Form and Structure IbsenÃ£ÂÂ»s Ã¯Â¼ÂA Dolls HouseÃ£ÂÂ» has two strands to the main plot; one being Nora and TorvaldÃ£ÂÂ»s relationship (linking Krogstad) and the other, an underlining sub-plot involving Christine and Krogstad.
With in the structure of the play Ibsen uses this parallel situation to highlight certain aspects of each character, for example the sobriety of Christine to the careless child like manner of Nora.
Ibsen uses many different styles of from and structure to make sure the audience is grasped by his play. He himself is a naturalistic writer which is witnessed in the composition .
He calls his play Ã¯Â¼Âa tragedy of the contemporary ageÃ¯Â¼Â as he was one of the first to write about the lives of modern ordinary people in prose, though in fact there are many aspects to the play that contain other theatrical devices.
TRADITIONAL TRAGEDY In classical tragedy the protagonist has a intrinsically tragic flaw that will inevitably lead to his/her death (this could be the death of the old Nora, but generally in modern tragedy the flaw does not always lead to death and the hero is usually the victim of corruptions and restrictions in his/her society) On stage during the period which makes change, the character displays a side of the personality that the audience has never seen, such as Nora becoming mature and sensible.
THE WELL MADE PLAY Exposition - coincidence - revelation - resolution.
One of IbsenÃ£ÂÂ»s most shocking strategy in the text is his apparent indifference to the use of the widely accepted Ã¯Â¼Âwell made playÃ£ÂÂ», though in fact the first and third orders of the WMP can not be ignored (unless the audience stay uninformed and ignorant though out the first and seconded act) and are utilized by Ibsen in a way any other play...