A Doll's House

by Henrik Ibsen

Overview

Step into the groundbreaking drama of Henrik Ibsen's A Doll's House in this beautifully designed edition. This play follows the story of Nora, a woman who must confront the societal expectations placed upon her as a wife and mother. With a new introduction and insightful commentary, this edition is perfect for fans of classic literature.

• Provocative exploration of societal expectations and gender roles
• Raises thought-provoking questions about societal norms and individual identity
• A must-read for drama and feminist literature lovers
• Beautifully designed edition
• A compelling and timeless classic

Product Details

ISBN-13:	9789358560541
Publisher:	Prakash Books
Publication date:	02/01/2021
Sold by:	Barnes & Noble
Format:	eBook
Pages:	128
File size:	2 MB

About the Author

"One of the most influential playwrights of his time, Henrik Ibsen was born on March 20, 1828, at a small Norwegian town of Skien.
By 1850, When Ibsen' s literary abilities had begun to show, and he was no longer satisfied to stay in a small town, he came to Christiania— a venture that would prove to be disastrous. Ibsen had brought with him his blank verse tragedy, Catilina, his first play, deemed unremarkable. When Ibsen was twenty-three, he was appointed to work in a theatre in Bergen. He also wrote plays during this time, but none of them were well-received.
In 1864, Ibsen went on a self-imposed exile, frustrated by his constant penury and his general life in Norway. In these years, he wrote a lot of plays that finally won him critical appreciation and wealth, ending his long-endured poverty— Brand (1865), Peer Gynt (1867), The League of Youth (1869). In 1877, Ibsen began to write the prose plays on which his wider reputation rests, such as A Doll' s House (1879) which is his most-performed play.
In 1881, he managed to come up with an unconventional play— Ghosts, tackling topics such as incest and venereal disease. He continued writing plays until 1900. Some of his later plays are The Lady from the Sea (1888), Hedda Gabler (1890), The Master Builder (1892), and Little Eyolf (1894). Ibsen returned to his country after more than two decades, by which time he had become a literary titan. He suffered a series of strokes in 1900, due to which he became unable to write. Henrik Ibsen breathed his last on May 23, 1906."

Table of Contents

Acknowledgements
Introduction
Henrik Ibsen and A Doll’s House: A Brief Chronology
A Note on the Text

A Doll’s House

A Note on Nora’s Final Exit

Appendix A: Contemporary Adaptations, Sequels, and Parodies

• 1. From a letter from Ibsen to a Danish newspaper regarding the ending of the play (17 February 1880)
• 2. Ibsen’s alternative ending (1880)
• 3. From Henry Arthur Jones and Henry Herman, Breaking a Butterfly (1882)
• 4. From August Strindberg, “A Doll’s House” (1884)
• 5. From Walter Besant, “The Doll’s House—and After,” The English Illustrated Magazine (October 1890)
• 6. From Ednah Dow Cheney, Nora’s Return: A Sequel to The Doll’s House (1890)
• 7. From Israel Zangwill and Eleanor Marx-Aveling, “A Doll’s House Repaired,” Time (March 1891)
• 8. From F. Anstey, “Nora; or, The Bird-Cage,” Mr Punch’s Pocket Ibsen (1893)

Appendix B: William Archer and A Doll’s House

• 1. From Archer’s review of the first performance in England of A Doll’s House, Dramatic Review (4 April 1885)
• 2. From a letter to Charles Archer (13 June 1889)
• 3. From “Ibsen and English Criticism,” Fortnightly Review (July 1889)
• 4. From William Archer, The Theatrical “World” for 1893 (1894)
• 5. From The Collected Works of Henrik Ibsen (1906)

Appendix C: Bernard Shaw and A Doll’s House

• 1. On A Doll’s House, Penny Illustrated Paper (1 June 1889)
• 2. From Shaw’s review of A Doll’s House, Manchester Guardian (8 June 1889)
• 3. From a letter to William Archer (11 June 1889)
• 4. From “Still after the Doll’s House,” Time (February 1890)
• 5. From The Quintessence of Ibsenism (1891)
• 6. From “A Doll’s House Again,” Saturday Review (15 May 1897)
• 7. From “The Technical Novelty in Ibsen’s Plays,” The Quintessence of Ibsenism (1913)

Appendix D: The Critics

• 1. In London
  • a. From The Era (28 March 1885)
  • b. From The Times (8 June 1889)
  • c. From The Globe (8 June 1889)
  • d. From The Daily Telegraph (8 June 1889)
  • e. From The Pall Mall Gazette (8 June 1889)
  • f. From The Spectator (21 June 1889)
  • g. From Clement Scott, “A Doll’s House,” The Theatre (1 July 1889)
• 2. In America
  • a. From The Courier-Journal [Louisville, Kentucky] (8 December 1883)
  • b. From The New York Times (27 September 1889)
  • c. From The Boston Globe (31 October 1889)
  • d. From The [New York] Sun (22 December 1889)
  • e. From The New York Times (22 December 1889)
  • f. From The [New York] Evening World (23 December 1889)
  • g. From The [New York] Sun (16 February 1894)
  • h. From The [New York] Evening World (7 June 1895)
• 3. In Montreal and Sydney
  • a. From The [Montreal] Gazette (18 February 1890)
  • b. From The Sydney Morning Herald (19 July 1890)

Appendix E: Feminism

• 1. Henrik Ibsen, “Notes for the Tragedy of Modern Times” (19 October 1878)
• 2. From Henrietta Frances Lord, preface to her translation of A Doll’s House (1882)
• 3. From August Strindberg, preface to Getting Married (1884)
• 4. From Havelock Ellis, The New Spirit (1890)
• 5. From Ellen Battelle Dietrick, “The Doll’s House—T’Other Side,” Women’s Penny Paper (15 and 22 March 1890)
• 6. From Annie Nathan Meyer, “Ibsen’s Attitude Towards Woman,” The Critic [New York] (22 March 1890)
• 7. From Max Nordau, Degeneration (1895)
• 8. From Ibsen’s speech to the Norwegian Women’s Rights League (26 May 1898)
• 9. From Louie Bennett, “Ibsen as a Pioneer of the Woman Movement,” The Westminster Review (March 1910)

Appendix F: Acting Nora

• 1. From “Nora Helmer off for the Antipodes: An Interview with Miss Janet Achurch,” The Pall Mall Gazette (5 July 1889)
• 2. From “Ethel Barrymore on Nora Helmer” (6 May 1905)
• 3. Alla Nazimova, “Ibsen’s Women,” The Independent (17 October 1907)
• 4. From Elizabeth Robins, Ibsen and the Actress (1928)
• 5. From Liv Ullmann, Changing (1976)

Works Cited and Select Bibliography

Editorial Reviews

New, raw, gut-twisting and gripping. Easily the hottest drama this season.

USA Today

Bold, brilliant and alive.

Wall Street Journal

A thunderclap of an evening that takes your breath away.

Time

The stuff of Broadway legend.

Associated Press

Maybe it's Nicholas Rudall's new translation. Maybe it's a matter of the gods. I couldn't put [A Doll's House] down. It's tight, and terse—reads like a fine short novel.

The Review of Arts, Literature, Philosophy and the Humanities - Lolita Lark

With its balanced introduction and thoughtfully selected contextual materials (parodies, performance reviews, and more), Leonard Conolly’s volume is a valuable and accessible resource for first-year drama students and seasoned Ibsen scholars alike. It allows twenty-first-century readers to see with fresh clarity the controversy that Ibsen’s play sparked nearly a hundred and fifty years ago—and to recognize, perhaps, that the debate has not subsided quite yet.” — Mary Christian, Middle Georgia State University

“This excellent edition of A Doll’s House shows twenty-first-century readers exactly why Ibsen’s play galvanized their nineteenth-century counterparts—and why its impact remains apparent on our stages, in our classrooms, and in the societies of which they are a part. Conolly provides the critical analysis and historical context necessary to understand what aspects of the play and its author were, and were not, considered revolutionary in multiple national and theatrical settings. Conolly’s contributions to this volume make for lively and informative reading, and his presentation of William Archer’s translation makes the play-text clear and accessible for today’s students. The well-selected appendix materials make for useful and enjoyable reading in and of themselves—especially the adaptations, ‘sequels,’ parodies, and Ibsen’s own alternative ending. As a teacher of modern drama, I have long hoped for an edition of A Doll’s House that was as suitable for students as this one—and now, I am glad to say, I have it.” — Jennifer Buckley, University of Iowa

From the Publisher

A powerful statement of [Ibsen's] radical beliefs about gender, the folly of idealism and the nature of modern love.

Evening Standard

Meyer's translations of Ibsen are a major fact in one's general sense of post-war drama. Their vital pace, their unforced insistence on the poetic centre of Ibsen's genius, have beaten academic versions from the field.

The New Statesman