Download presentation on Ibsen doll house. Presentation "Making a Dollhouse"

Composition

The first drama in which the new principles were most fully displayed was A Doll's House. The year 1879, when it was written, can be considered the year of the birth of the "drama of ideas", that is, a realistic socio-psychological drama with intense ideological clashes. In A Doll's House, the problem of women's rights develops into the problem of social inequality in general, as the tragedy of Nora turns out to be a certain measure repeated on life's road and Krogstad, and Christini. The action, which began with the reproduction of the life-play of the main character-doll in a dollhouse, is unexpectedly projected into the past, a retrospective composition creates an opportunity to penetrate into the real essence of social and moral relationships, hidden from prying eyes, when a woman is afraid to admit that she is capable of for independent noble deeds- saving a sick husband and protecting a dying father from unrest - and state laws and official morality qualify these actions only as a crime.

The forged signature on the bill represents the "secret" characteristic of Ibsen's method. The elucidation of the social and moral essence of this "secret" is the real content of the drama. The conflict arose eight years before the start stage action but was not realized. The events that pass before our eyes turn into a clarification of the essence of the disagreement that arose in the past. Official views and natural human needs are in conflict.

However, the finale of the drama does not provide, as was typical of dramaturgy before Ibsen, the denouement of the conflict: Nora leaves her husband's house, not finding a positive solution, but hoping to calmly figure out what happened and realize it. The incompleteness of the action is emphasized by the fact that Helmer, her husband, remains in anticipation of the "miracle of miracles" - the return of Nora, their mutual rebirth.

The incompleteness of the action, the “open ending” is a consequence of the fact that Ibsen does not conflict with individual differences that can be removed within the framework of dramatic time, but the playwright turns his works into a forum where major problems, which can be solved only by the efforts of the whole society and not within the framework of artwork. A retrospective drama, unlike a drama with a conventional composition, is a culmination that has arisen after the events that preceded it, and new events will follow it. characteristic feature Ibsen's dramas are the transformation of inherently social disagreements into moral ones and their resolution in psychological aspect. Attention is focused on how Nora perceives her actions and the actions of others, how her perception of the world and people changes. Her suffering and heavy insight become the main content of the work.

The desire to reconsider all modern views from the point of view of humanity turned Ibsen's dramas into whole line discussions. Contemporaries claimed that the new drama began with Nora's words to Helmar: "You and I have something to talk about." Symbolism will play a significant role in Ibsen's psychological drama. The little woman rebels against society, she does not want to be a doll in a doll house. The name of the play is also symbolic - "A Doll's House".

The symbolism is supported by a whole system of "games": Nora plays with the children, with her husband, with the doctor, and they, in turn, play with her. The game concerns the rehearsal of the tarantella and the story of macaroons, etc. All this prepares the reader and the viewer for the final dialogue between Nora and Helmar, where she reproaches her husband and father and the whole society for turning her into a toy, and she made her children toys, continuing the bad tradition of common play. The "doll house" symbol indicates main idea drama - on the desolation of the human in man.

The fact that a woman left her family (this is how the play ends) was considered a scandal in those days. Ibsen's play started a discussion that moved from the stage to the auditorium. The playwright achieved that the viewer became his "co-author", and his characters solved the very problems that worried viewers and readers. In Ghosts, Ibsen shows the tragic consequences of the fact that the heroine did not find the courage to rebel, like Nora, against generally accepted moral laws.

The retrospective composition subordinates the entire action of the drama to the comprehension of what happened. Mrs Alving, main character drama, understands that ideals are outdated, laws have outlived theirs, but subjugation to them is still
considered a moral obligation. “I only have to pick up a newspaper,” she says, “and I can already see how these people from the grave are wandering between the lines. So, in fact, the whole country is teeming with such ghosts ... ". "Ghosts" in this drama become the definition of all old beliefs and laws that have outlived their own.

This symbol is designed to brand the enemy human personality rules, presented in the title of the play and repeatedly beaten in the work itself. Here, thoughts about ideals are not transferred to the finale of the drama, as in A Doll's House, but arise in the process of the development of the action, which indicates the improvement of the writer's skill. Due to the fulfillment of duties consecrated by the church, Mrs. Alving tarnished the happiness, talent and health of her son, the artist Oswald. Honest and noble people who did not find the courage to fight, perish under the rule of "ghosts". But Ms. Alving is convinced that bold thoughts take possession of the minds of more and more people, the blunt power of old dogmas is coming to an end.

The conflict again, as in "A Doll's House", has not been exhausted: the public attitude and moral assessments, those who have adapted to them triumph, those who are able to realize the unnaturalness of the legitimized suffer. Only one solved conflict situation: Oswald's statement helped to reveal the essence of anti-human landmarks, a new manifestation of his illness emphasized the tragedy of the situation. Ibsen's drama, which depicts hereditary disease Oswald, appeared during the heyday of Western European naturalism and was repeatedly credited to the works of this literary direction.

However, Ibsen uses the physiological - illness - only for the most vivid and obvious manifestation of a social pattern specific to realism: compliance with inhumane laws leads to physical and mental degradation of the individual, the hardest punishment for a mother is to see that she has done badly to her son with her weakness.

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MHK presentation on the topic: Henrik Ibsen

Completed by: Lukoyanova Marina, 11 class

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Famous Norwegian playwright. One of the founders of the national Norwegian theater. Romantic dramas based on plots Scandinavian sagas, historical plays. Philosophical and symbolic dramatic poems "Brand" (1866) and "Peer Gynt" (1867). The sharply critical social realistic dramas A Doll's House (The Burrow, 1879), Ghosts (1881), Enemy of the People (1882).

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Henrik Ibsen was born on March 20, 1828 in the small town of Skien, on the shores of Christiania Bay (southern Norway). He comes from an ancient and wealthy Danish family of shipowners who settled in Norway around 1720. Ibsen's father, Knud Ibsen, was active in a healthy nature; mother, a German by birth, the daughter of a wealthy Skien merchant, was especially strict, dry in disposition and extremely pious. In 1836, Knud Ibsen went bankrupt, and the life of a wealthy, well-established family changed dramatically. Former friends and acquaintances gradually began to move away, gossip, ridicule and all kinds of hardships began. Human cruelty was reflected very hard on the future playwright. And so by nature unsociable and wild, he now began to seek solitude even more in hardened.

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Henrik Ibsen studied at an elementary school, where he amazed teachers with excellent compositions. In the 16th year of his life, Henryk had to be apprenticed to a pharmacy in the nearby town of Grimstadt, with a population of only 800 inhabitants. In the pharmacy where Henrik Ibsen stayed for 5 years, the young man secretly dreamed of further education and obtaining a doctoral degree. He turned against himself public opinion town with its revolutionary theories, free-thinking and harshness. Finally, Ibsen decided to leave the pharmacy and went to Christiania, where he had to lead a life full of all sorts of hardships at first. Ibsen founded the weekly newspaper Andhrimner in 1851, which lasted for several months. Here Henryk placed several poems and a 3-act dramatic satirical work Norma.

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Henrik Ibsen's first play, more psychological than the historical drama Catilina, dates back to 1850. In the same year, Ibsen achieved that his tragedy "Kamphojen" was staged. Since then, he began to write play after play, the plots for which he took from the history of the Middle Ages. "Gildet pa Solhoug", which was shown in Christiania in 1856, was the first of Ibsen's dramas to have a significant success.

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The plays of Henrik Ibsen became known in Europe relatively recently, but the fame of this writer grew with amazing speed, and in last years critics talking about peaks modern literature, mention the Norwegian playwright next to the names of Tolstoy and Zola. At the same time, however, with fanatical fans, he has equally zealous opponents who consider his success a painful phenomenon.

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His plays are wonderful, as well as impeccable examples of stage technique. Henrik Ibsen returned classical forms to modern drama - the unity of time and place, and as for the unity of action, it was replaced by the unity of intention, the internal branching of the main idea, like an invisible nervous system penetrating into every phrase, almost every word of the play.

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Henrik Ibsen 1828-1906