مسرحيه عن a dolls house

[Dream Life]

السلام عليكم

كيفكم بليز الله يجزاكم الجنه
ساعدوني عندي مسرحيه عنa dolls house
وابي فيها جانبthe naturlistic revolt: realistic naturlism revolution
الله يجزاااااااااااااااااااااكم الجنه وربي حاسه انو هذا الاسي راح يجيبه بالامتحان-- وذكرت انو قال فيه موفي بنفس المسرحيه مالقيت اتمني تلاقونه
سااااااااااااااااعدوني



ولكم دعاااااااااااائي وشكري

[علاء]

ما حصلت الي بغيتي ....لكن ممكن ها الرابط يفيدك بشي

http://en.wikipedia.org/wiki/A_Doll's_House#Critics


http://www.sparknotes.com/lit/dollhouse


http://www.gradesaver.com/classicnot...es/dollshouse/


والعذر والسموحة

[•0سحآبة خِير0•]

Realism and Naturalism - Ibsen and 'The Doll's House'

Introduction



The turn of the century saw a move towards selectivity rather than generalisations in the work of modern dramatists


The emphasis was on human psychology and the relationships between men and women


Realists such as Henrik Ibsen favoured work which reflected social problems whilst Emile Zola, a naturalist writer, advocated scientific observation (hence the rise of naturalism in theatre) where life was revealed indiscriminately in a non-selective, photographic way


In short, drama was no longer represented in artificial and contrived ways - melodramatic and romanticised approaches to dramatic form was rejected.


Realism fuelled by advances in modern science and rational thinking (deduction and explanation). The work of Charles Darwin (1859) gave impetus to the dramatists with its focus on environment and heredity.

Distinctions between realism and naturalism


Let' s consider the differences between the work of the realists (e.g Ibsen) and those of the naturalists (e.g Chekhov and Zola). We can do this best by considering two speeches from associated plays. (reference: 'Acting in Person and in Style', 1980)


For eight years I've been waiting patiently; I knew, of course, that such things don't happen every day. Then, when this trouble came to me - I thought to myself; Now! Now the wonderful thing will happen! All the time Krogstad's letter was out there in the box, it never occurred to me for a single moment that you'd think of submitting to his conditions. I was absolutely convinced that you'd defy him - that you'd tell him to publish the thing to all the world; and that thenة

(Nora to Torvald. 'A Doll's House' by Henrik Ibsen)

Not only in two or three hundred years but in a million years of life will be just the same; it does not change, it remains stationary, following its own laws which we have nothing to do with or which, anyway fly backwards and forwards and whatever ideas, great or small, stray through their minds, they will go on flying just the same without knowing where or why. They fly and will continue to fly, however philosophic they may become; and it doesn't matter how philosophical they are so long as they go on flyingة

(Tusenbach 'The Three Sisters' by Anton Chekhov)


Nora's speech (realism)


In Nora's speech, the flow of words is orderly and selective, logical in intent


The lines are believeable and truthful although a little heightened


The character is inwardly motivated - this is a realistic speech




Tusenbach's speech (naturalism)


A closer representation to everyday, real life conversation with its uneven flow of cascading thoughts with at times a repetitious quality


Truthful and believeable with a use of silences and pause if so desired - this is a naturalistic speech.



The rise of Naturalism



Zola proposed the first naturalistic doctrine in 1873 in the introduction to his play Therese Raquin


Regarded man forming laws of human conduct through the powers of observation, analysis and classification


A rebellion against stereotyped formula of morality of the Romantic movement


Prescribed lifelike scenery, costumes and methods of acting 'a slice of life.'


Action on stage simplified and lifelike, characters psychologically motivated and physiologically correct in the way that looked and acted on stage

[•0سحآبة خِير0•]

Henrik Ibsen "established the contours of modern realistic drama," and his 1879 play, A Doll's House, "was a rallying point for international feminist demands for the vote and for other legal rights and protections for women."1

But in the same anthology, Worthen tells us that, "Because realistic drama usually sees that world ["the dominant political and ideological order"] as an all embracing 'environment'... its social themes don't finally lead to a call for social change."2

How can a play that "was a rallying point for international feminist demands" be an example of a type of theatre that cannot, by its very nature, "lead to a call for social change"?

Worthen's "paradox" is not a simple error. Rather, it underscores a common misunderstanding of the history of realism (and naturalism), as well as serious problems of contemporary theatre criticism. And while the subject here is theatre, similar problems exist in cultural criticism as a whole.

To begin, we need to define "realism" and "naturalism." According to British critic Bamber Gascoigne, "The meaning of `naturalism' is beyond dispute - it represents a style of theatre in which the stage setting, the dialogue of the characters and the performance of the actors seem `life-like'.... Naturalism reflects accurately the surface of life, whereas realism is concerned with the truth of the experience conveyed."3

Gascoigne's efforts to distinguish between naturalism and realism are pretty much a lost cause; few current writers, even academics, use the terms with his precision. Moreover, what we accept as naturalism changes over time.

Strictly speaking, naturalism need not be narrative, i.e. need not entail the telling of a story. If I were to perform on stage two hours of my sitting at this computer, it might well be "life-like," but it wouldn't generally be considered naturalism.

It should be kept in mind, too, that, as Raymond Williams points out in Drama from Ibsen to Brecht,4 naturalism (or realism) shouldn't be mistaken for "natural" or "real." An actor pretending to be a servant or a general, on a Russian estate at the turn of the century, in front of an audience going along for the ride ("suspending disbelief") is no more "real" than any other theatrical convention.

In The Triumph of Narrative, Canadian journalist Robert Fulford writes, Of all the ways we communicate with one another, the story has established itself as the most comfortable, the most versatile - and perhaps the most dangerous. Stories touch all of us, reaching across cultures and generations, accompanying humanity down the centuries. Assembling facts or incidents into tales is the only form of expression and entertainment that most of us enjoy equally at age three and age seventy-three.5

One need only watch television, go to a popular play or movie, or read popular novels to verify the truth of Fulford's statement. And this is not new: Oedipus Rex and Hamlet are, after all, stories; the most popular parts of The Bible have always been its stories. Of course, stories, like Hamlet and Bambi, don't have to be naturalistic.


Revolt and counter-revolt

Emile Zola is generally credited with the "invention" of naturalism in theatre:

The experimental and scientific spirit of the century will enter the domain of the drama, and in this lies the only possible salvation of the drama .... We must look to the future and the future will have to do with the human problem studied in the framework of reality. The drama will either die or become modern and realistic.6

Zola's essay was to become a kind of naturalistic manifesto, but if Zola proclaimed the revolution, Ibsen's A Doll's House embodied it: a commercial and, eventually, critical success, in which ordinary characters (not Gods or kings), amidst ordinary bourgeois furniture (not painted backdrops), conversed in ordinary language (not poetry) about more-or-less everyday problems.

For the next 20 years, through Anton Chekhov, the early works of August Strindberg, and the younger George Bernard Shaw (he died in 1950 at age 96), naturalism was the avant garde of its day - so avant garde that it shocked audiences (of course!) and required the invention of a whole new kind of acting. Before naturalism, star actors stood at centre stage (near the prompter's box and where the light was best) with lesser mortals spread out on either side. They faced the audience as they spoke, gesturing occasionally to indicate they were "really" speaking to a character beside them. Along comes naturalism and suddenly actors had to face each other and pretend the absence of the audience. They didn't like it.

with deep reading


GOOD LUCK

[Dream Life]

الله لا يحرمنا وجودكـــ يارب العالمين


سلمت يداك حبوبه الله يجزاك الجنه

[patient4ever]

لو سمحتوا بغيت منكم فكرة موجزة عن هذه المسرحية .......عاااااااااااااااااااا� �جل

[M.o_o.N]

أنا جاية بشرح مسرحية الكاتب النرويجي
Henrik ibsen

A Doll's House

تحكي هاذي المسرحية عن قصه عائله هيلمر المكونة من زوج اسمه تورفالد
و زوجه اسمها نورا
و ثلاثه أطفال
عايشين بسعاده و هناء
الرواية تحكي واقع المرأه و الزوجات في اوربا في ذاك العصر وكيف انهم كالدمى في الطاعه العمياء لأزواجهن
نورا ربه بيت و زوجها تمت ترقيته من قريب ليصير رئيس إداره بنك كبير و يزيد مدخوله و هم يعتبرون من الطبقه و الخامه الثرية
نورا تحب زوجها جدا و تطيعه بكل شي و أي رأي له هو رأيها وأي شي يقوله هو الصح و لا لها أي رأي أو سلطه قدامه و بالرغم من حبه لها الا انه يعتبرها شي حقه مقه :)
يعني ماتسوي اي شي بدونه و لا لها اي سلطه مهما كانت
المهم نورا لها ماضي من التضحية لزوجها
في بداية زواجهم تروفلد زوجها مرض مرض شديد و اكتئاب وخسر وظيفته و الدكتور نصحها تأخذه للريف الايطالي و كانت مفلسه و أرادت موافقه من أبوها زي الكفاله كذا على اقتراضها فلوس من البنك لكنه كان بعد مريض و بعدها بكم يوم توفى
حزنت كثير على والدها وأكثر على قله حيلتها ففكرت انها تزيف توقيع ابوها على الأذن و سوت هالشي و راحت البنك و استلمت القرض وسافرت به مع زوجها و قالت له انها ورثت هالفلوس من ابوها علشانة رجل ذو كبرياء مايرضى احد يصرف علية
و تم الشفاء و رجعت بلدها و صارت تسدد القرض ‏
الين ما صار زوجها رئيس البنك
في يوم من الأيام جأت لها صديقتها مسز ليندي زياره مفاجئه و هاذي ماشافتها من ايام الدراسه قعدوا يدردشوا سوا و انبسطوا و قالت صديقه نورا لها عن ظروفها الصعبه و حاجتها لوظيفه فنورا قالت لزوجها و زوجها رحب بهالشي
هيلمر الزوج كان ناوي يطرد كروجستاد هذا رجال نحيس أرمل وعنده عيال كانت تجمعه قصه حب مع مسز لنيدي بس ماصار زواج لأنها ضحت بعمرها وتزوجت شايب غني حتى تصرف على اهلها
كروجستاد جاء بيت نورا و قال لها عن تضحيتها قبل ثمان سنوات وكيف انها زيفت توقيع ابوها و ممكن تدخل السجن لو فتن عليها و زوجها راح يخسر وظيفته و سمعته و قعد يهددها
وشرط عليها انها تقنع زوجها يبقية بالوظيفه لكن زوجها مايحبه لأنة سئ السمعه وقيل انه مزور من قبل
حاولت حاولت بس دون جدوى و اشتكت هالشي لصديقتها
كروجستاد انطرد فرجع يهدد بس هالمره يبي يرجع الشغل بوظيفه أحسن بعد وإلا بيترك رساله فضيحتها في صندوق بريد زوجها
و صار و ترك الرساله و في نفس الوقت صديقتها طلبته مايفضحها و كيف انها تحبه بجد و مستعده تصير زوجته و كروجستاد مره انبسط و قال يلا نتركهم و نروح بس خبري نورا اني حطيت الرساله و ابي اشيلها قالت لأ خلها هم ازواج و حبل الكذب قصير لازم تعترف لزوجها
و نورا ميته بحسرتها كيف بيسود وجهها قدام زوجها و طول اليوم و هي تدلعه و خذته حفله ورقصت بس علشان تأخره مايفتح بريده لكن كل هذا مامنعه و شاف الرساله و عصب جدا جدا منها و شتمها و هزأها و قهرها
نورا ماتحملت وقالت انا ماسويت هالشي الا علشانك و انت ماعمرك عاملتني كما أنا دوم تشوفني دمية و كآثات من البيت و فسخت الخاتم وقالت خلاص ماعاد لي قعده في هالبيت
بطلع اشوف العالم أدور عن حقيقتي وشخصيتي بدون الحاجه لرجل
وانتهت قصتها بكذا انها تركت زوجها وعيالها








هاذي النهاية ماعجبت الناس ففي رواية ان الكاتب غيرها و ماطلعت نورا من بيتها وسلامتكم ‏‏^_‏‏^‏


دعواتك لي ^_^

[الأمــــــــل]

جزاك الله الف خير اختي على الترجمه :)

[FOR EVER>>]

احد عنده ملخص لــ main themes

well-made play وان فيها هذا الاسلوب

[حمدحمدين]

مسرحة بيت الدمية a doll's house موجودة بالعربي بمكتبة عصر النسخ

[انآ هنآ]

شكراً ياحلوين افآدتني المعلومات :)
وبصراحه المسرحيه مالها داعي جداً تافهه انو ندرسها