “most sacred duties,”
Nora responds with “I have other duties equally sacred. . . .Before
all else, I’m a human being.” Nora is determined to remain
strangers unless “the greatest miracle of all” could happen. Nora
departs, and the audience is left with the sound of a door
slamming shut.
1. What do you think would be the “greatest miracle of all”?
The Voices in Your Head
Your Task
You are Torvald or Nora, saying the selected lines of this scene.
As Torvald or Nora, you will also have one or two others, sitting
next to you, who are ‘the voices in your head’.
• Those voices will tell the audience your inner feelings and
motivations. They will also tell us about your ‘Given
Circumstances’. (Remember Stanislav’s Given Circumstances?).
The term Given Circumstances is applied to the total set of environmental and
situational conditions which influence the actions that a character in a drama undertakes.
Given Circumstances include conditions of the character’s world, elements from the
history of the character's environment and elements from the character's personal
situation.
Evaluation Question
Discuss the following
statement, in relation to the
outcome of the play.
It is not Nora that is the doll in
Ibsen’s play; rather it is Helmer
that is the puppet.
Think, an answer to this question
demands an evaluation of these
characters at this point, within their own
‘Given Circumstances’
What is Ibsen’s message?
TOK: How much are
we victims of our own
circumstances?
Remember Assessment Criteria:
Criterion B: Knowledge and
understanding of the text.
Criterion C: Appreciation of the
writer’s choices.
Criterion D: Organisation and
Development of your argument.
Criterion E: Register and Style and
Terminology .
Extension: Wollstonecraft?
A Doll’s House - Structure
Objectives:
1. To create a guide to the structure of A Doll’s
House.
2. To make a judgement: is the play ‘realist’?
Get Going!
What can you tell me about the structure of ‘A Doll’s House’?
A Doll’s House - Structure
You have been requested by the IB Examination Board
to write a ‘Rough Guide To Structure in A Doll’s
House’.

Working in groups, use one of the approaches on the
worksheet to produce revision notes for the final
chapter of the IB study guide ‘A Rough Guide to ‘A
Doll’s House’’. The title of the chapter is ‘Structure’.
END PRODUCT
One to two sides which:
1.
2.
3.
explain your approach;
give textual references to support it;
present the information in a way that is
easy for learners to understand.

Student Rough Guide to Structure
Prep: your research for our
Interactive Oral

The social and economic history of late 1800s
Norway and Europe
 Omar and Victoria

New Morals and Morality in the late 1800s
 Joe and Nutalya

Women: A Different Perspective
 Dervela and Nutalya

Developments in Drama – new styles
 Caleb
Presentations
Plot and Sub-plot – Omar, Dervela and Joe:
completed Thursday 13th
Tracing Characters – Nutalya and Caleb: to do on
Monday
Realism – Abbas and Victoria: to do on Monday
Finally,
What can you tell me
now, about the
structure of ‘A Doll’s
House’?
Is A Doll’s House a play
of the ‘realism’ genre,
do you think?
Prep: your research for our
Interactive Oral

The social and economic history of late 1800s
Norway and Europe
 Omar and Victoria

New Morals and Morality in the late 1800s
 Joe and Nutalya

Women: A Different Perspective
 Dervela and Nutalya

Developments in Drama – new styles
 Caleb

Ibsen’s biography
 Abbas
Interactive Oral: Wednesday 19 March
Reflective Statement: prep Wed 19th
Supervised Writing: Thursday 20th, or
Sunday 23rd?
Symbols and Motifs
Assessment
Criteria C
and E
Objectives:
1. To understand the difference.
2. To consider interpretations of the
symbols and motifs in A Doll’s House
3. To evaluate their use, in written form
Get Going!
What is the difference between a symbol and a motif?
Symbols and Motifs
Things used to represent other things
Things that recur which shed light on
major themes
Symbols and Motifs
What do you associate with each of
these symbols?
2.
How do they operate in the novel?
Give examples.
Match these, and other symbols and
motifs, to one interpretation of them.
1.
The Hearth
The Christmas
Tree
Nora herself
Macaroons
The Tarantella
-The best know symbol from A Doll’s House is the
Tarantella.
- Use your prep on the Tarantella to explain why you
think Ibsen made Nora dance the tarantella?
The Significance of the Tarantella
The tarantella is seen as the traditional relief of a tarantella bite which is as
painful as deadly. Someone bitten by a tarantula spider is suffering from
extreme pain. One way of relieving this is by moving around wildly in agony.
The wild movements have, so it is claimed, worked the poison out of the system
for some.
One might infer therefore that by dancing the Tarantella, Nora expresses her
desire to cleanse herself of the poison of a repressive relationship with Torvald.
Seeing no other alternative now, and being refreshed by the possibility of
change, of liberation, as she ‘dances more and more wildly’, symbolically
expressing her move towards independence.
Superficially then, the Tarantella outfit represents her status as Torvald’s little
doll and repressively masks her true desires for individualism. But this is both
physically and metaphorically a costume. She is deceiving Torvald by adorning
herself with the costume.
Consider the effect of symbols
Main Task
Please answer either question one or two.
Consider why Ibsen deploys
symbols in his play. What
significance do they have in
shaping meaning?
Vocabulary List









Assessment Criteria
Criteria B-E

Illustrates
Depicts
Suggests
This points to …
Portrays
Represents
Indicates
We can elucidate.
The weight of evidence points to
We can infer
Swop work and assess the result using the criteria.
Give one area for improvement.
The Interactive Oral
Wednesday 19th March
The social and economic history of late 1800s Norway
and Europe
•
 Omar and Victoria
•
New Morals and Morality in the late 1800s
 Joe and Nutalya
•
Women: A Different Perspective
 Dervela and Nutalya
•
Developments in Drama – new styles
 Caleb
Jane Fonda in the final scene
http://www.youtube.com/watch?v=VtSGp72hoXE
Janet McTeer on her role as Nora
http://www.youtube.com/watch?v=hZ8BhPrHb7U
For Thursday 20th, if we don’t do the supervised
writing.
Supervised Writing Prompts
1. Why is A Doll’s House considered to be a work of feminist literature?
2. When A Doll’s House was first performed, it was met with much criticism.
What was Ibsen critiquing about his contemporary world that was so
unpalatable for many?
3. A Doll’s House is made up of many flat characters. How far do you agree
with this statement? Do any of the characters develop?
4. What types of conflict (physical, moral, intellectual, or emotional) did you
notice in A Doll’s House?
5. The men in the play are as much victims of their circumstances as the women.
Discuss.
6. Name some symbols in A Doll's House and explain how they relate to the plot
and characters.
Rest was not used, but could be
Character Analysis in General
In ‘The Task of the Poet’ (1874) Ibsen wrote: ‘Who is the man
among us who has not now and then felt and recognised within
himself a contradiction between word and deed, between will
and duty, between life and theory in general? Or who is there
among us who has not, at least at times, been egoistically
sufficient unto himself, and half consciously, half in good faith,
sought to extenuate his conduct both to others and to himself?’
How might this apply to Nora, Helmer, Krogstad, Mrs Linde?
Act III Scene 1 Mrs Linde
and Krogstad
Objectives:
1. To develop our understanding of Mrs
Linde’s character
2. To evaluate the writer’s choices
Get Going!
How would you describe Mrs Linde, physically?
Assessment
Criteria C
and E
Christine Linde
Mrs Linde insists in Act III that, “Helmer must
know everything. This unhappy secret must come
out!” “Nora, you must tell your husband all
about it.”
Even though she has the power to change
Krogstad’s mind, she uses her influence to make
certain that Nora’s secret is discovered.
Does this make her a good or bad friend?
In your opinion, is Mrs Linde a round or flat
character?
Round, Dynamic Characters. Flat
Characters




Criteria:
B, C, D, E
Characters in a play are developed to different levels. Some are
fully formed characters with an interior life; these are round
characters. In contrast, flat characters have limited personalities and
offer the audience little real interest. The role of a flat character is
to participate in incidents that move the action forward or to behave
in a predictable way that moves another character to change.
When a character does grow or change, he or she is said to be a
dynamic character; it is more likely that a round character will also
be a dynamic character, but this is not a requirement. In A Doll’s
House, Nora is the outstanding example of the dynamic character.
What do you think, is Mrs Linde round or flat?
With close reference to the text, explain whether you think Christine
is a round or flat character.
Mrs Linde

A flat character
-
-
-
-
Convenient device for exposition – we
learn of Nora’s thoughts and feelings
through her.

A symbol of reason only. She offers
general opinions about Nora’s fliration
with Rank.

Creates ambiguity in audience’s
response to Krogstad, thereby making
him a more interesting character, not
her.
Sadly, suggests there is no real hope
for female emancipation in Act III when
she welcomes her return to domesticity


A fully rounded, dynamic
character
Christine sacrifices the true love of her
life, Krogstad, and marries a man she
does not love to support her
dependent relatives.
She has worked because she had to.
The work available is likely to be dull
for an intelligent lady like her.
She comes alive: the true intelligent,
emotional Christine is apparent to us in
Act III
Of course she believes that confessing
to Helmer is the right thing to do; she
believes in love.
We may see her as self-sufficient at
first, but we soon learn that she feels
empty without someone to love.
Why would both these get a low mark? Think of the
criteria
Evaluate Ibsen’s
choices: is she
believable?
Mrs Linde
Remember Assessment
Criteria:
Criterion B: Knowledge and
understanding of the text.
Prep
Criterion C: Appreciation of
the writer’s choices.
Answer the questions on the
worksheet.
Criterion D: Organisation and
Development - quotations.
500 words maximum
Always consider the assessment
criteria
Criterion E: Register and Style
and Terminology .
Get Going!
What do you think?
Nora is a child.
Nora is a clever manipulator.
Nora really believes her children will be tainted by her sins.
Holiday Prep: historical, cultural and literary
background.




Ibsen’s biography
19th Century Europe and New Moral
Codes
Women: A Different Perspective
The Well Made Play, Naturalism and
Ibsen
+ Read Act II and III, again, and consider the
comprehension questions as you do so. These questions
encourage a close reading and will help you to come to
your own personal interpretation of the work
Holiday Work
1. Use the comprehension questions provided to re-read the
whole play. Answer the questions to gain an understanding of
the play’s surface meanings and some of its deeper
meanings.
2. Do research for the Interactive Oral. Areas to research are:
Ibsen’s biography
Alia and Reem
19th Century Europe and New Moral Codes – Dwijesh and
Abdullah
Women: A Different Perspective – Ali and Mohammed
The Well Made Play, Naturalism and Ibsen – Sophia and
Alyia
First lesson back:
How to ask questions + research + format for IO
Then Ios
Ibsen’s biography
Alia and Reem
19th Century Europe and New Moral Codes –
Dwijesh and Abdullah
Women: A Different Perspective – Ali and
Mohammed
Realism and naturalism and Ibsen – Sophia and
Alyia