No­ra or a dollhou­se

Ibsen's play sharply criticizes the social conditions of the late 19th century, which constrained women and reduced them to the role of wife and mother. In his razor-sharp production, Swiss director Marcel Gisler shows that Ibsen's findings are by no means less relevant today.

Everything is going well in the Helmer household: Torvald and Nora are financially well off, have a happy marriage and have healthy children. When the news arrives shortly before Christmas that Torvald is even promoted to bank director, there is great joy. At the same time, however, Nora is also caught up in an old story: in order to save her husband, who was terminally ill at the time, she had obtained money through a small fraud. The more she tries to prevent these circumstances from being exposed, the tighter the noose tightens.