Nora (A Doll’s House) by Henrik Ibsen has reached the age of 137 years by now. Yet it is still hauled out of the archives because it narratively frames the battle of the sexes in a striking manner. After almost a century and a half, director Sarah Moeremans drastically changes course. Nora is no longer comfortable in the role that she has had to play: not in her family, not on stage, not in the world (as a legendary character).
We have come to live in a world in which the balance between men and women are far less asymmetrical, so why would we remain representing it that way on stage?
In a new adaptation by playwright Joachim Robbrecht, Nora won’t be stomped upon throughout the play only to pack a suitcase at the very end. In this, Crashtest Ibsen: Nora is a satire about today’s attitude towards women’s rights, morals, money and the function of theatre.
Crashtest Ibsen: Nora is part of the Crashtest Ibsen series, in which Ibsen’s classic plays are tested on their actuality. The political accusations of his time, the late 19th century, have partly been given an answer by the period that divides us from them. That creates a need for new questions, forms and answers.