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A Doll's House
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"Dr. Rank" redirects here. For the Austrian psychoanalyst, see Otto Rank. For other uses, see A
Doll's House (disambiguation).

A Doll's House

Original manuscript cover page, 1879

Written by Henrik Ibsen

 Nora
Characters
 Torvald Helmer

 Krogstad

 Mrs. Linde

 Dr. Rank
 Children
  Anne-Marie

 Helene

Date premiered 21 December 1879

Place premiered Royal Theatre

in Copenhagen, Denmark

Original language Norwegian

Subject The awakening of a middle-class wife and

mother.

Genre Naturalistic / realisticproblem play

Modern tragedy

Setting The home of the Helmer family in an unspecified

Norwegian town or city, circa 1879.

A Doll's House (Bokmål: Et dukkehjem; also translated as A Doll House) is a three-act play written
by Norway's Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21
December 1879, having been published earlier that month.[1] The play is set in a Norwegian town
circa 1879.
The play is significant for the way it deals with the fate of a married woman, who at the time in
Norway lacked reasonable opportunities for self-fulfillment in a male-dominated world. It aroused a
great sensation at the time,[2] and caused a “storm of outraged controversy” that went beyond the
theatre to the world newspapers and society.[3]
In 2006, the centennial of Ibsen's death, A Doll's House held the distinction of being the world's most
performed play that year.[4]UNESCO has inscribed Ibsen's autographed manuscripts of A Doll's
House on the Memory of the World Register in 2001, in recognition of their historical value.[5]
The title of the play is most commonly translated as A Doll's House, though some scholars use A
Doll House. John Simon says that A Doll’s House is "the British term for what [Americans] call a
'dollhouse'".[6] Egil Törnqvist says of the alternative title: "Rather than being superior to the traditional
rendering, it simply sounds more idiomatic to Americans."[7]

Contents

 1List of characters
 2Synopsis
o 2.1Act One
o 2.2Act Two
o 2.3Act Three
o 2.4Alternative ending
 3Composition and publication
o 3.1Real-life inspiration
o 3.2Composition
 o 3.3Publication
 4Production history
 5Analysis and criticism
 6Adaptations
o 6.1Film
o 6.2Television
o 6.3Radio
o 6.4Re-staging
 7References
 8Sources
 9Further reading
 10External links

List of characters[edit]
 Nora Helmer – wife of Torvald, mother of three, is living out the
ideal of the 19th-century wife, but leaves her family at the end of the
play.
 Torvald Helmer – Nora's husband, a newly promoted bank
manager, professes to be enamoured of his wife but their marriage
stifles her.
 Dr Rank – a rich family friend, he is secretly in love with Nora. He is
terminally ill, and it is implied that his "tuberculosis of the spine"
originates from a venereal diseasecontracted by his father.
 Kristine Linde – Nora's old school friend, widowed, is seeking
employment (sometimes spelled Christine in English translations).
She was in a relationship with Krogstad prior to the play's setting.
 Nils Krogstad – an employee at Torvald's bank, single father, he is
pushed to desperation. A supposed scoundrel, he is revealed to be
a long-lost lover of Kristine.
 The Children – Nora and Torvald's children: Ivar, Bobby and Emmy
(in order of age).
 Anne Marie – Nora's former nanny, who gave up her own daughter
to "strangers" when she became, as she says, the only mother Nora
knew. She now cares for Nora's children.[8]
 Helen – the Helmers' maid
 The Porter – delivers a Christmas tree to the Helmer household at
the beginning of the play.

Synopsis[edit]
Act One[edit]
The play opens at Christmas time as Nora Helmer enters her home carrying many packages. Nora's
husband Torvald is working in his study when she arrives. He playfully rebukes her for spending so
much money on Christmas gifts, calling her his "little squirrel." He teases her about how the previous
year she had spent weeks making gifts and ornaments by hand because money was scarce. This
year Torvald is due a promotion at the bank where he works, so Nora feels that they can let
themselves go a little. The maid announces two visitors: Mrs. Kristine Linde, an old friend of Nora's,
who has come seeking employment; and Dr. Rank, a close friend of the family, who is let into the
study. Kristine has had a difficult few years, ever since her husband died leaving her with no money
or children. Nora says that things have not been easy for them either: Torvald became sick, and they
had to travel to Italy so he could recover. Kristine explains that when her mother was ill she had to
take care of her brothers, but now that they are grown she feels her life is "unspeakably empty."
Nora promises to talk to Torvald about finding her a job. Kristine gently tells Nora that she is like a
child. Nora is offended, so she teases the idea that she got money from "some admirer," so they
could travel to Italy to improve Torvald's health. She told Torvald that her father gave her the money,
but in fact she managed to illegally borrow it without his knowledge because women couldn't do
anything economical like signing checks without their husband. Over the years, she has been
secretly working and saving up to pay it off.
Krogstad, a lower-level employee at Torvald's bank, arrives and goes into the study. Nora is clearly
uneasy when she sees him. Dr. Rank leaves the study and mentions that he feels wretched, though
like everyone he wants to go on living. In contrast to his physical illness, he says that the man in the
study, Krogstad, is "morally diseased."
After the meeting with Krogstad, Torvald comes out of the study. Nora asks him if he can give
Kristine a position at the bank and Torvald is very positive, saying that this is a fortunate moment, as
a position has just become available. Torvald, Kristine, and Dr. Rank leave the house, leaving Nora
alone. The nanny returns with the children and Nora plays with them for a while until Krogstad
creeps into the living room and surprises her. Krogstad tells Nora that Torvald intends to fire him at
the bank and asks her to intercede with Torvald to allow him to keep his job. She refuses, and
Krogstad threatens to blackmail her about the loan she took out for the trip to Italy; he knows that
she obtained this loan by forging her father's signature. Krogstad leaves and when Torvald returns,
Nora tries to convince him not to fire Krogstad. Torvald refuses to hear her pleas, explaining that
Krogstad is a liar and a hypocrite and that he committed a terrible crime: he forged someone's name.
Torvald feels physically ill in the presence of a man "poisoning his own children with lies and
dissimulation."
Act Two[edit]
Kristine arrives to help Nora repair a dress for a costume function that she and Torvald plan to
attend the next day. Torvald returns from the bank, and Nora pleads with him to reinstate Krogstad,
claiming she is worried Krogstad will publish libelous articles about Torvald and ruin his career.
Torvald dismisses her fears and explains that, although Krogstad is a good worker and seems to
have turned his life around, he must be fired because he is not deferential enough to Torvald in front
of other bank personnel. Torvald then retires to his study to work.
Dr. Rank, the family friend, arrives. Nora asks him for a favor, but Rank responds by revealing that
he has entered the terminal stage of tuberculosis of the spine and that he has always been secretly
in love with her. Nora tries to deny the first revelation and make light of it but is more disturbed by his
declaration of love. She tries clumsily to tell him that she is not in love with him but that she loves
him dearly as a friend.
Desperate after being fired by Torvald, Krogstad arrives at the house. Nora convinces Dr. Rank to
go into Torvald's study so he will not see Krogstad. When Krogstad confronts Nora, he declares that
he no longer cares about the remaining balance of Nora's loan, but that he will instead preserve the
associated bond to blackmail Torvald into not only keeping him employed but also promoting him.
Nora explains that she has done her best to persuade her husband, but he refuses to change his
mind. Krogstad informs Nora that he has written a letter detailing her crime (forging her father's
signature of surety on the bond) and put it in Torvald's mailbox, which is locked.
Nora tells Kristine of her difficult situation. Having had a relationship with Krogstad in the past before
her marriage, Kristine says that they are still in love and promises to try to convince him to relent.
Torvald enters and tries to retrieve his mail, but Nora distracts him by begging him to help her with
the dance she has been rehearsing for the costume party, feigning anxiety about performing. She
dances so badly and acts so childishly that Torvald agrees to spend the whole evening coaching
her. When the others go to dinner, Nora stays behind for a few minutes and contemplates killing
herself to save her husband from the shame of the revelation of her crime and to pre-empt any
gallant gesture on his part to save her reputation.
Act Three[edit]
Kristine tells Krogstad that she only married her husband because she had no other means to
support her sick mother and young siblings and that she has returned to offer him her love again.
She believes that he would not have stooped to unethical behavior if he had not been devastated by
her abandonment and been in dire financial straits. Krogstad changes his mind and offers to take
back his letter to Torvald. However, Kristine decides that Torvald should know the truth for the sake
of his and Nora's marriage.
After literally dragging Nora home from the party, Torvald goes to check his mail but is interrupted by
Dr. Rank, who has followed them. Dr. Rank chats for a while, conveying obliquely to Nora that this is
a final goodbye, as he has determined that his death is near. Dr. Rank leaves, and Torvald retrieves
his letters. As he reads them, Nora steels herself to take her life. Torvald confronts her with
Krogstad's letter. Enraged, he declares that he is now completely in Krogstad's power; he must yield
to Krogstad's demands and keep quiet about the whole affair. He berates Nora, calling her a
dishonest and immoral woman and telling her that she is unfit to raise their children. He says that
from now on their marriage will be only a matter of appearances.
A maid enters, delivering a letter to Nora. The letter is from Krogstad, yet Torvald demands to read
the letter and takes it from Nora. Torvald exults that he is saved, as Krogstad has returned the
incriminating bond, which Torvald immediately burns along with Krogstad's letters. He takes back his
harsh words to his wife and tells her that he forgives her. Nora realizes that her husband is not the
strong and gallant man she thought he was, and that he truly loves himself more than he does Nora.
Torvald explains that when a man has forgiven his wife, it makes him love her all the more since it
reminds him that she is totally dependent on him, like a child. He dismisses the fact that Nora had to
make the agonizing choice between her conscience and his health, and ignores her years of secret
efforts to free them from the ensuing obligations and the danger of loss of reputation. He preserves
his peace of mind by thinking of the incident as a mere mistake that she made owing to her
foolishness, one of her most endearing feminine traits.
We must come to a final settlement, Torvald. During eight whole years. . . we have never exchanged one
serious word about serious things.
Nora, in Ibsen's A Doll's House (1879)

Nora tells Torvald that she is leaving him, and in a confrontational scene expresses her sense of
betrayal and disillusionment. She says he has never loved her, they have become strangers to each
other. She feels betrayed by his response to the scandal involving Krogstad, and she says she must
get away to understand herself. She has lost her religion. She says that she has been treated like a
doll to play with for her whole life, first by her father and then by him. Concerned for the family
reputation, Torvald insists that she fulfill her duty as a wife and mother, but Nora says that she has
duties to herself that are just as important, and that she cannot be a good mother or wife without
learning to be more than a plaything. She reveals that she had expected that he would want to
sacrifice his reputation for hers and that she had planned to kill herself to prevent him from doing so.
She now realizes that Torvald is not at all the kind of person she had believed him to be and that
their marriage has been based on mutual fantasies and misunderstandings.
Torvald is unable to comprehend Nora's point of view, since it contradicts all that he has been taught
about the female mind throughout his life. Furthermore, he is so narcissistic that it is impossible for
him to understand how he appears to her, as selfish, hypocritical, and more concerned with public
reputation than with actual morality. Nora leaves her keys and wedding ring, and as Torvald breaks
down and begins to cry, baffled by what has happened, Nora leaves the house, slamming the door
behind her. Whether or not she ever comes back is never made clear.
Alternative ending[edit]
Ibsen's German agent felt that the original ending would not play well in German theatres. Therefore,
for it to be considered acceptable, Ibsen was forced to write an alternative ending for the German
premiere. In this ending, Nora is led to her children after having argued with Torvald. Seeing them,
she collapses, and the curtain is brought down. Ibsen later called the ending a disgrace to the
original play and referred to it as a "barbaric outrage".[9] Virtually all productions today use the
original ending, as do nearly all of the film versions of the play.

Composition and publication[edit]

Real-life inspiration[edit]
A Doll's House was based on the life of Laura Kieler (maiden name Laura Smith Petersen), a good
friend of Ibsen. Much that happened between Nora and Torvald happened to Laura and her
husband, Victor. Similar to the events in the play, Laura signed an illegal loan to save her husband.
She wanted the money to find a cure for her husband's tuberculosis.[10] She wrote to Ibsen, asking for
his recommendation of her work to his publisher, thinking that the sales of her book would repay her
debt. At his refusal, she forged a check for the money. At this point she was found out. In real life,
when Victor discovered about Laura's secret loan, he divorced her and had her committed to an
asylum. Two years later, she returned to her husband and children at his urging, and she went on to
become a well-known Danish author, living to the age of 83.
Ibsen wrote A Doll's House at the point when Laura Kieler had been committed to the asylum, and
the fate of this friend of the family shook him deeply, perhaps also because Laura had asked him to
intervene at a crucial point in the scandal, which he did not feel able or willing to do. Instead, he
turned this life situation into an aesthetically shaped, successful drama. In the play, Nora leaves
Torvald with head held high, though facing an uncertain future given the limitations single women
faced in the society of the time.
Kieler eventually rebounded from the shame of the scandal and had her own successful writing
career while remaining discontented with sole recognition as "Ibsen's Nora" years afterwards.[11][12]
Composition[edit]
Ibsen started thinking about the play around May 1878, although he did not begin its first draft until a
year later, having reflected on the themes and characters in the intervening period (he visualised
its protagonist, Nora, for instance, as having approached him one day wearing "a blue woollen
dress").[13] He outlined his conception of the play as a "modern tragedy" in a note written in Rome on
19 October 1878.[14] "A woman cannot be herself in modern society," he argues, since it is "an
exclusively male society, with laws made by men and with prosecutors and judges who assess
feminine conduct from a masculine standpoint."[15]
Publication[edit]
Ibsen sent a fair copy of the completed play to his publisher on 15 September 1879.[16] It was first
published in Copenhagen on 4 December 1879, in an edition of 8,000 copies that sold out within a
month; a second edition of 3,000 copies followed on 4 January 1880, and a third edition of 2,500
was issued on 8 March.[17]

Production history[edit]
A Doll's House received its world premiere on 21 December 1879 at the Royal Theatre in
Copenhagen, with Betty Hennings as Nora, Emil Poulsen as Torvald, and Peter Jerndorff as Dr.
Rank.[18] Writing for the Norwegian 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."[19] Every performance of its run was sold out.[20] Another production opened at
the Royal Theatre in Stockholm, on 8 January 1880, while productions in Christiania (with Johanne
Juell as Nora and Arnoldus Reimers as Torvald) and Bergen followed shortly after.[21]
In Germany, the actress Hedwig Niemann-Raabe refused to perform the play as written, declaring,
"I would never leave my children!"[20] Since the playwright's wishes were not protected by copyright,
Ibsen decided to avoid the danger of being rewritten 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.[22][23] A production of this version opened in Flensburg in February 1880.[24] This version was
also played in Hamburg, Dresden, Hanover, and Berlin, although, in the wake of protests and a lack
of success, Niemann-Raabe eventually restored the original ending.[24] Another production of the
original version, some rehearsals of which Ibsen attended, opened on 3 March 1880 at the Residenz
Theatre in Munich.[24]
In Great Britain, the only way in which the play was initially allowed to be given in London was in an
adaptation by Henry Arthur Jones and Henry Herman called Breaking a Butterfly.[25] This adaptation
was produced at the Princess Theatre, 3 March 1884. Writing in 1896 in his book The Foundations
of a National Drama, Jones says: "A rough translation from the German version of A Doll's House
was put into my hands, and I was told that if it could be turned into a sympathetic play, a ready
opening would be found for it on the London boards. I knew nothing of Ibsen, but I knew a great deal
of Robertson and H. J. Byron. From these circumstances came the adaptation called Breaking a
Butterfly."[26] H. L. Mencken writes that it was A Doll’s House “denaturized and dephlogisticated. …
Toward the middle of the action Ibsen was thrown to the fishes, and Nora was saved from suicide,
rebellion, flight and immortality by making a faithful old clerk steal her fateful promissory note from
Krogstad’s desk. … The curtain fell upon a happy home.“[27]
Before 1899 there were two private productions of the play in London (in its original form as Ibsen
wrote it) — one featured George Bernard Shaw in the role of Krogstad.[8] The first public British
production of the play in its regular form opened on 7 June 1889 at the Novelty Theatre,
starring Janet Achurch as Nora and Charles Charrington as Torvald.[28][29][30]Achurch played Nora
again for a 7-day run in 1897. Soon after its London premiere, Achurch brought the play
to Australia in 1889.[31]
The play was first seen in America in 1883 in Louisville, Kentucky; Helena Modjeska acted
Nora.[29] The play made its Broadway premiere at the Palmer's Theatre on 21 December 1889,
starring Beatrice Cameron as Nora Helmer.[32] It was first performed in France in 1894.[21] Other
productions in the United States include one in 1902 starring Minnie Maddern Fiske, a 1937
adaptation with acting script by Thornton Wilder and starring Ruth Gordon, and a 1971 production
starring Claire Bloom.
A new translation by Zinnie Harris at the Donmar Warehouse, starring Gillian Anderson, Toby
Stephens, Anton Lesser, Tara FitzGerald and Christopher Eccleston opened in May 2009.[33] In
August 2013, Young Vic,[34] London, Great Britain, produced a new adaptation[35] of A Doll's
House directed by Carrie Cracknell[36] based on the English language version by Simon Stephens. In
September 2014, in partnership with Brisbane Festival, La Boite located in Brisbane, Australia,
hosted an adaptation of A Doll's House written by Lally Katz and directed by Stephen Mitchell
Wright.[37] In June 2015, Space Arts Centre in London staged an adaptation of A Doll's
House featuring the discarded alternate ending.[38]'Manaveli' Toronto is preparing to stage a Tamil
version of A Doll's House(ஒரு ப ொம் மமயின் வீடு)on 30 June 2018, Directed by Mr P
Wikneswaran.[38]

Analysis and criticism[edit]

A Doll's House questions the traditional roles of men and women in 19th-century marriage.[22] To
many 19th-century Europeans, this was scandalous. The covenant of marriage was considered holy,
and to portray it as Ibsen did was controversial.[39] However, the Irish playwright George Bernard
Shaw found Ibsen's willingness to examine society without prejudice exhilarating.[40]
The Swedish playwright August Strindberg criticised the play in his volume of essays and short
stories Getting Married (1884).[41] Strindberg questioned Nora’s walking out and leaving her children
behind with a man that she herself disapproved of so much that she would not remain with him.
Strindberg also considers that Nora’s involvement with an illegal financial fraud that involved Nora
forging a signature, all done behind her husband’s back, and then Nora’s lying to her husband
regarding Krogstad’s blackmail, are serious crimes that should raise questions at the end of the play,
when Nora is moralistically judging her husband. And Strindberg points out that Nora’s complaint
that she and Torvald “have never exchanged one serious word about serious things,” is contradicted
by the discussions that occur in act one and two.[42]
The reasons Nora leaves her husband are complex, and various details are hinted at throughout the
play. In the last scene, she tells her husband she has been “greatly wronged” by his disparaging and
condescending treatment of her, and his attitude towards her in their marriage — as though she
were his “doll wife” — and the children in turn have become her “dolls,” leading her to doubt her own
qualifications to raise her children. She is troubled by her husband’s behavior in regard to the
scandal of the loaned money. She does not love her husband, she feels they are strangers, she
feels completely confused, and suggests that her issues are shared by many women. George
Bernard Shaw suggests that she left to begin “a journey in search of self-respect and apprenticeship
to life,” and that her revolt is “the end of a chapter of human history.”[8][43][3]
Ibsen was inspired by the belief that "a woman cannot be herself in modern society," since it is "an
exclusively male society, with laws made by men and with prosecutors and judges who assess
feminine conduct from a masculine standpoint."[15] Its ideas can also be seen as having a wider
application: Michael Meyer argued that the play's theme is not women's rights, but rather "the need
of every individual to find out the kind of person he or she really is and to strive to become that
person."[44] In a speech given to the Norwegian Association for Women's Rights in 1898, Ibsen
insisted that he "must disclaim the honor of having consciously worked for the women's rights
movement," since he wrote "without any conscious thought of making propaganda," his task having
been "the description of humanity."[45]
Because of the departure from traditional behavior and theatrical convention involved in Nora's
leaving home, her act of slamming the door as she leaves has come to represent the play
itself.[46][47] In Iconoclasts (1905), James Huneker noted "That slammed door reverberated across the
roof of the world."[48]

Adaptations[edit]
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Film[edit]
A Doll's House has been adapted for the cinema on many occasions, including:

 A 1922 lost silent film A Doll's House starring Alla Nazimova as

Nora.[49][50]
  A 1923 German silent film Nora was directed by Berthold Viertel.
Nora was played by Olga Chekhova, who was born Olga Knipper,
and was the niece and namesake of Anton Chekhov’s wife. She
was also Mikhail Chekhov's wife.[51]
 A 1943 Argentine film, Casa de muñecas, starring Delia Garcés,
which modernizes the story and uses the alternative ending.[52]
 Two film versions were released in 1973: one was
directed by Joseph Losey, starring Jane Fonda, David
Warner and Trevor Howard;[53] and the other by Patrick
Garland with Claire Bloom, Anthony Hopkins, and Ralph
Richardson.[54]
 Dariush Mehrjui's film Sara (1993) is based on A Doll's House, with
the plot transferred to Iran. Sara, played by Niki Karimi, is
the Nora of Ibsen's play.[55]
 In 2012 the Young Vic theatre in London released a short film
called Nora with Hattie Morahan portraying what a modern-day
Nora might look like.[56]
 A scheduled 2018 film adaptation is set against the backdrop of the
current economic crisis and stars Ben Kingsley as Doctor Rank and
Michele Martin as Nora.[57][58]
Television[edit]

 A live version for American TV was broadcast in 1959 which was

directed by George Schaefer. This version featured Julie
Harris, Christopher Plummer, Hume Cronyn, Eileen
Heckart and Jason Robards.
 In 1973 Norwegian TV produced an adaptation of A Doll's House
(Et dukkehjem) directed by Arild Brinchmann and with Lise
Fjeldstad as Nora Helmer.
 A 1974 West German television adaptation, titled Nora Helmer was
directed by Rainer Werner Fassbinder and starred Margit
Carstensen in the title role.
 In 1992, David Thacker directed a British television adaptation
with Juliet Stevenson, Trevor Eve and David Calder.
Radio[edit]

 A June 6, 1938 Lux Radio Theatre production starred Joan

Crawford as Nora and Basil Rathbone as Torvald.
 A later version by the Theatre Guild on the Air on January 19, 1947,
featured Rathbone again as Torvald with Dorothy McGuire as Nora.
 In 2012, BBC Radio 3 broadcast an adaptation by Tanika
Gupta transposing the setting to India in 1879 where 'Nora', now
Niru, is an Indian woman married to 'Torvald', now Tom, an English
man working for the British Colonial Administration in Calcutta; this
production starred Indira Varma as Niru and Toby Stephens as
Tom.[59]
Re-staging[edit]

 In 1989, film and stage director Ingmar Bergman staged and

published a shortened reworking of the play, now entitled Nora,
 which entirely omitted the characters of the servants and the
children, focusing more on the power struggle between Nora and
Torvald. It was widely viewed as downplaying the feminist themes
of Ibsen's original.[60] The first staging of it in New York was
reviewed by the Times as heightening the play's melodramatic
aspects.[61] The Los Angeles Times stated that "Nora shores up A
Doll's House in some areas but weakens it in others."[62]

References[edit]
1. Jump up^ Meyer (1967, 477).
2. Jump up^ Krutch, Joseph Wood (1953). "Modernism" in Modern
Drama, A Definition and an Estimate. Ithaca: Cornell University Press.
p. 9. OCLC 176284.
3. ^ Jump up to:a b Walter, McFarlane, James; Jens, Arup (1998). Four
Major Plays. Oxford University
Press. ISBN 0192833871. OCLC 39674082.
4. Jump up^ "Henrik Ibsen's psychodramas still grip the world 100 years
after his death". Pravda Report. 22 May 2006. Retrieved 30 May 2017.
5. Jump up^ "Henrik Ibsen: A Doll's House". UNESCO. Retrieved 30
May 2017.
6. Jump up^ "Bapuage=en".
7. Jump up^ Törnqvist, Egil (1995). Ibsen: A Doll's House. Capilano
University Press. p. 54. ISBN 9780521478663. OCLC 635006762.
8. ^ Jump up to:a b c Byatt, A. S. (1 May 2009). "Blaming Nora". The
Guardian. ISSN 0261-3077. Retrieved 30 May 2017.
9. Jump up^ "The alternative ending of A Doll's House". National Library
of Norway. 30 May 2005. Retrieved 30 May 2017.
10. Jump up^ A. S. Byatt (2 May 2009). "Blaming Nora". The
Guardian. Guardian News and Media. Retrieved 20 June 2017.
11. Jump up^ Törnqvist, Egil (1995). Ibsen: A Doll's House. Cambridge
University Press. p. 2. ISBN 9780521478663. OCLC 635006762.
12. Jump up^ Worthen, William B (2011). The Wadsworth anthology of
drama. Wadsworth. p. 667. ISBN 9781428288157. OCLC 610205542.
13. Jump up^ Meyer (1967, 463–467, 472).
14. Jump up^ Meyer (1967, 466).
15. ^ Jump up to:a b Ibsen, "Notes for a Modern Tragedy"; quoted by
Meyer (1967, 466); see also Innes (2000, 79–81).
16. Jump up^ Meyer (1967, 474).
17. Jump up^ Meyer (1967, 475).
18. Jump up^ Meyer (1967, 477) and Moi (2006, 227, 230).
19. Jump up^ Quoted by Meyer (1967, 477).
20. ^ Jump up to:a b Meyer (1967, 480).
21. ^ Jump up to:a b Meyer (1967, 479).
22. ^ Jump up to:a b Fisher, Jerilyn (2003). "The slammed door that still
reverberates". In Fisher, Jerilyn; Silber, Ellen S. Women in literature:
reading through the lens of gender. Greenwood Press. pp. 99–
101. ISBN 9780313313462. OCLC 50638821.
23. Jump up^ Meyer (1967, 480–481).
24. ^ Jump up to:a b c Meyer (1967, 481).
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Reprinted: Wentworth Press (26 Aug. 2016) ISBN 978-1362548942.
Page 208.
27. Jump up^ Mencken, H. L. The Collected Drama of H. L. Mencken:
Plays and Criticism. Scarecrow Press, 2012. ISBN 9780810883703.
page 185.
28. Jump up^ Ibsen, Henrik (1889). A Doll's House [Illustrated with
photographs]. William C. Archertranslator. London: T Fisher
Unwin. OCLC 29743002.
29. ^ Jump up to:a b Moses, Montrose J. (1920). "Doll's House, A". In
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31. Jump up^ Brockett and Hildy (2003, 353).
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(1889)". The Internet Broadway Database. 2008. Retrieved 18
September 2008.
33. Jump up^ Bassett, Kate (24 May 2009). "The Donmar's new Ibsen
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rewriting". The Independent. London.
34. Jump up^ "Homepage". Young Vic website.
35. Jump up^ [1][permanent dead link]
36. Jump up^ Soloski, Alexis (6 February 2014). "Carrie Cracknell Adds a
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37. Jump up^ "A Doll's House by Henrik Ibsen in a new version by Lally
Katz". La Boite Theatre Company. 2014. Archived from the original on
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39. Jump up^ James, McFarlane (1994). Cambridge Companion to
Ibsen. Cambridge University Press.
p. 167. ISBN 9780521423212. OCLC 869601716.
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Political Thought of Bernard Shaw. Routledge. pp. 164–
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42. Jump up^ Sandbach, Mary, trans. Strindberg, August, author.
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45. Jump up^ Ibsen, "Speech at the Festival of the Norwegian Women's
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also Moi (2006, 229–230).
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 49. Jump up^ Progressive Silent Film List: A Doll's House at
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50. Jump up^ The Library of Congress American Silent Feature Film
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51. Jump up^ Holledge, Julie. Bollen, Jonathan. Helland, Frode.
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Springer, 2016. ISBN 9781137438997. Page 217.
52. Jump up^ Plazaolapage, Luis Trelles. South American Cinema/ Cine
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(1989). ISBN 9780847720118. Page 10.
53. Jump up^ Variety Staff (31 December 1972). "Review: A Doll's
House". [Link].
54. Jump up^ Canby, Vincent (23 May 1973). "Claire Bloom's 'Doll's
House on Film: The Cast". The New York Times.
55. Jump up^ Sloan, Jane. Reel Women: An International Directory of
Contemporary Feature Films about Women. Scarecrow Press,
2007. ISBN 9781461670827. Page 125.
56. Jump up^ "Nora: a short film responding to Ibsen's A Doll's House".
The Guardian. 18 October 2012. Retrieved 12 January 2017.
57. Jump up^ Wharton, David. "Ben Kingsley, Julian Sands, And Jena
Malone Sign On For A Doll's House". Cinema Blend. Retrieved 12
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58. Jump up^ Mottram, James (9 June 2016). "Sir Ben Kingsley
interview". Independent. Retrieved 12 January 2017.
59. Jump up^ "BBC Radio 3 - Drama on 3, A Doll's House". BBC.
60. Jump up^ "A Doll's House". Ingmar Bergman. Retrieved April 3, 2017.
61. Jump up^ Goodman, Walter (24 February 1988). "Stage: Bergman
Version Of Ibsen's 'Doll's House'". The New York Times. ISSN 0362-
4331. Retrieved 3 April 2017.
62. Jump up^ Shirley, Don (26 May 1998). "Bergman Adaptation
Restructures 'A Doll's House'". Los Angeles Times. ISSN 0458-3035.
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Sources[edit]
 Brockett, Oscra G; Hildy, Franklin J (2002). History of the theatre.
Boston: Allyn & Bacon. ISBN 9780205410507. OCLC 228061773.
 Dukore, Bernard F., ed. 1974. Dramatic Theory and Criticism:
Greeks to Grotowski. Florence, KY: Heinle & Heinle. ISBN 978-0-
03-091152-1.
 Innes, Christopher (2000). A sourcebook of naturalist theatre.
London: Routledge. ISBN 0415152291. OCLC 896687433.
 Meyer, Michael (1974). Ibsen: a biography.
Penguin. ISBN 9780140217728. OCLC 223316018.
 Moi, Toril (2006). Henrik Ibsen and the Birth of Modernism: Art,
Theater, Philosophy. Oxford: Oxford University
Press. ISBN 0199295875.

Further reading[edit]
 Ibsen, Henrick (trans McLeish). A Doll's House, Nick Hern Books,
London, 1994
  Unwin, Stephen. Ibsen's A Doll's House (Page to Stage Study
Guide) Nick Hern Books, London, 1997
 William L. Urban. "Parallels in A Doll's House." Festschrift in Honor
of Charles Speel. Ed. by Thomas J. Sienkewicz and James E.
Betts. Monmouth College, Monmouth, Illinois, 1997.
 Merriam, Eve. After Nora Slammed the Door: From Doll's House to
Paper Doll Lives? Merriam looks at the "Women's Revolution" in
America. World Publishing Company, Cleveland, 1964.

External links[edit]
Wikisource has original
text related to this article:

A Doll's House

Norwegian Wikisource has

original text related to this
article:

Et dukkehjem

Wikimedia Commons has

media related to A Doll's
House.

 Texts and other resources at the National Library of Norway

 A Doll's House at the Internet Broadway Database
 A Doll's House at the Internet Off-Broadway Database
 A Doll's House at the Internet Movie Database
 A Doll’s House: A Study Guide
 A Doll's House at Project Gutenberg
 A Doll's House at Project Gutenberg (alternate edition)
 A Doll's House public domain audiobook at LibriVox
 The Social Significance of the Modern Drama, a book by Emma
Goldman, contains a chapter on A Doll's House.
 1946 Theatre Guild on the Air radio adaptation at Internet Archive
 A Doll's House review for the London production of the play
by Simon Stephens.

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Henrik Ibsen's A Doll's House (1879)

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