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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 R152,66   Add to cart

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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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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.

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  • September 21, 2024
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(DRA1016) Performance Analysis


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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