How Would You Perform the Role of Nora in the Opening Section of the Play in Order to Achieve Your Preferred Effects for the Audience? (a Doll's House)
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- Category: English: Plays
- Date Submitted: 12/08/2011 10:36 AM
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How would you perform the role of Nora in the opening section of the play in order to achieve your preferred effects for an audience?
In the opening section of “A Doll’s House,” I would enter shivering from out of the brumal cold of a Norwegian Winter in a thick, but stylish coat, which I would doff to reveal an all-encompassing dress of the period with ivy green ornate frills to indicate Nora’s primary purpose of appearing pretty. Around my neck would be a velvet ribbon tied tightly which, along with my complete skin coverage and taut corset, would emphasise the relentless social pressures of the 18th century as well as the constriction Nora feels in her marriage; however the stiffness of the dress would allow some freedom of movement to scurry about like the “squirrelkin” she is nicknamed in the play but would still keep my posture straight like that of an atypical woman of the time. The green motif of the outfit would be an allusion to her natural, animalistic qualities of a “songbird” and “featherbrain” as it is a colour tied closely to nature. My hair would be scraped back in a bun, in a neat manner to show social status, but would have some softening tendrils splayed from out of the green ribbon to express Nora’s childlike character, with a smile on my face to show how she is happy with her illusion of marriage in Act 1.
When Helmer asks: “(off) Is that my little songbird piping away out there?” with a superficial joviality to his tone I would act startled, hunching over myself, tucking my shoulders down over my centre of gravity, where I would bury the macaroons as if I’m trying to hide them to convey to the audience that Nora is anxious about being discovered with the contraband confectionery to start the audience wondering why she’s nervous about her husband’s addressing her. After a few seconds I would straighten up, opening my body language a bit more by allowing the corset to set my back straight so I have correct posture of the time, slip a...
In the opening section of “A Doll’s House,” I would enter shivering from out of the brumal cold of a Norwegian Winter in a thick, but stylish coat, which I would doff to reveal an all-encompassing dress of the period with ivy green ornate frills to indicate Nora’s primary purpose of appearing pretty. Around my neck would be a velvet ribbon tied tightly which, along with my complete skin coverage and taut corset, would emphasise the relentless social pressures of the 18th century as well as the constriction Nora feels in her marriage; however the stiffness of the dress would allow some freedom of movement to scurry about like the “squirrelkin” she is nicknamed in the play but would still keep my posture straight like that of an atypical woman of the time. The green motif of the outfit would be an allusion to her natural, animalistic qualities of a “songbird” and “featherbrain” as it is a colour tied closely to nature. My hair would be scraped back in a bun, in a neat manner to show social status, but would have some softening tendrils splayed from out of the green ribbon to express Nora’s childlike character, with a smile on my face to show how she is happy with her illusion of marriage in Act 1.
When Helmer asks: “(off) Is that my little songbird piping away out there?” with a superficial joviality to his tone I would act startled, hunching over myself, tucking my shoulders down over my centre of gravity, where I would bury the macaroons as if I’m trying to hide them to convey to the audience that Nora is anxious about being discovered with the contraband confectionery to start the audience wondering why she’s nervous about her husband’s addressing her. After a few seconds I would straighten up, opening my body language a bit more by allowing the corset to set my back straight so I have correct posture of the time, slip a...