Uploaded by alienpablo on Sep 4, 2011
Getting the opportunity to start afresh with this play has been revelatory. The performances and creation of Nora's 'world' have all been redefined and we've uncovered new depths to the relationships between the characters. Much of my initial approach was focused on minimising the exposition, countering traces of melodrama and adding a physical dimension that would drive the play along and give it energy; amplifying the characters' emotional journeys so that they become more immediate and visceral.
An obstacle with A Doll's House is that the mechanics of the play are locked into their time. The Chorus became essential to the drive of the play, to externalise Nora's experience and to shape the play into something more active for a modern audience. Anna Melander introduced a new articulation for the Chorus -- that they are the three goddesses of destiny, The Norns, from Norse mythology. Originally the Chorus were a united group, now they share a synergy but have very distinct reactions as the forces of Nora's past, present and future. We have been bolder at integrating them into the action the second time around.
Most importantly, the Norns give shape to the unseen forces that affect Nora's life. Ibsen has said the play was born from frustration at a male-constructed legal world that Nora didn't understand and couldn't control. I see contemporary 'spheres of power' that affect both women and men; those of banking and advertising. We are encouraged to borrow and spend beyond our means, to the detriment of our health, happiness and personal relationships. For a culture that is obsessed with image and material wealth, this play still carries an urgent message about what we need to survive and finding a sense of purpose in life.
Alex Crampton
Director
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