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Hedda GablerSet Design ProjectThe staging implications of a production Firstly, I will look at the given circumstances of Hedda Gabler. This will inform me of what things I must

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Elizabeth Bergman Theatre Studies Hedda Gabler Set Design Project The staging implications of a production Firstly, I will look at the given circumstances of Hedda Gabler. This will inform me of what things I must have in my set design, things that the Ibsen wanted in his production. The given circumstances can be split into six separate groups; geographical location, date and time, timescale, economic environment and political environment. By looking at each, I can ensure precise detail. Geographical Location This section describes what geographical location is, and how researching it will aid me in this set design project. In this section I will also explain the significance of the locations. Geographical location is the place where the play is set, such as the country, town, house type or room. The location of the play was never mentioned by Ibsen but the assumption of the location is leads us to believe that it would be Norway and its capital, Kristiania (now known as Oslo). The life in which Hedda lives is only feasible if she were to live in the fashionable and expensive part of Kristiania, Drammensvejen. "A possible source of inspiration for this beautiful villa, with its view towards the fjord, may have been the property owned by Thomas Heftye, a wealthy banker who was an acquaintance of Ibsen and a patron of the arts. ...read more.


Tesman can afford to not earn money for periods of time, when he is writing his book, this indicates that his class is of high middle class. Tesman can afford an expensive honeymoon as he uses some money from his research grant. "...That big research grant I got helped a good deal..." He can also afford to buy a lavish house but only with the aid of his aunt. Social Environment Most of the characters are of a high class, in the play; this has been shown by the reaction to scandal in the play. When Loevborg disgraces himself, all are expected to make him a social outcast. Also this is shown through the description of the house. Political Environment Given Circumstances Most of the given circumstances are described at the beginning of the play; "A large drawing-room handsomely and tastefully furnished; decorated in dark colours. In the rear wall is a broad open door way, with curtains drawn back to either side. It leads to a smaller room, decorated in the same style as the drawing room. In the right hand wall of the drawing room a folding door leads out to the hall. The opposite wall, on the left, contains French windows, also with curtains drawn back on either side. Through the glass we can also see part of a veranda, and trees in autumn colours. ...read more.


The major thing that is trapping Hedda is her fear of scandal, she fears that if she were to fulfil her dreams she would become a social out cast. To show this within my set design I will place vine leaves in places such as in the flower vases, but to be subtle as if they were part of the flower arrangement. Further to show the entrapment of the other characters I would have representations of them throughout. For Tesman, I would cover some of the furniture with his irritating speech impediment, covering the furniture with "WHAT?!". The flowers in the room as described by Ibsen, will represent Aunt juju and her cheerful ways that Hedda detests. For Judge Brack, I would have some judge robes hanging in the corner on a hat stand. This would also symbolise the later threat of him spending time with Hedda when Tesman is rewriting the book with Thea. To also show the entrapment of boredom, my set will be painted in dull greys. The only colour will be from the flowers. Also I want to show her dreams tempting her away. The only thing that is slightly adventurous with Hedda is her guns and her passion for shooting, they are as well her gateway to freedom, from her personal hell. To represent this, on the doors, I would have gun shaped doorknobs. ...read more.

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