Presentation on "Making a Dollhouse". Henrik Ibsen - Norwegian playwright Presentation of Henrik Ibsen's Doll's House
CHARACTERS:
Lawyer Helmer.
Nora, his wife.
Doctor Rank.
Fru Linne.
Private attorney Krogstad.
Three small children of the Helmer couple.
Anna-Maria, their nanny.
Maid in Helmer's house.
Messenger.
The action takes place in Helmer's apartment.
Act one
A cozy room, tastefully furnished but inexpensive furniture. In the depths, in the middle wall, there are two doors: one, on the right, leads to the hallway, the other, on the left, to Helmer’s office. Between these doors is a piano. There is a door in the middle of the left side wall, a window closer to the proscenium. Near the window there is a round table with armchairs and a sofa. In the right wall, a little further into the interior, there is also a door, and in front there is a tiled stove; in front of her are several chairs and a rocking chair. There is a table between the stove and the door. There are engravings on the walls. A shelf with porcelain and other trinkets, a bookcase with books in luxurious bindings. There is a carpet on the floor. There is fire in the stove. Winter day. There's a bell in front. A little later you can hear the door being unlocked. Nora enters the room from the front room, humming cheerfully, in outerwear, loaded with a heap of packages and packages, which she places on the table to the right. The door to the hallway remains open, and a messenger can be seen there, bringing a Christmas tree and a basket, which he gives to the maid who opened the door.
NORA. Hide the tree well, Elena. Children should not see it until the evening when it is decorated. (To the bellhop, taking out his wallet.) How many?
MESSENGER. Fifty era!
NORA. Here's the crown... No, keep everything for yourself.
The messenger bows and leaves. Nora closes the door to the hallway, takes off her outer dress, continuing to laugh a quiet, contented laugh. Then he takes out a bag of macaroons from his pocket and eats a few of them. She carefully walks to the door leading to her husband’s room and listens.
Yes, he's home. (He hums again, heading towards the table.)
HELMER (from the office). What is this, a lark singing?
NORA (unfolding purchases). He is.
HELMER. Is the squirrel fiddling around there?
HELMER. When did the squirrel return?
NORA. Just now. (Hides the bag of cookies in his pocket and wipes his lips). Come here, Torvald, look what I bought!
HELMER. Wait, don't interfere. (A little later he opens the door and looks into the room, holding a pen in his hand.) Bought it, you say? All this?.. So the bird flew away again to waste money?
NORA. You know, Torvald, it’s time for us to finally unwind a little. This is the first Christmas, we don’t need to embarrass ourselves so much.
HELMER. Well, we can’t dangle either.
NORA. A little bit is possible! Is it true? Just a little bit! You have now been given a large salary, and you will earn a lot, a lot of money.
HELMER. Yes, since the new year. But they will give me my salary only after three months.
NORA. Nonsense! You can borrow for now.
HELMER. Nora! (He comes up and playfully takes her by the ear.) Once again our frivolity is right there. Just imagine, today I will borrow a thousand crowns, you will spend them on the holidays, and on the eve of the New Year, tiles from the roof will fall on my head - and that’s it.
NORA (covering his mouth with his hand). Ugh! Don't say such nasty things.
HELMER. No, imagine a similar case - what then?
NORA. If such a horror were to happen, it would make no difference to me whether I had debts or not.
HELMER. Well, what about the people I would borrow from?
NORA. For them? Why think about them! After all, these are strangers!
HELMER. Nora, Nora, you are the est woman! But seriously, Nora, you know my views on this matter. No debt! Never borrow! A home based on loans and debts has an ugly shadow of dependence. You and I have held out bravely until today, so we’ll endure a little longer - it won’t be long.
NORA (going to the stove). Well, as you wish, Torvald.
HELMER (behind her). Well, well, the bird lowered its wings. A? Squirrelpout pouted. (Takes out his wallet.) Nora, what do you think I have here?
NORA (turning around, briskly). Money!
HELMER. It is for you! (Hands her some pieces of paper.) Lord, I know how many expenses there are in the house during the holidays.
NORA (counting). Ten, twenty, thirty, forty. Thank you, thank you, Torvald. Now it will last me a long time.
HELMER. Yes, try your best.
NORA. Yes, yes, definitely. But come here, I'll show you what I bought. And how cheap! Look, here's Ivar's new suit and saber. Here's a horse and a trumpet for Bob. Here is a doll and a doll bed for Emmy. They're simple, but she'll break them soon anyway. And here for dresses and aprons for the servants. Old woman Anna Maria should, of course, be given more...
HELMER. What's in this package?
NORA (jumping up). No, no, Torvald! You can't see this until the evening!
HELMER. Oh well! So tell me, little skein, what did you have in mind for yourself?
NORA. Eh, I don't need anything at all.
HELMER. Of course you should! Now tell me something reasonable that you would like most.
NORA. Really, no need. Or listen, Torvald...
HELMER. Well? N o r a (fiddle with the buttons of his jacket and not look at him). If you really want to give me something, then you would... you would...
HELMER. Well, well, speak up.
NORA (fast). You should have given me money, Torvald. As much as you can. Then, one of these days, I would buy myself something with them.
HELMER. No, listen, Nora...
NORA. Yes, yes, do it, dear Torvald! Please! I would wrap the money in gold paper and hang it on the tree. Wouldn't that be fun?
HELMER. What are the names of those birds who are always wasting money?
NORA. I know, I know - in skeins. But let's do as I say, Torvald. Then I will have time to think about what I especially need. Isn't this prudent? A?
HELMER (smiling). Of course, that is, if you could actually hold onto this money and then actually buy something for yourself with it. Otherwise, they will be spent on housekeeping, on various unnecessary little things, and I will have to fork out money again.
NORA. Ah, Torvald...
HELMER. There is no need to argue here, my dear! (Hugs her.) The bird is cute, but spends an awful lot of money. It’s incredible how much such a bird costs a husband.
NORA. Ugh! How can you say that! I save as much as I can.
HELMER (funny). This is the true truth! As much as you can. But you can't at all.
NORA (hums and smiles). Hm! If only you knew how many expenses we, larks and squirrels, have, Torvald!
HELMER. You little weirdo! Two peas in a pod is your father. All you are trying to do is get money. And when you get it, lo and behold, they’ve passed between your fingers, you never know where you put them. Well, we have to take you as you are. It's in your blood. Yes, yes, it's hereditary in you, Nora.
NORA. Oh, I wish I could inherit more of my dad’s qualities!
HELMER. And I wouldn’t want you to be other than you are, my dear lark! But listen, it seems to me that you... you have... how should I put it? You look kind of suspicious today.
NORA. I have?
HELMER. Well, yes. Look me straight in the eyes.
NORA (looks at him). Well?
HELMER (waking finger). Didn't your gourmand have a little fun in the city today?
NORA. No, what are you talking about!
HELMER. As if the gourmet didn’t stop by the candy store?
NORA. But I assure you, Torvald...
HELMER. And didn’t taste the jam?
NORA. I didn't think so.
HELMER. And didn't bite the macaroons?
NORA. Ah, Torvald, I assure you...
HELMER. Well well well! Naturally, I'm just kidding...
NORA (walking to the table to the right). It would never even occur to me to do anything contrary to you.
HELMER. I know I know. You gave me your word. (Approaching her.) Well, keep your little Christmas secrets to yourself, my dear Nora. They will probably come out this very evening when the Christmas tree is lit.
NORA. Did you remember to invite Dr. Rank?
HELMER. Didn't invite. Yes, this is not necessary. Of course, he's having dinner with us. However, I still have time to remind him: he will come by before lunch. I ordered good wine. Nora, you won’t believe how happy I am about tonight.
NORA. And I! And the children will be so happy, Torvald!
HELMER. Oh, what a pleasure it is to realize that you have achieved a secure, secure position, that you will now have a solid income. Isn't it a pleasant consciousness?
NORA. Oh, wonderful!
HELMER. Do you remember last Christmas? For three whole weeks you secluded yourself in your evenings and until late at night you kept making flowers and some other charms for the Christmas tree with which you wanted to amaze us all. Wow, I can’t remember a more boring time.
NORA. I wasn't bored at all.
HELMER (with a smile). But it didn’t do much good, Nora.
NORA. Are you going to tease me with this again? What could I do if the cat climbed in and tore everything to pieces!
HELMER. Well, of course, I couldn’t help it, my poor thing. You wanted to please us all with all your heart, and that’s the whole point. But it’s good that these difficult times are over.
NORA. Yes, absolutely wonderful!
HELMER. I no longer need to sit alone and be bored, nor do you need to spoil your sweet, glorious eyes and tender hands...
NORA (clapping hands). Isn't it true, Torvald, you don't need more? Oh, how wonderful, amazing to hear this! (Takes him by the arm.) Now I will tell you how I dream of settling down, Torvald. Now, as soon as the holidays are over... The bell rings in the hallway. Oh, they're calling! (Cleans up the room a little.) That's right, someone will come to us. It's a shame.
HELMER. If anyone is visiting, I'm not at home, remember.
MAID (in the front door). Fru, there is an unfamiliar lady there.
NORA. So ask here.
MAID (to Helmer). And the doctor.
HELMER. Did you come straight to me?
MAID. Yes Yes.
Helmer goes into the office. The maid brings in Mrs. Linne, dressed for travel, and closes the door behind her.
FRU LINNE (embarrassed, hesitating). Hello Nora.
NORA (uncertain). Hello…
FRU LINNE. Apparently you don't recognize me?
NORA. No. I don’t know... Yes, it seems... (Impulsively.) How! Christina... Is it really you?!
FRU LINNE. I.
NORA. Christina! But I didn’t recognize you right away! And how it was... (Lowering his voice.) How you have changed, Christina!
FRU LINNE. Still would. For nine to ten long years...
NORA. Have we really not seen each other for so long? Yes, yes, it is. Ah, the last eight years - really, it was a happy time!.. So you came here, to our city? I set out on such a long journey in winter! Brave!
FRU LINNE. I just arrived today with the morning boat.
NORA. To have fun during the holidays, of course. Oh, how nice! Well, let's have some fun! Yes, take off your clothes. You're not cold, are you? (Helps her.) Like this. Now let's sit comfortably near the stove. No, you're in the chair! And I'm on the rocking chair! (Takes her hands.) Well, now you have your old face again. This is only in the first minute... Although you did turn a little pale, Christina, and, perhaps, lost a little weight.
FRU LINNE. And Nora has aged very, very much.
NORA. Perhaps a little, a little, not very much at all. (Suddenly stops and switches to a serious tone.) But what an empty head I am - sitting here, chatting! Dear, dear Christina, forgive me!
FRU LINNE. What's the matter, Nora?
NORA (quiet). Poor Christina, you are a widow.
FRU LINNE. Three years ago.
NORA. Yes, I know. I read it in the newspapers. Oh, Christina, believe me, I was going to write to you so many times at that time, but I kept putting it off, something kept getting in the way.
FRU LINNE. Dear Nora, I understand perfectly.
NORA. No, that was nasty of me, Christina. Oh, you poor thing, how much you must have suffered. And he didn't leave you any funds?
FRU LINNE. None.
NORA. No children?
FRU LINNE. No children.
NORA. Nothing, then?
FRU LINNE. Nothing. Not even grief or regrets with which to feed the memory.
NORA (looking at her incredulously). But how can this be, Christina?
FRU LINNE (with a bitter smile, stroking Nora’s head). Sometimes it happens, Nora.
NORA. So, all alone. How terribly hard this must be. And I have three lovely children. You won't see them now. They are walking with the nanny. But be sure to tell me everything...
FRU LINNE. No, no, no, you better tell me.
NORA. No, you first. Today I don't want to be selfish. I want to think only about your affairs. But I still need to tell you one thing. Do you know what happiness befell us the other day?
FRU LINNE. No. Which?
NORA. Imagine, the husband became the director of the Joint Stock Bank!
FRU LINNE. Your husband? What luck!..
NORA. Incredible! The legal profession is such a false bread, especially if you want to take on only the purest, good cases. And Torvald, of course, never took others, and I, of course, completely agree with him. Oh, you understand how glad we are. He will take office in the New Year and will receive a large salary and good interest. Then we will be able to live completely differently than before, completely to our liking. Oh, Christina, my heart felt so light, I’m so happy! After all, it’s wonderful to have a lot, a lot of money and not know any needs or worries. Is it true?
FRU LINNE. Yes, anyway, it must be wonderful to have everything you need.
NORA. No, not only what is necessary, but a lot, a lot of money.
FRU LINNE (smiling). Nora, Nora! You still haven't become more reasonable! You were a big spender at school.
NORA (quiet chuckling). Torvald still calls me that. (Wagging his finger.) However, “Nora, Nora” is not as crazy as you imagine... We really didn’t live in such a way that I could dangle. We both had to work!
FRU LINNE. And you?
NORA. Well, yes, there are various little things like needlework, knitting, embroidery and the like. (In passing.) And... something else. You know that Torvald left the ministry when we got married, right? There was no prospect of a promotion, and after all, you had to earn more than before. Well, in the first year he worked beyond all his strength. Just awful. He had to take all sorts of extra classes - you understand - and work from morning to evening. Well, he couldn’t stand it, he fell ill, was near death, and the doctors announced that it was necessary to send him to the south.
FRU LINNE. Did you then spend a whole year in Italy?
NORA. Well, yes. And it wasn’t easy for us to get up from our seats, believe me. Ivar had just been born at that time. But it was still necessary to go. Oh, what a wonderful, wonderful trip it was! And Torvald was saved. But how much money went into it – passion, Christina!
FRU LINNE. I can imagine.
NORA. One thousand two hundred daler spices. Four thousand eight hundred crowns. Big money.
FRU LINNE. Yes, but, in any case, it is great happiness if there is somewhere to get them at such a time.
NORA. I have to tell you, we got them from dad.
FRU LINNE. Oh, yes. Yes, it seems that your father died just then.
NORA. Yes, just then. And think about it, I couldn’t go to him, follow him. I was waiting for little Ivar any day now. And in addition, I had my poor Torvald in my arms, almost dying. Dear, dear dad! I never had to see him again, Christina. This is the hardest grief I have experienced as a married woman.
FRU LINNE. I know you loved your father very much. So, after that you went to Italy?
NORA. Yes. After all, we had money, but the doctors were driven away... We left a month later.
FRU LINNE. And your husband returned completely healthy?
NORA. Absolutely!
FRU LINNE. And... doctor?
NORA. That is?
FRU LINNE. I think the girl said that the gentleman who came with me was a doctor.
NORA. Ahh, this is Dr. Rank. But he doesn’t come for a doctor’s visit. This is our best friend, and at least once a day, let him visit us. No, Torvald has never even gotten sick since then. Both the children are cheerful and healthy, and so am I. (Jumping up and clapping his hands.) Oh my God, Christina, how wonderful it is to live and feel happy! No, it's just disgusting of me - I'm only talking about myself. (Sits on the bench next to Mrs. Linne and puts his hands on her knees.) Don't be angry with me!.. Tell me, is it true: you really didn't love your husband? Why did you marry him?
FRU LINNE. My mother was still alive, but so weak, helpless, she did not get out of bed. And I also had two younger brothers in my arms. I didn’t even consider myself entitled to refuse him.
NORA. Yes, yes, perhaps you're right. So he was rich then?
FRU LINNE. Quite wealthy, it seems. But his case was not firmly established. And when he died, everything collapsed and there was nothing left.
FRU LINNE. And I had to make do with small trade, a small school, and whatever else I had to do. These last three years have dragged on for me like one long, continuous working day without rest. It's over now, Nora. My poor mother doesn't need me anymore - she's dead. And the boys got back on their feet and can take care of themselves.
NORA. So now your soul is at ease...
FRU LINNE. I will not say. On the contrary, it is terribly empty. There is no one else to live for. (Stands up in excitement.) That’s why I couldn’t stand it there with us, in the bearish corner. Here, it will probably be easier to find something to put your energy into and something to occupy your thoughts with. If only I could get some kind of permanent service, some kind of office work...
NORA. Oh, Christina, this is so terribly tiring, and you already look so exhausted. You'd better go somewhere for a swim.
FRU LINNE (moving to the window). I don't have a dad who would provide me with money for the trip, Nora.
NORA (getting up). Oh, don't be angry with me!
FRU LINNE (walking towards her). Dear Nora, don't be angry with me. The worst thing about my situation is that so much bitterness settles in my soul. There is no one to work for, but still you have to work hard and struggle in every possible way. You have to live, so you become selfish. You just told me about the happy change in your circumstances, and believe me, I was happy not so much for you as for myself.
NORA. How so? Ah, I see: do you think Torvald can do anything for you?
FRU LINNE. That's what I thought.
NORA. He will do it, Christina. Just leave everything to me. I’ll prepare everything so subtly, I’ll come up with something special to appease him with. Oh, I would like to help you from the bottom of my heart.
FRU LINNE. How kind of you, Nora, that you take up my cause so ardently... It’s doubly kind of you - you yourself are so little familiar with everyday worries and hardships.
NORA. To me? Are they unfamiliar to me?
FRU LINNE (smiling). Well, my God, some kind of handicrafts and the like... You are a child, Nora!
NORA (throws his head back and walks around the room). You shouldn't talk to me like that.
FRU LINNE. Yes?
NORA. And you are like others. You all think that I am not fit for anything serious...
FRU LINNE. Oh well?
NORA. That I have experienced absolutely nothing like this in this difficult life.
FRU LINNE. Dear Nora, you just told me all your trials.
NORA. Eh, just nothing! (Quiet.) I didn't tell you the main thing.
FRU LINNE. The main one? What do you want to say?
NORA. You keep looking down on me, Christina. But this is in vain. You are proud that you endured such hard, long work for your mother...
FRU LINNE. I really don't look down on anyone. But it’s true - I am proud and happy, remembering that it fell to me to make the rest of my mother’s days easier.
NORA. You are also proud when you remember what you did for your brothers.
FRU LINNE. I think I have the right.
NORA. And it seems so to me. But listen, Christina. And I have something to be proud of, something to be happy about.
FRU LINNE. No doubt! But in what sense?
NORA. Keep your voice down. What if Torvald hears! There is no way in the world that he can... No one should know about this, Christina, no one except you.
FRU LINNE. What's the matter?
NORA. Come here. (He pulls her onto the sofa next to him.) Yes, you see... and I have something to be proud of, something to be happy about. It was I who saved Torvald's life.
FRU LINNE. Saved? How did you save it?
NORA. I told you about the trip to Italy. Torvald would not have survived if he had not gone south.
FRU LINNE. Well, yes. And your father gave you the necessary funds.
NORA (with a smile). It’s Torvald who thinks so and everyone else, but...
FRU LINNE. But…
NORA. Dad didn't give us a penny. I was the one who got the money.
FRU LINNE. You? All this large sum?
NORA. One thousand two hundred spices. Four thousand eight hundred crowns. What are you going to say?
FRU LINNE. But how is this possible, Nora? Won the lottery, or what?
NORA (scornfully). To the lottery! (Snorts.) It wouldn't be a thing!
FRU LINNE. So where did you get them from?
NORA (humming and smiling mysteriously). Hm! Tra-la-la-la!
FRU LINNE. You couldn't borrow it.
NORA. Here? Why is that?
FRU LINNE. Yes, a wife cannot make debts without the consent of her husband.
NORA (throws his head back). Well, if a wife knows a little about business, if a wife understands how to get down to business smartly, then...
FRU LINNE. Nora, I absolutely don’t understand anything.
NORA. And you don't need to understand. I didn’t even say that I borrowed money. I could have gotten them another way. (Leans back on the sofa.) Could have gotten it from some fan. With such an attractive appearance as mine...
FRU LINNE. You're crazy.
NORA. Now you would really like to know everything, Christina?
FRU LINNE. Listen, dear Nora, did you do anything reckless?
NORA (straightening up on the sofa). Is it reckless to save your husband's life?
FRU LINNE. In my opinion, it’s reckless if you, without his knowledge...
NORA. But he couldn’t know about anything! Lord, how can you not understand this? He should not have suspected the danger he was in. It was the doctors who told me that his life was in danger, that the only salvation was to take him to the south. Do you think I didn’t try my best to get out of it first? I started talking about how I, too, would like to go abroad, like other young ladies. I cried and begged; she said that it would be a good idea for him to remember my “position”, that now he had to please me in every possible way; hinted that she could borrow money. So he almost got angry, Christina. He said that I had the wind in my head and that it was his duty as a husband not to indulge my whims and whims - that’s how he seemed to put it. Okay, okay, I think, but I still need to save you, and I found a way out...
FRU LINNE. And your husband never found out from your father that the money did not come from him?
NORA. I never found out. Dad died just these days. I wanted to let him in on the matter and ask him not to give me away. But he was already so bad - and, unfortunately, I did not need to resort to this.
FRU LINNE. And you still haven’t confessed to your husband?
NORA. No, God forbid! He's so strict about this. And besides, with his male pride... It would be so painful and humiliating for him to find out that he owes me something. This would turn our entire relationship upside down. Our happy family life would then cease to be what it is.
FRU LINNE. And you'll never tell him?
NORA (thinking and smiling slightly). Yes... someday, perhaps... when many, many years have passed and I won’t be so pretty anymore. Don't laugh. I, of course, want to say: when Torvald will no longer like me as much as now, when he will no longer be entertained by my dancing, dressing up, and recitations. Then it will be good to have some kind of income... (Interrupting.) Nonsense, nonsense, nonsense! This will never happen!.. Well, what can you say about my great secret, Christina? Am I good for anything? Don't think that this matter doesn't cause me great worries. It’s true, sometimes it’s not at all easy for me to justify my obligations on time. In the business world, I'll tell you, there is interest on thirds and payments on debt, as they call it. And money is always terribly difficult to get. So we had to save on whatever we could... you know? I couldn’t save much money for the household - Torvald needed a good table. And the children could not be dressed haphazardly. What I received from them was spent entirely on them. My dear little ones.
FRU LINNE. So you must have had to deny yourself, poor thing?
NORA. It's clear. After all, I was the most interested! Torvald used to give me money for a new dress and the like, but I always spent only half. I bought everything cheaper and simpler. It’s also lucky that everything suits me and Torvald never noticed anything. But sometimes it wasn’t easy for me myself, Christina. It's such a pleasure to dress well! Is it true?
FRU LINNE. Perhaps.
NORA. Well, of course, I had other sources. Last winter I was lucky, I received a lot of correspondence. Every evening I locked myself in my room and wrote and wrote until late at night. Oh, sometimes you used to get tired! But it was still terribly pleasant to sit there and work and earn money. I felt almost like a man.
FRU LINNE. But how much did you manage to pay off this way?
NORA. I really can’t tell you exactly. In such matters, you see, it is very difficult to understand. I only know that I paid as much as I managed to put together. But often I just gave up. (Smiling.) Then I would sit down and begin to imagine that a rich old man had fallen in love with me...
FRU LINNE. What? What old man?
NORA. Oh, no!.. That he was dying, his will was opened, and there it was written in large letters: “All my money is received immediately and in cash by the most kind lady Nora Helmer.”
FRU LINNE. But, dear Nora, what kind of old man is this?
NORA. Lord, how can you not understand? There was no old man at all. This is just my imagination. I just consoled myself with this when I didn’t know where to get money. Well, God be with him, with this boring old man. Now I don't care. I no longer need him or his will. Now I have no worries, Christina! (Jumps up.) Oh my God, what a beauty! Just think: no worries! No worries or troubles! Live for yourself and get along, mess around with the kids! Furnish your home as beautifully and elegantly as Torvald loves. And there, think about it, spring is just around the corner, blue skies, space. Maybe we can go somewhere. Perhaps I’ll see the sea again! Oh, really, how wonderful it is to live and feel happy!
A bell is heard in the hall.
FRU LINNE (rises). They're calling. I guess it's best for me to leave.
NORA. No, stay. Hardly anyone will come here. This is probably for Torvald...
MAID (in the front door). Excuse me, lady, there is a gentleman here who wants to talk to Mr. Lawyer.
NORA. That is, with the director of the bank, you want to say.
MAID. With Mr. Director. But I don’t know, because there’s a doctor there...
NORA. And who is this gentleman?
KROGSTAD (in the door). It's me, Mrs. Helmer.
Fru Linne, amazed, shudders and turns to the window.
NORA (taking a step towards the newcomer, with excitement, lowering his voice). You? What does it mean? What do you want to talk about with my husband?
KROGSTAD. ABOUT banking, somewhat. I hold a small position in the Joint Stock Bank, and your husband will now be our director, as I heard...
NORA. Means…
KROGSTAD. On a personal matter, Mrs. Helmer. Nothing more.
NORA. So please go to his office. (He bows indifferently, closes the door to the hallway, then goes to the stove to see if it is heating well.)
FRU LINNE. Nora... who was it?
NORA. Private attorney Krogstad.
FRU LINNE. So it really is him.
NORA. Do you know this person?
FRU LINNE. I knew... Several years ago. He did business in our area at one time.
NORA. Yes its true.
FRU LINNE. How he has changed!
NORA. He seems to have had a very unhappy marriage.
FRU LINNE. Now he's a widower?
NORA. With a bunch of children... Well, things got heated. (Closes the stove door and slightly moves the rocking chair to the side.)
FRU LINNE. He is said to be involved in a variety of activities?
NORA. Yes. Very possible. I don't know at all. But enough for us to think about business. It's boring. Dr. Rank comes out of Helmer's office.
DOCTOR RANK (still at the door). No, no, I don't want to interfere. I'd better go see your wife. (Closes the door behind him and notices Mrs. Linne.) Ah, sorry! I seem to be in the way here too.
NORA. Not at all. (Introduces them to each other.) Dr. Rank - Mrs. Linne.
RANK. Here's how. I often heard this name here in the house. I think I overtook you on the stairs on my way here.
FRU LINNE. Yes!.. I rise very slowly. It's hard for me…
RANK. Yeah... A little damage to the internal mechanism?
FRU LINNE. More like simple fatigue.
RANK. Only? So, you probably came to the city to relax... running around visiting guests?
FRU LINNE. I came here to look for work.
RANK. So, is this a particularly reliable remedy for overwork?
FRU LINNE. You have to live, doctor.
RANK. Yes, somehow it is common to think that this is necessary.
NORA. Well, you know, doctor!.. And you don’t mind living either.
RANK. Well, yes, let's put it that way. No matter how bad I feel, I am still ready to live and suffer as long as possible. And all my patients too. And all moral cripples are the same. Now there’s one of these sitting at Helmer’s...
FRU LINNE (quiet). A!..
NORA. Who do you mean?
RANK. Private attorney Krogstad, a man you know nothing about. The very roots of his character have rotted, madam. But he, too, began to repeat there, as if it were something immutable, that he, too, had to live.
NORA. Yes? What did he come to talk to Torvald about?
RANK. Really, I don't know. I just heard something about the Joint Stock Bank.
NORA. I didn't know that Krog... that this private attorney Krogstad was involved in the bank.
RANK. Yes, he holds some position there. (Fru Linne.) I don’t know if in your area there are people of this sort who, as if in a fever, wander around everywhere, sniffing out whether there is a smell of moral rot somewhere, so that they can then be in sight for assignment to some profitable position. Those who are healthy have to humbly remain behind the flag..
FRU LINNE. But the sick are the ones who need care the most.
RANK (shrugs). This is it. Thanks to such views, society turns into a hospital. Nora, busy with her own thoughts, suddenly bursts into quiet laughter and claps her hands. Why are you laughing at this? Do you really know what society is?
NORA. I really need your boring company! I laugh at something completely different... Terribly funny! Tell me, doctor, are all the employees in this bank now subordinate to Torvald?
RANK. So this is what amuses you so terribly?
NORA (smiling and humming). That's my business. My business. (Walks around the room.) Yes, indeed, it is terribly pleasant to think that we... that is, Torvald acquired such influence over many, many people. (Takes a bag out of his pocket.)
RANK. Te-te-te! Macaroons! I thought this was your forbidden fruit.
NORA. Yes, but Christina brought me a little.
FRU LINNE. What am I?..
NORA. Well, well, well, don't be scared. You couldn't have known that Torvald forbade it. I must tell you, he is afraid that I will ruin my teeth. But what a problem - just once! Really, doctor? Please! (Puts a cookie in his mouth.) Here you go, Christina. And I can have one thing, a small one, or two, so be it. (Walks around again.) Yes, I’m truly infinitely happy. There is only one thing I would really like more...
RANK. Well? What is this?
NORA. I would really like to say one thing in front of Torvald.
RANK. So what won't you say?
NORA. I don't dare. This is disgusting.
FRU LINNE. Disgusting?
RANK. In this case, I don't recommend it. But in front of us you can safely... Well, what is it that you would so badly like to say in front of Helmer?
NORA. I would really like to say: damn it!
RANK. What are you, what are you!
FRU LINNE. Have mercy, Nora!
RANK. Tell. Here he comes.
NORA (hiding the bag of cookies). Shh-shh-shh!
Helmer, with his coat thrown over his arm and holding his hat in the other hand, leaves the office.
(Walking towards him.) Well, honey, did you send him away?
HELMER. Yes, he left.
NORA. Let me introduce you. This is Christina, she came here to the city...
HELMER. Christina?.. Sorry, but I don’t know...
NORA. Fru Linne, dear, Fru Christina Linne!
HELMER. Ah, that's it! Apparently my wife's childhood friend?
FRU LINNE. Yes, we are old friends.
NORA. And imagine, she went on such a long journey to talk to you.
HELMER. That is, how is it?
FRU LINNE. Not that actually...
NORA. Christina is just an excellent clerk, and she really wants to get into the service of a sensible person, so that she can learn more...
HELMER. Very reasonable, madam.
NORA. And when she found out that you had been appointed director of the bank - it was in the newspapers - she immediately flew here... Really, Torvald, you will do something for Christina for my sake? A?
HELMER. Yes, it's possible. Are you probably a widow?
FRU LINNE. Yes.
HELMER. And experienced in office work?
FRU LINNE. Yes, pretty much.
HELMER. So it is very likely that I can deliver you a place...
NORA (clapping hands). See, see!
HELMER. You came at just the right moment, madam.
FRU LINNE. Oh, how I can thank you!
HELMER. My pleasure. (Puts on his coat.) But today you will excuse me...
RANK. Wait, I'm with you. (He brings his fur coat from the hall and warms it in front of the stove.)
NORA. Just don’t hesitate, dear Torvald!
HELMER. About an hour, no more.
NORA. And you're leaving, Christina?
FRU LINNE (putting on coat). Yes, we need to go find a room for ourselves.
HELMER. So maybe we can go out together?
NORA (helps Mrs. Linna). What a shame that we are so cramped, there is no way...
HELMER. What you! Who thinks about this! Goodbye dear Nora, and thank you for everything.
NORA. Goodbye for now. In the evening, of course, you will come again. And you, doctor. What? If you feel good? Well, of course you will. Just wrap yourself up well. Everyone goes out into the hallway, saying goodbye and chatting.
It's them! They! (Runs and opens the outer door.)
Nanny Anna-Maria enters with the children.
Come in! Come in! ( He bends down and kisses the children.) Oh, my dear, glorious! Look at them, Christina! Aren't they cuties?
RANK. Chatting in a draft is prohibited!
HELMER. Let's go, Mrs. Linne. Now it’s time for mothers to stay here alone.
Doctor Rank, Helmer and Mrs. Linne leave; Anna-Maria enters the room with the children; Nora also enters the room, closing the door to the hallway.
NORA. How fresh and cheerful you are. And what rosy cheeks! Just like apples and roses!.. Was it so much fun? Ah, that's great. Yes? Did you sled both Bob and Emmy? Both at once? Think about it! Well done, my little boy Ivar!.. No, let me hold her, Anna-Maria! My dear, sweet doll! ( He takes the youngest girl from the nanny and spins around with her.) Yes, yes, mom will dance with Bob too! What? Did you play snowballs? Oh, it’s a pity that I wasn’t with you... No, leave it, I’ll undress them myself, Anna-Maria. Please give it to me, it’s so much fun. There's coffee left for you on the stove. The nanny goes through the door to the left.
Nora undresses the children, throwing their outerwear everywhere and continuing to chat with them.
How's that? Was a big dog chasing you? But didn’t she bite?.. No, dogs don’t bite such nice, tiny dolls... No, no! Don't look into the packages, Ivar! What's there?.. If only you knew what's there! No no! This is bullshit!.. What? Do you want to play? How are we going to play? Hide-and-seek? Well, let's hide and seek. Let Bob hide first... Oh, me? Well, okay, I'll go first.
The game begins, accompanied by laughter and fun; hiding both in this room and in the next one to the right. Finally Nora hides under the table; the children noisily burst into the room, look for their mother, but cannot immediately find her, hear her muffled laughter, rush to the table, lift the tablecloth and find her. Complete delight. Nora sticks out, as if wanting to scare them. A new explosion of delight. Meanwhile, there is a knock on the front door. Nobody notices this. Then the door from the hallway opens slightly and Krogstad appears. He waits a minute. Game continues.
KROGSTAD. Sorry, Mrs. Helmer...
NORA (turns around with a slight cry and half rises). A! What do you want?
KROGSTAD. Sorry. The front door stood unlocked. They probably forgot to close it.
NORA (standing up). My husband is not at home, Mr. Krogstad.
KROGSTAD. I know.
NORA. Well... so what do you want?
KROGSTAD. Talk to you.
NORA. With... (Kids are quiet.) Go to Anna Maria. What? No, someone else's uncle won't do anything bad to mom. When he leaves, we'll play some more. (He takes the children into the room to the left and locks the door behind them. With anxiety, tensely.) Do you want to talk to me?
KROGSTAD. Yes I want to.
NORA. Today?.. But it’s not the first day yet...
KROGSTAD. No, it's Christmas Eve. And it’s up to you to arrange happy holidays for yourself.
NORA. What do you need? I can't do it at all today...
KROGSTAD. We won't talk about this for now. About other. Surely you have a free minute?
NORA. Hm... yes, of course, there will be, although...
KROGSTAD. Fine. I was sitting downstairs in Ohlsen's restaurant and saw your husband walk down the street...
NORA. Yes Yes.
KROGSTAD. With a lady.
NORA. And what?
KROGSTAD. Let me ask: is this not Fru Linne?
KROGSTAD. Just arrived in town?
NORA. Yes today.
KROGSTAD. Is she your close friend?
NORA. Yes. But I do not see…
KROGSTAD. And I once knew her.
NORA. I know.
KROGSTAD. Yes? So do you know? I thought so. Then let me ask you bluntly: will Mrs. Linne get a position at the bank?
NORA. How dare you question me, Mr. Krogstad, you, my husband’s subordinate? But since you asked, you should know: yes, Mrs. Linne will get a place. And it was I who took care of her, Mr. Krogstad. There you are!
KROGSTAD. This means that I was not mistaken in my calculations.
NORA (walks back and forth across the room). I suppose we can still have some influence. From the fact that you are born a woman, it does not follow at all... And in the position of a subordinate, Mr. Krogstad, you should really be careful not to offend anyone who... hm...
KROGSTAD. Who has influence?
NORA. Exactly!
KROGSTAD (changing tone). Fru Helmer, would you be willing to use your influence in my favor?
NORA. How so? What do you want to say?
KROGSTAD. Would you like to see to it that I maintain my position as a subordinate at the bank?
NORA. What does it mean? Who is thinking of depriving you of it?
KROGSTAD. Oh, you don’t need to play know-nothing in front of me. I understand perfectly well that your friend cannot be pleased to risk running into me, and I also know to whom I will owe my expulsion.
NORA. But I assure you...
KROGSTAD. Yes, yes, yes, in a word, the time has not yet passed, and I advise you to use your influence to prevent this.
NORA. But, Mr. Krogstad, I have absolutely no influence!
KROGSTAD. None? I think you just said it yourself...
NORA. Of course, I don't mean it that way. Me?.. How can you think that I have any such influence over my husband?
KROGSTAD. Oh, I know your husband from my college days. I don’t think that Mr. Director was tougher than other men.
NORA. If you speak disrespectfully of my husband, I will show you the door.
KROGSTAD. You are very brave, Mrs. Helmer.
NORA. I'm not afraid of you anymore. After the New Year, I will quickly end all this.
KROGSTAD (more reserved). Listen, Mrs. Helmer. If necessary, I will fight tooth and nail for my humble position at the bank.
NORA. That's what it looks like, right.
KROGSTAD. Not just because of the salary. I worry about him least of all. But here it’s different... Well, let’s be honest! That's the problem. You, of course, know as well as others that I once committed a rash act.
NORA. I think I heard something like that.
KROGSTAD. The case did not go to trial, but all avenues were definitely closed for me from that time on. Then I took on those cases... you know. There had to be something to grab onto. And I dare say I was not the worst of my kind. But now I need to get out of this situation. My sons are growing up. For their sake, I need to restore my previous position in society - as much as possible. A place in the bank was like the first step. And suddenly now your husband is pushing me into the hole again.
NORA. But, my God, Mr. Krogstad, it is not at all in my power to help you.
KROGSTAD. Because you don't want to, but I have a way to force you.
NORA. Will you tell my husband what I owe you?
KROGSTAD. Hm! What if I told you?
NORA. It would be unconscionable of you. (With tears in his voice.) How? He will learn this secret - my pride and joy - in such a rude, vulgar way - from you? You want to subject me to the most terrible troubles!..
KROGSTAD. Only troubles?
NORA (hot). But just try, it will be worse for you. Then my husband will finally know what a bad person you are, and he will never leave you in the bank.
KROGSTAD. I ask, are you only afraid of troubles at home?
NORA. If my husband finds out, he, of course, will immediately pay the entire balance, and you and I will have no need to know.
KROGSTAD (taking a step towards her). Listen, Mrs. Helmer, either your memory is short, or you don’t know anything about business. Apparently, I will have to explain the matter to you in more detail.
NORA. How so?
KROGSTAD. When your husband was ill, you came to me to borrow twelve hundred spices.
NORA. I didn't know who else to turn to.
KROGSTAD. I have undertaken to get you this amount...
NORA. And they got it.
KROGSTAD. I have undertaken to get it for you under certain conditions. You were then so busy with your husband’s illness, so concerned about where to get money for the trip, that perhaps you had no time to understand the details. So it would be a good idea to remind you of them. Yes, I undertook to get you money and drew up a promissory note for you.
NORA. Well, yes, which I signed.
NORA. Should he have?.. He signed it.
KROGSTAD. I left room for a number. That is, your father himself had to put down the day and date when he signed the paper. Do you remember this, madam?
NORA. Seems…
KROGSTAD. I have given you a promissory note to mail to your father. Is not it?
KROGSTAD. You, of course, did this right away, because five or six days later you brought me a bill signed by your father. And the amount was given to you.
NORA. Well, yes, and didn’t I pay carefully?
KROGSTAD. Wow. But... to return to the subject of our conversation... Is it true, it was hard for you then, Mrs. Helmer?
KROGSTAD. It seems your father was seriously ill?
NORA. At death's door.
KROGSTAD. And died soon after?
KROGSTAD. Tell me, Mrs. Helmer, do you happen to remember the day of your father’s death? That is, what month and date did he die?
NORA. Dad died on September twenty-ninth.
KROGSTAD. Absolutely true; I inquired. And this is where things get weird... (takes out paper), which I can’t explain to myself.
NORA. What strangeness? I don't know…
KROGSTAD. It’s such a strange thing, Mrs. Helmer, that your father signed this bill three days after his death.
NORA. How so? I don't understand.
KROGSTAD. Your father died on September twenty-ninth. But look. Here he marked his signature on the second of October. Isn't this weird?
Nora is silent.
Can you explain it to me?
Nora remains silent.
Another noteworthy thing is this: the words “second of October” and the year are not written in your father’s handwriting, but in another one, which seems familiar to me. Well, this can be explained further: your father could have forgotten to put the date and year under his signature, and someone else did it at random, not yet knowing about his death. There's nothing wrong with that yet. The main thing is in the signature itself. Is she genuine, Mrs. Helmer? Was it really your father who signed it?
NORA (after a short pause, she throws her head back and looks at him defiantly). No, he's not. I signed up for him.
KROGSTAD. Listen, Mrs. Helmer... do you know that this is a dangerous confession?
NORA. Why? You will soon receive your money in full.
KROGSTAD. May I ask you why you didn't send the paper to your father?
NORA. It was impossible. He was seriously ill. If I asked for his signature, I had to explain to him what I needed the money for. But I couldn’t write to him when he himself was so sick that my husband was on the verge of his grave. It was unthinkable.
KROGSTAD. So it would be better for you to refuse to travel abroad.
NORA. And that was impossible. My husband’s salvation depended on this trip. I couldn't refuse her.
KROGSTAD. But you didn’t think that you were deceiving me in this way?..
NORA. There was absolutely nothing for me to pay attention to. I didn't even want to think about you. I couldn’t stand you for all the heartless nagging you did, even though you knew the danger my husband was in.
KROGSTAD. Fru Helmer, you obviously don’t have a clear idea of what you’re really guilty of. But I can tell you this: what I was caught in and what ruined my entire social position was no worse, no more terrible than this.
NORA. You? Do you want to assure me that you could have dared to do anything to save your wife's life?
KROGSTAD. Laws do not cope with impulses.
NORA. So bad, that means these are laws.
KROGSTAD. Bad or not, if I present this paper to the court, you will be convicted according to the laws.
NORA. I won't believe it at all. So that the daughter does not have the right to save her dying old father from anxiety and grief? So that a wife does not have the right to save her husband’s life? I don’t know exactly the laws, but I’m sure that somewhere in them this must be allowed. But you, lawyer, don’t know this! You must be a bad lawyer, Mr. Krogstad!
KROGSTAD. So be it. But in matters... in such matters as we have got into, you, of course, assume that I understand something? So here it is. Do what you want. But here's what I'm telling you: if I get kicked out again, you'll keep me company. (Bows and leaves through the hallway.)
NORA (after a moment of thought, throwing his head back). Eh, what's there! He wanted to intimidate me! I'm not that simple. (He begins to tidy up the children's things, but soon gives up.) But... No, this still can’t be! I did it out of love.
CHILDREN (in the door to the left). Mom, someone else's uncle came out of the gate.
NORA. Yes, yes, I know. Just don't tell anyone about someone else's uncle. Do you hear? Even dad!
CHILDREN. Yes, yes, mom, but will you play with us again?
NORA. No, no, not now.
CHILDREN. Oh, mom, you promised!
NORA. Yes, but I can't do it now. Come to your place, I have so much to do. Come, come, my dear children! (Tenderly escorts them out of the room and closes the door behind them. Then he sits down on the sofa, takes up his embroidery, but stops after making a few stitches.) No! (Gives up work, gets up, goes to the door to the hallway and calls.) Elena! Give me the Christmas tree! (He goes to the desk to the left and opens the desk drawer, stops again.) No, this is downright unthinkable!
MAID (with Christmas tree). Where to put it, lady?
NORA. There. In the middle of the room.
MAID. Anything else to submit?
NORA. No thanks, I have everything at hand.
The maid, having put up the Christmas tree, leaves.
(Starting to decorate the Christmas tree.) Here are the candles, here are the flowers... Disgusting man... Nonsense, nonsense, nonsense! Nothing like this can happen! The Christmas tree will be amazing. I will do everything as you like, Torvald... I will sing to you, dance...
Helmer enters from the hall with a stack of papers under his arm.
Ah!.. Already back?
HELMER. Yes. Has anyone come in?
NORA. Did you come?.. No.
HELMER. Strange. I saw Krogstad come out of the gate.
NORA. Yes?.. Oh yes, really, Krogstad, he came here for a minute.
HELMER. Nora, I can see from your face that he came to ask you to put in a word for him.
HELMER. And in addition, as if on my own? Hiding from me that he was here? Didn't he ask for this too?
NORA. Yes, Torvald, but...
HELMER. Nora, Nora, could you do this? Conspire with such a person, promise him something! And on top of that, tell me lies!
NORA. Not true?
HELMER. Didn't you say that no one came in? (Wagging his finger.) So that this does not happen again, songbird. A songbird's throat must always be clean, not a single false sound! (Hugs her around the waist.) Is not it? Yes, I knew it. (Releases her.) Oh, how warm and cozy it is here. (Looks through papers.)
NORA (busy decorating the Christmas tree, after a short pause). Torvald!
HELMER. What?
NORA. I'm terribly glad that the day after tomorrow is a costume party at the Stenborgs'.
HELMER. And I’m terribly curious if you’ll surprise me with something this time.
NORA. Ah, this stupid idea!
HELMER. Well?
NORA. I can't think of anything suitable. Everything seems stupid and meaningless to me.
HELMER. Has little Nora come to this conclusion?
NORA (walking behind him and leaning his elbows on the back of his chair). Are you very busy, Torvald?
HELMER. Hm!
NORA. What kind of papers are these?
HELMER. Banking.
NORA. Already?
HELMER. I obtained from the previous board the authority to make the necessary changes in the personnel of employees and in the work plan. This will take me the Christmas week. I want everything to be in order by the New Year.
NORA. So that's why this poor Krogstad...
HELMER. Hm!
NORA (still leaning his elbows on the back of the chair, quietly runs his fingers through her husband’s hair). If you weren't so busy, I would ask you for one huge favor, Torvald.
HELMER. Let's listen. About what?
NORA. No one has the same taste as you. And I would really like to be pretty at this costume party. Torvald, can’t you take care of me, decide what I should be and how I should dress?
HELMER. Yeah, the stubborn little girl is looking for a savior?
NORA. Yes, Torvald, I can’t cope without you.
HELMER. OK OK. Let's think about it and, probably, we will be able to help the grief.
NORA. Oh, how kind of you! (Goes back to the tree, pause.) And how beautifully the red flowers stand out. But tell me, is what this Krogstad was guilty of really very bad?
HELMER. He was guilty of forgery. Do you have any idea what this is?
NORA. Didn't he do it out of necessity?
HELMER. Yes, or, like many, out of frivolity. And I am not so heartless as to irrevocably condemn a person for one such act.
NORA. Yes, isn't it, Torvald?
HELMER. Another fallen person can rise again morally if he openly admits his guilt and suffers punishment.
NORA. Punishment?
HELMER. But Krogstad did not take this road. He turned out by hook or by crook, and this ruined him morally.
NORA. In your opinion, it was necessary...
HELMER. Just imagine how a person with such a stain on his conscience has to lie, dodge, pretend in front of everyone, wear a mask, even in front of his loved ones, even in front of his wife and his own children. And that’s the worst thing about children, Nora.
NORA. Why?
HELMER. Because an atmosphere poisoned by lies infects and corrupts all home life. Children perceive the germs of evil with every breath of air.
NORA (approaching him from behind). Are you sure about this?
HELMER. Oh, my dear, I was convinced of this enough during my legal practice. Almost all people who went astray early had lying mothers.
NORA. Why mothers?
HELMER. Most often it originates from the mother. But fathers, of course, influence in the same spirit. This is well known to every lawyer. And this Krogstad poisoned his children with lies and hypocrisy for whole years, which is why I call him morally corrupt. (Stretching out his hands to her.) Therefore, let my dear Nora promise me not to ask for him. Give me your hand, what do you promise? Well, well, what is this? Give me your hand. Like this. So, it's an agreement. I assure you, it would simply be impossible for me to work with him; I feel a direct physical disgust for such people.
NORA (releases his hand and goes to the other side of the tree). It's so hot here. And I have so much trouble...
HELMER (gets up and collects papers). Yes, I also need to do a little work on this before lunch. And I'll take care of your suit. And I probably have something to hang on the Christmas tree in gold paper. (Puts his hands on her head.) Oh, my priceless songbird! (He goes into the office and closes the door behind him.)
NORA (pause, quietly). Eh, what's there! This won't happen. This is impossible. It must be impossible.
ANNA MARIA (in the door to the left). The children so touchingly ask to see their mother.
NORA. No no no! Don't let them come to me! Stay with them, Anna Maria.
ANNA MARIA. Okay, okay. (Closes the door.)
NORA (turning pale with horror). Spoil my little ones!.. Poison the family! (After a short pause, throwing his head back.) It is not true. Can't be true, never, forever and ever!
Presentation "Making a dollhouse"
Presentation "Making a dollhouse"
MBOU DOD "Station" Young Technicians"Novouralsk city district 2012" "Making a dollhouse" Valentina Korshunova, 7th grade student Leader: Svetlana Evgenievna Ivanishcheva http://www. o-childhood. ru/ "golden needlework"
Dollhouse in the past... http://www. o-childhood. ru/ "golden needlework"
Dollhouse today... http://www. o-childhood. ru/ "golden needlework"
topic “Making a dollhouse” Goal: to make a “Dollhouse” for children preschool age. Objectives: Analyze the literature on this topic. Identify the most popular image of a dollhouse. Make a dollhouse according to the plan.
Sources of inspiration: literary - fairy tales, illustrations of children's books, survey-research (conversation) with students junior group studio "Fantasy and Skillful Hands", as well as their work on the theme "Teremok" "golden needlework" http://www. o-childhood. ru/
Princess castle Grandmother and grandfather's house Three little pigs' hut Hut on chicken legs Smeshariki houses King's palace Barbie house Mashenka and the bear's house lamp for the genie booth for the puppy birdhouse hole for the mouse hollow for the owl house Voron-Voronovich goat house, etc. Doll houses: "golden needlework" http://www. o-childhood. ru/
"golden needlework" http://www. o-childhood. ru/
Construction plan for “Teremka”: 1. Sketch image; 2. Selection of material; 3. Construction of patterns; 4. Cutting out the parts; 5. Sheathing of parts; 6. Assembly of structures; 7. Decoration (decoration) of structures; 8. Cutting, assembling and decorating characters "golden needlework" http://www. o-childhood. ru/
Materials: fabric of different textures, pleasant to the touch, warm, joyful colors; all kinds of braid; foam rubber - to add volume; isolon - to give shape; cereals, seeds, fruit seeds. "golden needlework" http://www. o-childhood. ru/
"golden needlework" http://www. o-childhood. ru/
"golden needlework" http://www. o-childhood. ru/
"golden needlework" http://www. o-childhood. ru/
Fillers. "golden needlework" http://www. o-childhood. ru/
Fairy tale characters. "golden needlework" http://www. o-childhood. ru/
"golden needlework" http://www. o-childhood. ru/
Conclusions: 1. In the past, a dollhouse was “fun for adults” who could afford this luxury item; 2. In the past, doll houses served not only as decoration, but also played an educational role. With the help of these houses, wealthy gentlemen taught their daughters the duties of women; 3. Today a dollhouse is a beautiful, bright toy made of plastic or wood, widely represented on the children's goods market, but not very cheap in price; 4. Using sources of inspiration: literary - fairy tales, illustrations of children's books, conversations with children as the main customers and their work, you can create your own dollhouse that meets all your wishes and requests and get a lot of pleasure because this house will be one and only; 5. The dollhouse will be used for preschool children to play. During the game, children will get acquainted with Russian folklore, expand their understanding of the world around them, enrich their vocabulary, develop attention, memory, fantasy and imagination. The game will also promote communication, the ability to cooperate, negotiate and empathize; 6. Wonderful characters will not only help you act out a fairy tale, but will also massage biologically active points, which will be very important for preparing your hand for writing. "golden needlework" http://www. o-childhood. ru/
Who, who lives in the little house? "golden needlework" http://www. o-childhood. ru/
"golden needlework" for your attention. http://www. o-childhood. ru/ Thank you for your attention http://www. o-childhood. ru/ "gold needlework"
Presentation on the topic: Henrik Ibsen (1828-1906) famous Norwegian playwright
1 of 9
Presentation on the topic: Henrik Ibsen (1828-1906) famous Norwegian playwright
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Henrik Ibsen (1828-1906) famous Norwegian playwright. One of the founders of the national Norwegian theater. Romantic dramas based on the plots of Scandinavian sagas and historical plays. Philosophical and symbolic dramatic poems “Brand” (1866) and “Peer Gynt” (1867). Acutely critical social realistic dramas “A Doll’s House” (“Nora”, 1879), “Ghosts” (1881), “Enemy of the People” (1882). In the dramas “The Wild Duck” (1884), “Hedda Gabler” (1890), and “The Builder Solnes” (1892), the features of psychologism and symbolism intensified, bringing them closer to the neo-romantic art of the end of the century. Revealing a deep discrepancy between decorous appearances and internal depravity depicted reality, G. Ibsen protested against the entire system of modern social institutions, demanding the maximum emancipation of man. Henrik Ibsen was born on March 20, 1828 in the small town of Skien, on the shores of Christiania Bay (southern Norway). He comes from an ancient and wealthy Danish family of shipowners who moved to Norway around 1720. Ibsen's father, Knud Ibsen, was an active and healthy person; his mother, German by birth, the daughter of a wealthy Skiene merchant, was a person of strict, dry disposition and extremely pious.
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In 1836, Knud Ibsen went bankrupt, and the life of a wealthy, well-established family changed dramatically. Former friends and acquaintances little by little began to move away, gossip, ridicule and all kinds of deprivation began. Human cruelty had a very hard impact on the future playwright. And so uncommunicative and wild by nature, he now began to seek solitude even more and became embittered. Henrik Ibsen studied at an elementary school, where he amazed his teachers with his excellent essays. At the age of 16, Henrik had to become an apprentice at a pharmacy in the nearby town of Grimstadt, with a population of only 800 inhabitants. He left Skien without any regret and never returned to hometown, where he had to learn the full meaning and power of money at such an early age. In the pharmacy where Henrik Ibsen stayed for 5 years, the young man secretly dreamed of further education and obtaining a doctorate. The revolutionary ideas of 1848 found an ardent follower in him. In his first poem, an enthusiastic ode, he glorified the Hungarian patriotic martyrs. Life in Grimstadt became more and more unbearable for Henryk. He turned against himself public opinion town with its revolutionary theories, freethinking and harshness. Finally, Ibsen decided to quit the pharmacy and went to Christiania, where at first he had to lead a life full of all sorts of hardships.
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In Christiania, Henrik Ibsen met and became close friends with Bjornson, who later became his bitter opponent. Together with Bjornson, Vigny and Botten-Hansen, Ibsen founded the weekly newspaper Andhrimner in 1851, which existed for several months. Here Henryk placed several poems and a 3-act dramatic satirical work"Norma" After the cessation of the magazine, Henrik Ibsen met the founder of the folk theater in Bergen, Ola-Buhl, who gave him the position of director and director of this theater. Ibsen stayed in Bergen for 5 years and in 1857 moved to Christiania, also to the position of theater director. Here he remained until 1863. Henrik Ibsen married in 1858 and was very happy in his married life. In 1864, after much trouble, he received a writer's pension from the Storting and used it to travel south. He first settled in Rome, where he lived in complete solitude, then moved to Trieste, then to Dresden and Munich, from where he traveled to Berlin, and was also present at the opening of the Suez Canal. Then he usually lives in Munich. Henrik Ibsen's first play, more psychological than the historical drama "Catilina", dates back to 1850. In the same year, Ibsen achieved that his tragedy “Kamphojen” was staged.
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Since then, he began to write play after play, the plots for which were taken from the history of the Middle Ages. "Gildet pa Solhoug", performed in Christiania in 1856, was the first of Ibsen's dramas to achieve significant success. Then appeared “Fru Inger til Osterraat” (1857), “Harmandene paa Helgeland” (1858), “Kongs Emnerne” (1864). All these plays were a great success and were performed many times in Bergen, Christiania, Copenhagen, Stockholm and Germany. But the plays he wrote in 1864, “En Broder Nod” and especially “Kjoerlighedens Komedie,” so antagonized his compatriots that Henrik Ibsen was forced to leave Norway in 1864. His further dramas “Brand” (1866), “Peer Gynt” (1867), “Kejser og Galiltoer” (1871), “De Unges Forbund” (1872), “Samfundets-Stotter” (1874), “Nora” (1880 ), after which he completely quarreled with Bjornson. Then G. Ibsen wrote: “Hedda Gabler”, “Rosmersholm” and “The Builder Solnes”. Henryk's poems were collected in the book “Digte:” (1871). (M.W. Watson) More about Henrik Ibsen The plays of Henrik Ibsen became known in Europe relatively recently, but the fame of this writer grew with amazing speed, and in last years critics talking about the tops
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modern literature, mention the Norwegian playwright next to the names of Tolstoy and Zola. At the same time, however, with fanatical fans, he has equally zealous opponents who consider his success to be a painful phenomenon. His fame was created not by historical plays written based on the Old Scandinavian sagas (the best of them is “Warriors of Heligoland”), but by comedies and dramas from modern life. The decisive moment in the work of Henrik Ibsen is 1865, when he, having left Norway for the first time, sent there from Italy the dramatic poem “Brand”. By mood and main idea modern plays Ibsen's works fall into two categories: tendentious accusatory comedies and psychological dramas. In his comedies, the playwright is a fanatical defender of an integral, self-sufficient personality and a fierce enemy of those forms of life that, according to artists, depersonalize, level modern people, family, based on romantic lies, society, state, and, mainly, democracy, tyranny of the majority. IN general outline The plot of all these plays is the same: some integral person, a hero or heroine, enters into a struggle with society because of the ideal of truth. The more original and stronger this person is, the more fierce is his struggle against the lack of will and moral insignificance of people. In the end, the person remains lonely, abandoned, scolded, but not defeated.
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Priest Brand, the hero of a fantastic dramatic poem in verse, sets the goal of life to achieve internal perfection, complete mental freedom. For the sake of this goal, he sacrifices personal happiness, his only son, and his beloved wife. But in the end, his bold and uncompromising idealism (“all or nothing”) collides with the cowardly hypocrisy of spiritual and secular authorities; abandoned by everyone, the hero, in the consciousness of his rightness, dies alone among eternal ice Norwegian mountains In a more realistic situation, a similar fate befalls Doctor Shtokman (the hero of the comedy “Enemy of the People”). Convinced that the democracy of his hometown, while serving in words the principles of freedom and justice, in reality is subject to petty and dishonest motives, Dr. Shtokman gathers a public meeting and announces that he has made the following discovery: “the most dangerous enemy of truth and freedom is the gossip, free majority!.. The majority is never right, yes, never! This is a common lie that every free, rational person must rebel against. Who is the majority in each country? Enlightened people or fools? Fools make up the terrible, overwhelming majority throughout the entire world. But is it fair, damn it, for fools to rule enlightened people? Having received the nickname “enemy of the people” from his fellow citizens, abandoned and persecuted by everyone, Shtokman declares in the circle of his family that he has made another discovery: “you see what I discovered: the strongest person in this world is the one who remains alone.”
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Nora, who is kindred in spirit to Brand and Shtokman, comes to the same conflict. Making sure that the family is based on what the husband loves in his wife only beautiful doll, and not an equal person. Nora, in the play of the same name, abandons not only her husband, but also her beloved children, dooms herself to complete loneliness. In all these plays, Henrik Ibsen poses the question: is life truly possible in modern society? and decides it negatively. To live in truth, an integral personality must become outside the family, outside society, outside class and political parties. The artist did not limit himself to such an outwardly accusatory attitude in modern times. Is happiness, a satisfied feeling of cheerfulness, possible under modern living conditions? This is the second question that G. Ibsen poses to himself and which his psychological dramas answer, in artistically standing incomparably higher than comedies. The answer here is negative, although the artist’s worldview has changed radically in many ways. Happiness is impossible, because happiness is inseparable from lies, and modern man infected with the microbe of truth, the fever of love of truth, which destroys himself and his neighbors. Instead of the proud, romantic Brand, the preacher of truth is now the eccentric, but realistically depicted Gregor Werle (“Wild Duck”), who with his ill-fated love of truth breaks in front of the audience the imperturbable, albeit based on lies, happiness of his friend Ialmar. Happiness is also impossible because no one can be himself, no one is able to defend his individuality, since the law of heredity looms over us, and the ghosts of both the vices and virtues of our fathers (“Ghosts”) arise among us.
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The shackles of duty, the responsibilities bequeathed to us by past centuries, interfere with our cheerfulness, which, seeking a secret way out, becomes debauchery. Finally, happiness is also impossible because with the development of culture, becoming more refined mentally and morally, humanity loses the desire for life, forgets how to laugh and cry (“Rosmersholm”). “Ellida” (or “Woman of the Sea”) belongs to the same cycle of psychological plays, the most poetic of all works by Henrik Ibsen, if not in idea (which is that a feeling of trust and respect has more power over the heart than the despotism of love), then, at least in terms of execution. The crowning achievement of Ibsen’s work seems to us to be “Hedda Gabler,” perhaps his only living play, without social or moral schemes, in which the heroes act and live for themselves, and do not rule the corvee for the sake of the author’s idea. In Hedda Gabler, Henrik Ibsen embodied the great decadence of morals of our century, when sensitivity to shades of external beauty overshadowed questions of good and evil, a sense of honor was replaced by fear of scandal, and love by the fruitless pangs of jealousy. Ibsen's latest play, Solnes the Builder, not devoid of autobiographical meaning, depicts in a symbolic image the course of world progress, which began with naive faith, continues with science, and in the future will lead humanity to a new rationally mystical understanding of life, to a castle in the air built on a stone basis. These are the ideas of Ibsen's plays, bold, often daring, bordering on paradox, but touching the most intimate moods of our time.
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In addition to their ideological content, these plays are remarkable as impeccable examples of stage technique. Henrik Ibsen returned the classical forms of modern drama to the unity of time and place, and as for the unity of action, it was replaced by the unity of concept, the internal ramification of the main idea, like an invisible nervous system, penetrating into every phrase, almost every word of the play. In terms of the strength and integrity of Ibsen's concept, he has few rivals. Moreover, he completely eliminated the monologue, and brought colloquial speech to ideal simplicity, truthfulness and variety. Henrik Ibsen's works are more impressive when read than on stage, because it is easier to follow the development of an idea by reading than by listening. The playwright's special technique is his love of symbols. In almost every play the main idea, developing in action, is embodied in some random image; but this technique is not always successful for Ibsen, and sometimes, as for example in “Brand” and “The Builder Solnes,” it introduces some tastelessness into the play. The significance of Henrik Ibsen and the reason for his worldwide fame should be sought in the modernity of the ideas he preached. I. is the same representative of boundless individualism in literature, like Arthur Schopenhauer and Friedrich Nietzsche in philosophy, like anarchists in politics. No one doubts the depth and originality of his ideas, only many people think that they are not warmed by love for people, that their strength does not come from God. (N. Minsky) Henrik Ibsen died in Christiania on May 23, 1906, after a long serious illness. See other famous namesakes named Henry. As well as the meaning and origin of the name Heinrich.
WORK COMPLETED: IRINA SUVOROVA. 10th CLASS Secondary School No. 2 Teacher: Chirkova A.V. Henrik Ibsen.
Henrik Ibsen - Norwegian playwright, publicist, one of the founders of the national Norwegian theater, as well as European new drama - was born in Southern Norway, the small town of Skien, located on the shores of Christiania, on March 20, 1828. He was a descendant of a noble and wealthy family of Danish origin .
Childhood. When Henrik was 8 years old, his father, who was engaged in commerce, went bankrupt, and the encounter with hardships and human cruelty left a huge imprint on his subsequent biography, including his creative one. IN school years he wrote excellent essays and had a penchant for painting, but was forced to make a choice in favor of a profession that guaranteed more stable and significant income.
As a fifteen-year-old teenager, Henrik Ibsen leaves his native Skien (and he left Skien without any regret and never returned to his hometown), comes to the small town of Grimstadt, and gets a job as an apprentice to a pharmacist. During all 5 years that he worked in a pharmacy, he dreamed of getting higher education. Life in this provincial town, where freethinking and enthusiasm for revolutionary ideas turned the public against him, completely disgusted him, and he left for Christiania.
The playwright's love. Ibsen really liked girls and young women, but he liked them “purely aesthetically, as if he were looking at a painting or a statue.” Ibsen's fame, and then the fame that fell on him, played a cruel joke on Ibsen: he found himself in the circle of his fans, who tempted him, seduced him, excited him. Young women fell in love with him, and he tried not to respond to their feelings and turned them into characters in his works. He loved to dream of becoming very rich, buying the best ship in the world and going on a long journey on it. And on the ship so that there are “the most beautiful women in the world".
Works. Ibsen spent a quarter of a century abroad. Lived in Rome, Dresden, Munich. His first world-famous plays were the poetic dramas Catalina (1850), Brand (1865) and Peer Gynt (1867).
The play "Peer Gynt" (1867). Peer Gynt, the embodiment of compromise, adaptation; this semi-folklore image, dating back to Scandinavian mythology, symbolizes the sleeping folk soul; The sacrificial Solveig, the personification of eternal femininity, is called upon to awaken her. The play “Ghosts” (1881) is a drama about the complicated relationships between fathers and children. The play “A Doll's House” (1879) is the story of a “new woman” who strives to realize herself, bypassing the temptation of becoming a “doll,” and at the same time help a man fulfill his mission.
Interesting facts: Henrik Ibsen's son Sigurd Ibsen was famous politician and a journalist, the grandson of Tancred Ibsen is a film director. A crater on Mercury is named after Henrik Ibsen. Since 1986, Norway has awarded the national Ibsen Prize for contributions to drama, and since 2008 International Prize Ibsen. The Ibsen Theater operates in the city of Skien. Ibsen, after lying in silent paralysis for several years, stood up and said: “On the contrary!” - and died.
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