Performing the Real Thing in Ibsen's A Doll's House, Schaubuhne's Nora, and Mabou Mine's A Doll's House
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While former generation believed theatre should pursue the ideal thing, the new generation of realism theatre aimed to carry life into the theatre. Especially, Ibsen as a father of Modern drama, sought what was happening to the individuals in his time and what their problems were. His female characters are the windows that he could explore what was the real thing in his time. Among them, Nora is a pre-eminent dramatic character who grows over the course of the play. Her change represents a great revolution of the modern self who pursues the real thing. If Ibsen performed the real thing with his words, two theatre companies of the 1990’s, Schaubuhne and Mabou Mines, spread the possibility to perform the true self and to reform the real thing on the stage. The final scene can be the testimony how they perform the true self and reform the real thing. In Nora, Ostermeier contours the current contemporary landscape and elicited social problems, thus stimulating the audience's consciousness. By deepening her silence and foregrounding the presence of her body, Tismer discovered Nora's true self. She shot Helmer with a gun in the last scene and provokes audience's attention. On the other hand, Lee Bruer's A Doll's House can be regarded as a post-modern parody. He clarified his mode of conception by emphasizing the setting as 'a doll's house', performers physical features, and their acting style. Nora's babbles and childlike gestures played by Mitchell, and Tovald's dialogue and his dignified actions played by Povinelli clarified the intentions of Ibsen's original. In the final scene, Mitchell stripped her clothes and her wig. Her nudity took on a political significance to reject any patriarchal ideology and to reform her self. The infuriated female body in the last scene of each performance epitomized their dilemma and questioned what the woman can do both on and off the stage: to be free, and to be their true self.
Abstract
While former generation believed theatre should pursue the ideal thing, the new generation of realism theatre aimed to carry life into the theatre. Especially, Ibsen as a father of Modern drama, sought what was happening to the individuals in his time and what their problems were. His female characters are the windows that he could explore what was the real thing in his time. Among them, Nora is a pre-eminent dramatic character who grows over the course of the play. Her change represents a great revolution of the modern self who pursues the real thing. If Ibsen performed the real thing with his words, two theatre companies of the 1990’s, Schaubuhne and Mabou Mines, spread the possibility to perform the true self and to reform the real thing on the stage. The final scene can be the testimony how they perform the true self and reform the real thing. In Nora, Ostermeier contours the current contemporary landscape and elicited social problems, thus stimulating the audience's consciousness. By deepening her silence and foregrounding the presence of her body, Tismer discovered Nora's true self. She shot Helmer with a gun in the last scene and provokes audience's attention. On the other hand, Lee Bruer's A Doll's House can be regarded as a post-modern parody. He clarified his mode of conception by emphasizing the setting as 'a doll's house', performers physical features, and their acting style. Nora's babbles and childlike gestures played by Mitchell, and Tovald's dialogue and his dignified actions played by Povinelli clarified the intentions of Ibsen's original. In the final scene, Mitchell stripped her clothes and her wig. Her nudity took on a political significance to reject any patriarchal ideology and to reform her self. The infuriated female body in the last scene of each performance epitomized their dilemma and questioned what the woman can do both on and off the stage: to be free, and to be their true self.
참고문헌 (25)
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