Nora: A Doll’s House

Photo: Krafft Angerer
by Henrik Ibsen
in an adaptation by Robert Borgmann
based on the translation by Hinrich Schmidt-Henkel
Depot 1
24 OCT 2020
In her acclaimed manifesto WOMEN & POWER, the British ancient historian Mary Beard traces female disempowerment and shows that the desire to silence women goes back to »thousands of years of practice«. According to her, it has been passed on from antiquity and it is still influential that the public speech is perceived as a »defining attribute of maleness«. Women are silenced.
Nora, however, rebels. Henrik Ibsen's contemporaries found it scandalous that his protagonist leaves her husband and children at the end. After the first performance, the author had to rewrite the ending of the play for the German audience, and it was not until 1880 that it could be performed with the original ending.

Ibsen reflects the contradictions of his time. When he began working on his play, he noted, »A woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws framed by men and with judicial system that judges feminine conduct from a masculine point of view«. In the end, his heroine finds a way; she makes, against all conventions, her own decision.
direction / stage design & musik: Robert Borgmann
stage lighting & video: Carsten Rüger
dramaturgy: Beate Heine