A Doll's House

Ibsen's A Doll's House is primarily interpreted as a play focused on society and the demeaning role it forces women to assume. "There is no doubt that A Doll's House has long been seen as a landmark in our century's most important social struggle, the fight against the dehumanizing oppression of women, particularly in the middle-class family" (Johnston 1). The common reaction of an audience viewing A Doll's House is to sympathize with Nora and the social constraints that burden her. Nora, however, is a unique character. She rejects social norms entirely and because of this, she is able to control all of the characters present in the script, including Torvald. Her role-playing and obsession with control make Nora a selfish and powerful character in A Doll's House.

"Her experience on the fringes has taught her that she must, if possible, liver her life in society" (Johnston 2). Krogstad also yearns for a seat in society, but struggles for acceptance due to a past "indiscretion".

In the casting of A Doll's House, Kristine and Krogstad are generally clad in plain attire and appear prematurely aged when compared to Nora and Torvald. The difference in physical appearance further emphasizes the difficulties of living in the outskirts of society. Another important element in distinguishing the significance of being in society or out is the weather. In film versions of A Doll's House, the inside of the Helmer's home is warm and consoling. Outside, the world is wintry, snowing, and bitter cold. Nature (i.e. outside society) is brutal and harsh, showing no sympathy towards those exposed to it.

The shining example of devotion to society in the play is represented by the character of Torvald. When reading A Doll's House, Torvald is often labeled a fool, but this is an inaccurate presumption. Torvald has acquired success in a challenging and highly competitive career. "Torvald's problem is that his intelligence is entirely determined by and limited to his awareness of the social rules around him" (Johnston 3). The only thing that concerns Torvald is his reputation in the social world. When interacting with others, Torvald is capable only of understanding someone within the realms of social context. When Nora introduces Mrs. Linde to Torvald, he treats her very casually and takes no notice or interest in her apparent social trouble. He obviously is aware that she wants a job at the bank because that directly intrudes upon his social world, but his sensitivity extends no further. He doesn't consider the fact that she might need food or a place to stay because these conditions are associated with social isolation and Torvald can't comprehend such an ordeal. The same sort of interaction is seen between Torvald and Dr. Rank. Torvald never sympathetically addresses Rank about his Syphilis. "Dr. Rank's friendship is an important social asset, but Dr. Rank's suffering and death bring an end to that, so there's no point in thinking about him further" (Johnston 3).

Torvald's complete devotion to societal ideologies leaves him with almost no sense of personal independence. His behaviors and thought process are determined solely by society and not only is he content with this, but also he is unaware of living in any other fashion. Torvald's life is regulated only by rules posed by society, which makes him an easy individual to manipulate, as long as the rules of society are still maintained. Torvald's feelings towards Nora when he finds out about the forgery display the fact that he is only able to think in terms that relate to society. Torvald is furious at Nora because he knows that if her crime is found out he will lose his social status, his everything. Once Torvald realizes that his wife's actions won't be found out, he immediately forgives her and returns to his regular self. The massive shift in emotion could reasonably be classified as unnatural, but it is not. Torvald's emotions are rational because all that matters to him is reputation in society. Torvald's actions throughout the play depict him as the central figure in the Helmer home. He has the power and is the dominant figure. However, the truth of the matter is Torvald has no power or control because he is controlled and dominated by the regulations of society and he is bound to its power.

Nora on the other hand, feels no duty to society and her independence in motives allows her to successfully control several characters in the play. Nora is able to control Torvald by expert role-playing. In the opening scene of A Doll's House, Torvald adopts a controlling tone with his rules about spending money, eating candy, and his myriad of condensing nicknames (sky-lark, squirrel, singing bird). Nora plays along and acts as if she is obligated to obey Torvald and she even occasionally calls herself some of her appointed nicknames. Nora deceives Torvald though, and spends money frivolously and eats multiple macaroons right after speaking with him. By acting sexy and submissive, Nora satisfies Torvald and meets his societal requirements. Her actions also allow her to control Torvald which is why he gives her more money in the opening scene of the play. Nora dances for Torvald because she knows it will please him but also because she obtains sexual control