... In Ibsen’s Et Dukkehjem (A Doll House) lies are currency, and the demand for prevari- cations, obfuscations, and self-delusions far exceeds the supply. But no additional Krogstads stand waiting to grant secret loans of deception and, inevitably, Nora’s toxic life-lie is exposed. When she recognizes...

... In Ibsen’s Et Dukkehjem (A Doll House) lies are currency, and the demand for prevari- cations, obfuscations, and self-delusions far exceeds the supply. But no additional Krogstads stand waiting to grant secret loans of deception and, inevitably, Nora’s toxic life-lie is exposed. When she recognizes...

.... -Rainer Maria Rilke What Preston has done is to crystallize the Thin and white-faced, Kristine Linde progress of Nora’s spiritual journey into a se- (Marie Barney) enters the Helmers’ apart- quence of stylized...

...-for tensions.” One of the most four-hour production of Nora-Julie (as the provocative of these dimensions is that Ibsen-Strindberg couplet was christened) created by his juxtaposing of the fates...

... are Celimene's drawing room and, in keeping with an old French inverted. At the outset of Ibsen's play the "strangers" are still out• stage tradition, knocks over a chair. In the last scene he leaves side Nora's house. "Them? Who cares about theml" she says. never to return. The Misanthrope may...

... available to help cel- Nora, directed by Thomas Ostermeier, century social problems — a protofeminist and ebrate the centenary of Norway’s national poet...

...Ira Hauptman Copyright © by yale/theater 1974 1974 Strindberg's Realistic Plays by Ira Hauptman This discussion begins with Ibsen. In A DONS House Nora rebels when she realizes...

....” Ibsen’s insurrection against this melodramatic theater of the world was spear- headed by his heroines, beginning with Nora’s refusal to continue playing the roles of doll-wife and damsel in distress to Torvald’s knight-errant. Moi gives a stunning analysis of Nora’s performance of the tarantella...

.... different person from what one hears. Ibsen’s prose plays. -Rainer Maria Rilke What Preston has done is to crystallize the Thin and white-faced, Kristine Linde progress of Nora’s spiritual...

.... Mert and Phil are Nora and Torvald, thrust into the 197Os, pushed to the bottom of the social ladder, and scarred by twenty years of meager cohabitation. Nora is lucky enough to understand her lack of identity early in life; Mert has been jolted...

... of postmodern ently overtaken us. Home, as Nora’s and multicultural theory that have made slammed door and Miss Julie’s ready razor space (as opposed to time) the epistemo- attest, no longer seems sweet any more. logical category du jour, Una Chaudhuri And nature, be it in the guise of old argues...

... of A Doll’s House. Showering himself with Ibsen’s ashes from a prop urn, Vinge repeatedly screams, “It’s in the blood, Nora! It’s in the blood!” Like many moments in their work, it is equal parts protest against, and deification of, Ibsen’s inescapable influence and imposing genius. Within...

... in Ibsen’s play will remain on land, reject the temptation of a demon lover, and accept happiness with her human mate. Taken as a realistic story, The Ladyfiom the Sea is very much of a piece with Ibsen’s other major women-centered plays. Like Hedda Gabler, like Nora Helmer, like Rebecca West...

...’ behavior, the staging concept, etc. This spirit carried into the production process itself. Stan always There’s an implicit awareness on the part of Nora - that Ibsen encouraged me to go further with my impulses. This was impor- quite consciously designed - that she is a character participating...

..., Niesen directed Greiss and actress Barbara we do it now or it'll never happen They decided to start MacKenzie-Wood, as Rank and Nora, in the New Jersey with that room full of actors, there and then. The Theater's production of A Doll's House. The three continued company's name came...

... Filmore, Milton Friedman, MiIIi VaniIIi, Vanilla Ice, Ice T, Public Enemy, Hammer, Bum F & Fontayne, La Fontaine, Balzac, de Maupassant, Voltaire, Zola, Derrida, duBarry, Barry Goldwater, M Linda Ronstadt, Krogstadt, Nora Ephron, Carl Bernstein, Ben Bradley, Bill Bradley Robert...

..., for the scenes at Ros- precursor to Nora. The historical perspective sillion. The play’s subdued sentimentality Nunn thus gives the action is mostly a visual and subterranean melancholy are enhanced one, however; we think of Ibsen and Shaw by Beverly Emmons’ and Robert Bryan’s im- (and even more...

...-­time transmissions over digital networks and 2008. Photo: frequently including some kind of feedback or interactive technology. The term was Christophe Raynaud first coined by Simon Nora and Alain Minc in their report for the French govern- de Lage Theater 46:2 doi 10.1215/01610775-3550508 ©...

...- portant, such as “Here’syour lark” at the end of Act Two, became im- portant. That line is usually “thrown away,” accompanied by Nora dancing offstage. When Travis Preston...

... of Shaw’s letters; more about Liv Ullmann’s Nora or Jack Mac- commentaries on homosexuality and the mod- Gowran’s Beckett gallery after perusing his New ern theater (in 1966 and in the Tinrcs a piece Republic pieces than I did immediately after on the history and the pros and cons...