Props In A Doll's House

The utilization of props in A Doll’s House is essential in establishing the relationship dynamics and the ultimate theme of the play. Nora and Torvald’s relationship is portrayed to be the consequences of society’s influence, referencing to early 19th century. Fundamentally, Torvald is represented to be the product of society’s influence, noticeably due to his application of pet/childish nicknames to Nora. Consequently, the specific names, squirrel and skylark, characterize Nora as being trapped and therefore confined as a result of Torvald’s and ultimately society’s oppression to conformity. Through the play A Doll’s House, Henrik Ibsen provides social commentary through highlighting on an individual’s transformative experience as a consequent

The application of stage directions for the doors is essential in dramatizing Torvald’s authoritative figure over Nora which has been consequently confining her. Evidently, Torvald “locks the front door,” essentially trapping her in physically while she has been in comparison, trapped figuratively for eight years as a result of being oppressed in her true role “of being first and foremost a human being, like [him]” (p.229.) Particularly, all closing and opening of doors in stage directions have been indicated to be made from primarily Torvald however none from Nora. This further reinforces the essential idea made from the use of props; Torvald’s domineering- extending to controlling- is a consequence of society’s influence on conforming to expected genders roles in middle-class families. However, as a result of Nora’s epiphany on the miracle of miracles, it has enabled her to experience a transformative growth in character from being someone who is proud to being rebellious. As a result, this empowers her to come to her final realization that she “must try to become [a human being]” (p.229) by performing her ultimate act of rebellion in forever leaving the home and what it represents. In a definitive manner, Nora “slams the street door” as opposed to stating the “front door,” demonstrating that she has been “wait[ing] patiently for eight years” (p.230) to act on her desire to leave her conformity, meaning that she has already been figuratively gone from the house since her