It’s been said previously that Ibsen’s set directives at the beginning of A Doll’s House simply don’t work. Just to prove them wrong (or possibly right!), I decided to block up a set from his directives, which, in the translation used by Project Gutenberg, reads as follows:
A room furnished comfortably and tastefully, but not extravagantly. At the back, a door to the right leads to the entrance-hall, another to the left leads to Helmer’s study. Between the doors stands a piano. In the middle of the left-hand wall is a door, and beyond it a window. Near the window are a round table, arm-chairs and a small sofa. In the right-hand wall, at the farther end, another door; and on the same side, nearer the footlights, a stove, two easy chairs and a rocking-chair; between the stove and the door, a small table. Engravings on the walls; a cabinet with china and other small objects; a small book-case with well-bound books. The floors are carpeted, and a fire burns in the stove.
From this, my sketch (which would probably work in most performance spaces, assuming they’re not too unusual — in which case, you should be used to having to butcher directives in order to get a working set!):
Of course, I’m completely unfamiliar with the design conventions of the period (speaking generally, not of stage and set construction), so chances are furniture details are incorrect, as (most likely) is the style of the stove (stage left) and various other elements in the room. Notably, this block and sketch have been worked from a translation of the original text, so some elements may be different or incorrect due to misunderstanding after translation: The McLeish translation (arguably far less eloquent and watered down!) dictates a number of things different — the most significant being the description of “a small table” (as above) instead as “a side-table”.
I’d chosen to ignore the directive to place that furniture behind the stove, simply because it was simpler not to, and I’d forgotten about the bookcase (besides, there aren’t any compelling reasons to follow this directive, if I were to follow the Gutenberg or Archer version only — “a small table” may be placed anywhere, however the McLeish translation states “a side-table”, which requires a wall…).
For the record, I’m perfectly well aware I can’t sketch, so don’t bother reminding me! Having said that, there seems to be a distinct lack of set designs around that adhere to Ibsen’s directives, so perhaps this may be useful to someone. Oh, and this is just about proving a point, anyway. ;)
hey, your sketch of the set was helpful as i cannot sketch it for my life and
no one will do it to Ibsens directions. As for design conventions, it’s generally
suppose to be Victorian design — the sofa’s and chairs have frilly edges, the tables
have table cloths and flowers etc it’s very feminem.
cheers,
Lisa
Thanks, glad it was helpful :)
I didn’t want to assume it would be Victorian in nature on the basis of Ibsen’s locale: whilst it is safe to assume that would be true in some parts of Europe, I lacked (lack) an understanding of the customs and practices in Norway such that this should be presumed to carry over… though there are self-evident social links in terms of societal values.
Thanyou very much for you sketch of the dolls house — i was asked to prodcue a sketch for an exam and i found you sketch very helpful in produceing my design — loved the way you made the stage evenly and used great stage space!… it was very helpful and appreciate the effort
This sketch was great, I am a student set designer and this is a great interpretation strait from Ibsen’s directions, very easy to adapt and very straitforward.
Gwen
Thanx this really helps for a school project
thank you very much. It gave me a better idea of how to play around with the furniture as I am not good at imagining things until I have something to work with
heyy thats sooo kl!! thanx soo much for actually botherin to understand it.. and make it available for us!! thank you soo much xxxxxx
This is the best I have found, due to it having 2 views and being based on Ibsen’s origional directions
This helped confirm our ideas with placement. Thanks!
I need to know where the doors lead to, other than this it is excellent.
I’m sorry, but this doesn’t work either. The window should be further downstage from the door and needs to be clear of furniture because Mrs. Linde goes to it in Act I per stage directions. Stage directions aren’t always followed is because they generally come from the notes taken from the first production of the play and aren’t considered set in stone. Requirements should come from the written script, although stage directions can be helpful owing to the fact that the playwright is often contributing to the first production. What bothers me is placement of the Christmas tree in Act II. It is described as being in the corner. Also, by the by, the McGuiness translation includes the word “stage” so that the left and right walls are stage left and stage right.
In the translation I am reading, it calls for Nora to get under the table…it looks like she might have a little trouble getting under either of those. lol.
But, hey, it looks great and I’m so glad you posted this.
HI as a set and costume designer .. I had always used The Doll’s House as a problem set design example to students , A number of years ago I was asked to do a production design for a tour of the play . We were sent a production picture (a steel engraving) from the original set design, this was enormously revealing , because the two rear doors are actually engraved but clear glass .. this solves the fact that Nora is able to see the letter at the front door ( ie through a closed door) and the staircase revealed at the back beyond the stage left door is a spiral one . None of this being revealed in any of the translations of the play and of course it arrived after I had designed the set and it was too late to factor it all in… such is life .. Good Luck