A Doll’s House: Performing the Cultural Imaginary

Kallenbach, Ulla

doi:10.1007/978-3-319-76303-3_7

A Doll’s House: Performing the Cultural Imaginary

Ulla Kallenbach²

Chapter
First Online: 14 July 2018

482 Accesses

Abstract

In this chapter Kallenbach argues for an analysis of Henrik Ibsen’s A Doll’s House (1879) as a “disenchantment of the wonderful” and as a confrontation with the Idealist aesthetic regime and its interpretation of imagination. The chapter examines how the play, and in particular its use of costume and scenography, draws on a wide range of cultural references to Idealist aesthetics that were part of the “cultural imaginary” for the contemporary spectators. Analyzing the play from the spectator’s position, from a scenic, rather than verbal, perspective, Kallenbach presents new interpretations of Nora’s tarantella; of Raphael’s Sistine Madonna, a picture which was added to the set in the first Danish and Swedish productions; and of the significance of the Christmas tree in the Idealist context.

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Notes

1.
The director of the Royal Theatre, Edvard Fallesen, had, when failing to hinder the publication of the text prior to the premiere, managed to persuade Danish reviewers to stall all reviews of the published text. In consequence, there is little distinction in the reviews between text and performance.
2.
Edvard Brandes, “Henrik Ibsen’s ‘A Doll’s House’ at the Royal Theatre,” Ude og Hjemme 3, no. 118 (1880), http://ibsen.nb.no/id/11195169.0.
3.
Erik Vullum, “Henrik Ibsen: A Doll’s House, Play in Three Acts. Copenhagen, Gyldendal Publishers (Gyldendalske Boghandels Forlag), 1879., trans. May-Brit Akerholt,” Literatur-Tidende (1879), http://ibsen.nb.no/id/11186623.0.
4.
As the reviewer in Bergens Tidende somewhat optimistically notes: “‘Realism’ in our time has triumphed everywhere in visual arts and literature alike, and albeit Romanticism still here and there has a lonely representative, you strongly feel that its voice is but a weak reverberation of a movement, whose mission has been fully completed.” “Henrik Ibsen, Et Dukkehjem. Skuespil i tre Akter. (Kjøbenhavn. Gyldendalske Boghandels Forlag),” Bergens Tidende 12, no. 294A & 295A (1879), http://ibsen.nb.no/id/11180390.0.
5.
See, e.g., the quote by Fredrik Petersen in Chap. 6.
6.
Amalie Skram, “A Reflection on ‘A Doll’s House’”, trans. May-Brit Akerholt, Dagbladet 12, no. 15 (1880), http://ibsen.nb.no/id/11186656.0. The full entry reads: “the Helmers of this world, who are bourgeois society’s individualised incarnation of self-righteous mercilessness, will continue to throw stones at the Noras throughout history, and society’s mob will likewise always probably assist them. From every quarter the stones will rain upon them. That is exactly how it has always been.”
7.
Neiiendam, III: 1878-1882, 58.
8.
Herman Bang, “Et Dukkehjem” paa Nationaltheatret (København: Ernst Bojesens Kunstforlag, 1880).
9.
Vullum. See also Amalie Skram , “Each character is a genuine type, originated in its own generation, sprung out of the times, and fallen as a ripe fruit of its own naturalistic and psychological necessity” (Skram).
10.
Robert Neiiendam, Det Kongelige Teaters Historie, vol. II: 1875-1878 (København: Pios Boghandel, 1921), 62.
11.
See, e.g., Edvard Brandes, Dansk Skuespilkunst (København: P. G. Philipsens Forlag, 1880), 233, where Brandes characterizes Hennings’s roles as Nora and before that Signe in Bjørnstjerne Bjørnson’s En Fallit (A Bankruptcy, 1874) as reactions against the ingénue.
12.
Poulsen was also well known for his role as the young lover Leander in Holberg’s Mascarade (Masquarade, 1724).
13.
C. Thrane, “Premiere of A Doll’s House at the Royal Theatre, trans. May-Brit Akerholt,” Illustreret Tidene 21, no. 1057 (1879), http://ibsen.nb.no/id/11183655.0.
14.
Ibid.
15.
The piano as a symbol of bourgeois aesthetics and a dramaturgical device is also found in the later plays Hedda Gabler (1891) and John Gabriel Borkman (1896). In all three plays, the piano is connected to dance (Nora’s tarantella in A Doll’s House, the “wild dance” that Hedda plays in Hedda Gabler and the Danse Macabre performed by Frida Foldal in John Gabriel Borkman) and in all three plays the piano functions as a means of breaching the order of the household, being connected to acts of desperation and imminent death.
16.
The details of the mise-en-scène are outlined in the small Maskinmesterbog (The Danish National Archives: Royal Danish Theatre, season 1876/77-1879/80), 415-21); see Fig. 7.1. The set used in the Danish Royal Theatre’s production reused the set from the staging of Ibsen’s Pillars of Society from 1877, ibid., 187-95. The set of the Swedish production further included figures of Goethe , Schiller and Ole Bull, suggesting “an idealist discourse.” See Ingeborg Nordin Hennel, “En Stjärnskådespelarska,” in Ny Svensk Teaterhistoria, ed. Tomas Forser, et al. (Hedemora: Gidlund, 2007), 228.
17.
Vullum.
18.
Compare Nora, “That secret is all my pride and joy” (26). All quotes from A Doll’s House refer to James McFarlane’s translation, Henrik Ibsen, A Doll’s House [Et Dukkehjem], trans. James Walter McFarlane, Four Major Plays (Oxford; New York: Oxford University Press, 2008). References to the Norwegian text refer to Et Dukkehjem, Historisk-kritisk ed., Henrik Ibsens Skrifter (Oslo: Aschehoug, 2008).
19.
As Carol Tufts has put it, “Nora is not the only character engaged in self-dramatization, driven by the need to see an idealized image of herself reflected back to her in the eyes of others.” “Recasting “A Doll House”: Narcissism as Character Motivation in Ibsen’s Play,” Comparative Drama 20, no. 2 (1986): 153.
20.
Four Major Plays. A Doll House, the Wild Duck, Hedda Gabler, the Master Builder, trans. Rolf Fjelde (New York: New American Library of World Literature, 1965).
21.
A portrayal of Aladdin as a “lucky child” is, for example, found in Hans Christian Andersen ’s novel Lucky Peer (Lykke-Peer, 1870): “A word thrown out was the seed of thought. She, the young, pretty, innocent girl, had spoken the word—Aladdin. Our young friend was a child of fortune like Aladdin; it shone within him.” See Hans Christian Andersen, Lucky Peer (1870), trans. by Jean Hersholt, http://www.andersen.sdu.dk/vaerk/hersholt/LuckyPeer_e.html.] In Henrik Pontoppidan’s novel of the same title (Lykke-Per, 1898–1904), the portrait of the child of fortune was rendered from a more skeptical, problematizing point of view.
22.
The key word “det vidunderlige” (or its other forms such as det vidunderligste, vidunderligt), often translated as “the wonderful” or “the miraculous,” is repeated throughout the play and is intrinsically connected to Nora. See Egil Törnqvist, Ibsen, a Doll’s House (Cambridge; New York, N.Y.: Cambridge University Press, 1995), 56f., for a discussion of the problems of translation. I will consistently use the translation ”the wonderful.”
23.
Herman Bang, Realisme og Realister: Kritiske Studier og Udkast, Danske Klassikere (København: Det danske Sprog- og Litteraturselskab, Borgen, 2001), 360.
24.
Georg Brandes, “Adam Oehlenschläger: Aladdin”, in Samlede Skrifter (Kjøbenhavn: Gyldendalske Boghandels Forlag (F. Hegel & Søn), 1899), 219, my emphasis. Brandes cites Hermann Petrich, Drei Kapitel vom romantischen Stil (Osnabrück: Otto Zeller, 1964). as his source. In Chapter 3, “Die Mystik des romantischen Stils,” Petrich meticulously accounts for the statistical prevalence of “die directe Bezeichnung des Wunderbaren” (101), e.g., Wunder-, Zauber-, Geheimnis-, Seltsam-, in Romantic literature.
25.
Nora’s father is a significant, imagined character who becomes a parallel of Helmer. Thus, the father’s dubious qualities, which Helmer accuses Nora of having inherited—“No religion, no morals, no sense of duty” (76)—are also assigned to Helmer.
26.
Heiberg, “Skuespilkunsten,” 160. My emphasis.
27.
See, e.g., the aforementioned Petersen.
28.
G., “Henrik Ibsen: Et Dukkehjem, “ Bergens Aftenblad 1, no. 1 (1880), http://ibsen.nb.no/id/11180486.
29.
Søren Kierkegaard, Either/Or [Enten/Eller], trans. Alastair Hannay, Penguin Classics (London: Penguin Books, 1992), 491.
30.
P. Hansen, ‘“Et Dukkehjem” og Recensenterne’, Kristianssands Stiftsavis og Adressekontors-Efterretninger, 91, no. 16, 17 and 18A, 7, 10 and 12 February (1880).
31.
“Henrik Ibsen, Et Dukkehjem. Skuespil i tre Akter. (Kjøbenhavn. Gyldendalske Boghandels Forlag)”.
32.
Bang, “Et Dukkehjem” paa Nationaltheatret.
33.
Ole Nørlyng, “The Finishing Touch: The Saltarello as a Pictorial Motif,” in Of Another World: Dancing between Dream and Reality, ed. Monna Dithmer (Copenhagen: Museum Tusculanum, 2002), 90.
34.
Østerud, Theatrical and Narrative Space (Aarhus: Aarhus University Press, 1998), 58, also mentions Lady Hamilton’s veil dances “among which the tarantella was the most famous.”
35.
Quoted in Moi, 124.
36.
Angul Hammerich, “Musikforeningens Historie 1836-1886,” in Festskrift i Anledning af Musikforeningens Halvhundredaarsdag (Kjøbenhavn: Udgivet af Musikforeningen, 1886), 202.
37.
See Knud-Arne Jürgensen, The Bournonville Tradition, vol. I–II (London: Dance Books, 1997), II.
38.
Ibsen, Et Dukkehjem, 7K, ”Innledning”, 244.
39.
For a registration of the repertoire of the Royal Danish Theatre, see Niels Jensen, http://www.litteraturpriser.dk/.
40.
Jürgensen, I–II, II, 156.
41.
In his memoirs Bournonville recalls how he composed the first three reprises of the tarantella and while humming this tune had devised most of the ballet Napoli. August Bournonville, Mit Teaterliv, 2 vols., vol. I–II (København: Thaning & Appel, 1979), I, 197. Bournonville further describes how he watched and later participated in a performance of the tarantella in Naples, ibid., 200.
42.
Ibid., I, 203.
43.
See ibid., I, 200f. for a description of the Whitsun festivities, including the dancers who have “promised the holy mother a tarantella, reaching from Monte Virgine right to Santa Lucia.”
44.
Brandes, Dansk Skuespilkunst, 251.
45.
Bang, Vekslende Themaer, quoted in Jürgensen, I–II, I, 136.
46.
“Anmeldelse av Et Dukkehjem ved Christiania Theater,” Morgenbladet 62, no. 20B, 21A (1880), http://ibsen.nb.no/id/11156157.0.
47.
“Urpremieren på Et Dukkehjem ved Det Kongelige Teater,” Aftenposten 20, no. 298A (1879), http://ibsen.nb.no/id/11112796.0.
48.
Henrik Rung, Tarantella af “Gioacchino” : Indlagt i Henrik Ibsens “Et Dukkehjem”, (København: Wilh. Hansen, 2007), http://img.kb.dk/ma/bournon/df168-02.pdf.
49.
Erling Møldrup, “Henrik Rung—komponist og guitarvirtuos,” in Guitaren: et eksotisk instrument i den danske musik (Klampenborg: Edition Kontrapunkt, 1997), 100-02.
50.
Incidentally, Betty Hennings , then Schnell, played the role of the boy Ernesto in the 1866 revival of Gioacchino.
51.
Heiberg, Et Liv, II–III, Vol. II, 42. The tarantella was not only popular as a dance for the stage, but also as a social dance form.
52.
Thomas Overskou, Den danske Skueplads, i dens Historie, fra de første Spor af danske Skuespil indtil vor Tid, 7 vols., vol. V (Kjøbenhavn: Thieles Bogtrykkeri, 1864), 674.
53.
Østerud, 56, also touches upon the metatheatrical implications.
54.
Bang, Realisme og Realister: Kritiske Studier og Udkast, 363.
55.
McFarlane translates “alfepige” as “elfin child,” an expression which escapes the intertextual reference to Bournonville ’s ballet La Sylphide and Heiberg ’s play Elverhøi, both well known and popular in performance.
56.
Brandes, “Henrik Ibsen’s ‘A Doll’s House’ at the Royal Theatre.”
57.
See, e.g., Ernesto De Martino, The Land of Remorse [La terra del rimorso], trans. Dorothy Louise Zinn (London: Free Association, 2005), a study based on a series of ethnological studies in southern Italy.
58.
See Franco Perelli, “Some More Notes about Nora’s Tarantella,” in Ibsen and the Arts : Painting, Sculpture, Architecture : Ibsen Conference in Rome, 2001, 24-27 October, ed. Astrid Sæther (Oslo: Centre for Ibsen Studies, University of Oslo, 2002).
59.
Vilhelm Bergsøe, Iagttagelser om den italienske Tarantel og Bidrag til Tarantismens Historie i Middelalderen og nyere Tid, Særskilt Aftryk af “Naturhistorisk Tidsskrift”. (Kjøbenhavn: Thieles Bogtrykkeri, 1865), 87.
60.
Ibid., 158.
61.
Ibid., 101.
62.
In fact, the tarantella would still be very much in existence a century later; see De Martino.
63.
Cf. Skram. See above.
64.
Törnqvist, 66. See also Laura Caretti, “Ibsen and Raphael,” in Ibsen and the Arts: Painting, Sculpture, Architecture : Ibsen Conference in Rome, 2001, 24-27 October, ed. Astrid Sæther (Oslo: Centre for Ibsen Studies, University of Oslo, 2002). Hennel writes of the Sistine Madonna that “[t]he picture established a symbolic link between the archetype of motherhood and Nora/the mother on stage. But it was a link that signaled an irksome conflict between idealism and reality, between tradition and modernity.” Hennel, 228.
65.
Fritz Wefelmeyer, “Raphael’s Sistine Madonna: An Icon of the German Imagination from Herder to Heidegger,” in Text into Image: Image into Text, ed. Jeff Morrison and Florian Krobb, Internationale Forschungen Zur Allgemeine Und Vergleichenden Literaturwissenschaft (Amsterdam: Rodopi, 1997).
66.
Ibsen had visited the museum in 1852, and later lived in Dresden from 1868 to 1875. Incidentally, Dresden was also where he had first met Georg Brandes in 1871.
67.
For an account of the Sistine Madonna in its Danish context, see Willy Frendrup, “Rafaels Sixtinske Madonna og dens indflydelse i Danmark,” in Årbog for Svendborg & Omegns Museum 2001, ed. Esben Hedegaard (Svendborg: Museumsforeningen, 2002).
68.
See Bournonville, I–II, Vol. I, 203ff. Here Bournonville also compares “kunstnerfyrsten” (the prince of art) Thorvaldsen to Raphael; ibid., 210.
69.
Described first in Wilhelm Heinrich Wackenroder’s Herzensergiessungen eines Kunstliebendes Klosterbruders (1796). See Hans Belting, The Invisible Masterpiece, trans. Helen Atkins (London: Reaktion, 2001).
70.
Hans Christian Andersen, Skyggebilleder (København: Det danske Sprog- og Litteraturselskab, Borgen, 1986), http://adl.dk/solr_documents/andersen01val-workid54103#kbOSD-0=page:92. 92f.
71.
Heiberg, Et Liv, II–III, Vol. III, 68f. The painting of Holbein to which Mrs. Heiberg refers is The Madonna with Basler Mayor Jakob Meyer (1526–1528) by Hans Holbein the Younger, which was displayed in the same gallery as the Sistine Madonna. It was later revealed to be a copy of the original painting found in Darmstadt.
72.
Arthur Schopenhauer, Parerga and Paralipomena: Short Philosophical Essays, trans. E. F. J. Payne, 2 vols., vol. II (Oxford, New York: Clarendon Press, Oxford University Press, 2000), 655.
73.
Helmer’s expression “det forfærdeligste” is the antonym of “det vidunderligste” (the most wonderful), which neither McFarlane’s “How terrible” (77) nor Fjelde’s “Maybe the worst” (106) fully grasps.
74.
Belting, 65.
75.
Brandes, Dansk Skuespilkunst, 235.
76.
The woman who was the inspiration for Nora, Norwegian-born Laura Kieler (1849–1932), married and living in Denmark, was also a woman who was scandalized, not only by the discovery of the illegal loan that she obtained to finance a journey to Italy to help her husband recover from tuberculosis, but also by first being forced by her husband into a separation before he had her committed to a mental asylum. See Joan Templeton, Ibsen’s Women (Cambridge, New York: Cambridge University Press, 2001), 135ff.
77.
See Terje Mærli, “Makt og avmakt. Om den komplekse uhyrligheten i noen av Ibsens kvinneroller,” in Ibsen in the Theatre, ed. Sven Åke Heed and Roland Lysell (Stockholm: STUTS, Stiftelsen för utgivning af teatervenskapliga studier, 2009).
78.
Adam Oehlenschläger, “Rafaels Madonna i Dresden,” in Oehlenschlägers Poetiske Skrifter, ed. F. L. Liebenberg (Kjøbenhavn: Selskabet til Udgivelse af Oehlenschlägers Skrifter 1860), 267-70.
79.
Belting, 52f.
80.
The figure of St. Barbara was also of interest in the contemporary aesthetic context. Thus writes Nietzsche : “Let the old, who are accustomed to prayer and worship, here revere something suprahuman, like the venerable greybeard to the left of the picture: we younger men, so Raphael seems to cry to us, shall go along with the lovely girl on the right, who with her challenging and in no way devout expression says to the viewer: ‘This mother and child—a pleasant, inviting sight, isn’t it?’” “The Wanderer and His Shadow,” in Human, All Too Human, Texts in German Philosophy (Cambridge: Cambridge University Press, 1986), §73, 328.
81.
See Gaston Duchet-Suchaux, The Bible and the Saints, ed. Michel Pastoureau, trans. David Radzinowicz-Howell, Flammarion Iconographic Guides (Paris: Flammarion, 1994).
82.
Gustav Wied, Knagsted (København: Aschehoug, 2006).
83.
Sigmund Freud, “Fragment of an Analysis of a Case of Hysteria,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud (London: Hogarth Press, 1975), 96ff.
84.
Brandes, “Henrik Ibsen’s ‘A Doll’s House’ at the Royal Theatre.”
85.
Bang, Realisme og Realister: Kritiske Studier og Udkast, 359, 60f.
86.
John Northam, Ibsen’s Dramatic Method, 2nd ed., Scandia Books (Oslo: Universitetsforlaget, 1971), 19ff.
87.
Kathleen Stokker, Keeping Christmas: Yuletide Traditions in Norway and the New Land (St. Paul, Minn.: Minnesota Historical Society Press, 2000), 64.
88.
Joe Perry, Christmas in Germany: A Cultural History (Chapel Hill: University of North Carolina Press, 2010), 22.
89.
Ibid., 27.
90.
Georg Brandes, “Henrik Ibsen,” in Creative Spirits of the Nineteenth Century (New York: Thomas Y. Crowell, 1923), 390.
91.
“Adam Oehlenschläger,” 242.
92.
Brandes, “Henrik Ibsen’s ‘A Doll’s House’ at the Royal Theatre.”

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Ulla Kallenbach

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Kallenbach, U. (2018). A Doll’s House: Performing the Cultural Imaginary. In: The Theatre of Imagining. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-76303-3_7

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DOI: https://doi.org/10.1007/978-3-319-76303-3_7
Published: 14 July 2018
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-76302-6
Online ISBN: 978-3-319-76303-3
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