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Applying two of the approaches to which you have been introduced in this module, provide a comparative analysis of how a moment/s in or element/s of a performance creates meaning. Justify your choice of the two approaches for your chosen example. Approach$8.34
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Applying two of the approaches to which you have been introduced in this module, provide a comparative analysis of how a moment/s in or element/s of a performance creates meaning. Justify your choice of the two approaches for your chosen example. Approach
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Performance Analysis (DRA1016)
Instelling
University Of Exeter (UoEX)
In this essay I will be applying semiotic concepts in relation to feminist critique in order to analyse the extent of which this production of A Doll’s House creates apparent and indented meaning for the audience.
Applying two of the approaches to which you have been introduced in this module,
provide a comparative analysis of how a moment/s in or element/s of
a performance creates meaning. Justify your choice of the two approaches for your
chosen example.
Approaches Chosen: Signs & Semiotics and Feminist Critique
Production Chosen: A Doll’s House
In March 2022, I watched a production of A Doll’s House written by Henrik Ibsen,
captured by Digital Theatre+ at London’s Young Vic theatre. The play follows the story of
Nora and Torvald Helmer and their three children, a seemingly conformist bourgeoisie family
who inevitably disperse due to disputes that relate to the gender conformities that existed
during the late 19th century society in which the Helmer family live. Directed by Carrie
Cracknell, this performance successfully works to highlight specifically Nora’s oppression
and suffering in patriarchal society dominantly governed by men. The play primarily deals
with the struggles of the relationship between the protagonist Nora, played by Hattie
Morahan and her husband Torvald, which advances the action as Nora represents the lack of
emancipation of many women of that time. Mark Fortier writes that semiotics is
‘understanding the way we communicate with signs in theatre’ (Fortier 2016: 13) and
throughout Cracknell skilfully succeeds her role as the director as she allows the actors to
communicate with the audience through signifiers as she ensures that sign systems operate
within the meaning of the performance. Cracknell specifically creates meaning through
elements such as costume, make-up, set and most of all physical and vocal expression from
the actors. Owing to this, in this essay I will be applying semiotic concepts in relation to
feminist critique in order to analyse the extent of which this production of A Doll’s House
creates apparent and indented meaning for the audience. This choice of combining both signs
, (DRA1016) Performance Analysis
and semiotics with references to related feminist critique will aid my argument that Cracknell
creates meaning to reflect the discrimination of women within the Victorian society in which
the play is set, through skilfully utilising both theoretic approaches. Henrik Ibsen, the writer
of this feminist play, is known for his work on revolving around the treatment of women and
the presentation of their issues of the time and their unequal place within a patriarchal
society. It is seen that in many ways A Doll’s House made Ibsen an icon of the feminist
movement in the 19th century, when the first wave feminism had already started in Europe as
well as in America, where women particularly struggled with labour relations and structural
inequality of society. However, though many feminist critics have seen Ibsen as a feminist
icon, overtime it has been argued that A Doll’s House is a play about humanity rather than
just feminism. Joan Templeton argues that Ibsen ‘never meant to write a play about the
highly topical subject of women's rights; Nora's conflict represents something other than, or
something more than, women’s’ (Templeton 1989: 28). However, Dr. Basavaraj Tallur paper,
counteracts that as Tallur explains how Ibsen’s rejection of the play as a feminist one ‘does
not change the emotional and psychological effect of the play on the audiences and the
readers’ (Tallur 2021:2). Furthermore, after watching this production, I feel through the
skilful use of signs, Cracknell creates sympathy from the audience as she portrays the
oppressed nature of Nora’s repressed lifestyle as middle-class housewife subdued by the
repressive social customs of her environment.
Throughout this production, many different elements collaboratively work together in
order to create meaning and convey the inequality within Torvald and Nora’s relationship.
When quoting French philosopher Michel Foucault, Mark Fortier writes how semiotics
creates meaning and how it helps us ‘to perceive where signs might be, to define what
constitutes them as signs and to understand the relationship between them ...’ (Fortier 2016:
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