Abstract
Under what terms can the twenty-first century stage bring Nora Helmer back into her husband’s house? Lucas Hnath’s A Doll’s House, Part 2 (2017) attempts the paradoxical exercise of re-opening the discussion between characters which the end of Henrik Ibsen’s play had irrevocably separated, as though to satisfy our postmodern appetite for sequels (Genette, Eco). This paper examines the form of Hnath’s play as both a continuation of the “drama of ideas” concept and as a modern reframing, with more abstraction, irony and immediacy, of Ibsen’s issues. It argues that Hnath’s play participates in an ambition to “declassicize” Ibsen (as encouraged by Fuchs), while reaffirming the Norwegian playwright as our “contemporary” according to Agamben’s conception of the term. Beyond its endlessly open discussion of gender issues, this paper also seeks to replace Hnath’s play within American theatrical traditions, questioning how far innovation can go within the bounds of realism.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
