The two opponents spend the scene blocked at varying distances from one another, with the actors advancing toward each other at the points in which the tensions between them are greatest. On viewing this, the audience feels anxious that the argument may escalate. However, the tension is repeatedly quelled when the characters restrain their secretive argument and again increase the distance between themselves. This fluctuation in the mood of the scene, coupled with the apparent changes in the power balance between the two as more information is realised, results in a gripping display of conflict for the audience. Identity is also a key theme in this scene, as the two characters fight for their reputation. Identity is the central source of conflict. Krogstad declares he would fight for his reputation as if his life depended on it; and Nora, who states the secret is her Joy, and her pride, is frantic when she feels her position is threatened. It is only later when each of these characters realise what is truly important, that they will give up on the conflict, and focus on who they really are.

David Thacker’s adaptation of Henrik Ibsen’s seminal play A Doll’s House is a tour de force in merging the intimacy of live theatre with the cinematic dexterity afforded by the camera. Thacker has chosen to remain true to many traditional features associated with Ibsen’s 1879 play, such as the period costume, set design, and his choosing to maintain the use of certain Norwegian colloquialisms within the dialogue. This has the effect of rooting the audience in the nineteenth century timeframe of the original text. A brave choice, as it could certainly be argued that the play could easily be updated, which a contemporary audience may prefer. Nevertheless, through the depiction of these characters wearing typical nineteenth century middle class costume, and their existing within an ornately furnished archetypal, nineteenth century home, the audience is granted their expectation of the titular doll’s house.

A painting done of the City Dionysia Festival depicting a Satyr play.

The theatre Dionysus (where the plays were performed) was built in the shadow of the Acropolis in Athens at the beginning of the 5th century. The theatre Dionysus was built with a pit for the orchestra where the chorus would sing and dance, the proskenion where the actors performed, the logeion which is a speaking space for the actors and a parados (plural: parodi) which was the walkways used by the chorus and often the actors for entrances and exits

A drone capture of the theatre Dionysus in Athens where the first Greek performances were held.

Ancient Greek staging was incredibly different to what it is now. The proskenion has multiple components; the skene (Greek = tent) is a building behind the proskenion that was originally a hut for when the actors needed to change their masks and costumes, it eventually became the background and the drama acted in front of it.

An illustration labelled with the different parts of the stages used by the ancient Greek during their performances.

The proskenion itself is a narrow-raised stage where solo actors performed, the Greek chorus and musicians remained in the orchestra (other spaces were available above and beyond the skene). The orchestra (Greek = “dancing place”) was normally a circular shape. It was a level space where the chorus would dance, sing, and interact with the actors who were on the stage near the skene. The ekkyklema is a stage mechanism consisting of a low platform that was rolled out on wheels to reveal and interior or an offstage such as a tableau.