The whole play is set in the drawing room of Tesman’s house, in the set, Ibsen describes that there are a further two adjoining rooms and a veranda outside. One of the rooms are indicated by a door the other is obviously shown at the back where a doorway allows us to see in to the room, where a large painting of General Gabler (hedda’s father) can be seen.
Date and Time
Ibsen wrote ‘Hedda Gabler’ around 1890, and the setting of the play was at the same time, this is significant as it supports reasons for Hedda not fulfilling her dreams. If the play was set in the present day, Hedda wouldn’t even be married; she’d probably be in the army! In 1890, women were very limited in their actions; women’s education was stopped at 14, so they could prepare for marriage and motherhood by 16. Eventually, when they were married, women were expected to live under the rules of their husbands. In context of the set design, the time is significant as is will limit a design of a naturalistic setting. Around this time, many playwrights, like Ibsen started to write in a naturalistic style.
Timeline
This play was written around the time when theatre started to make significant points; it was the very first time that views on the way of living were presented realistically.
Economic Environment
Hedda Gabler is of a higher class; she lives in an environment, which is of a much lower class to which she is used to from growing up.
“…General Gabler’s daughter! Think of what she is accustomed to…”
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. Downstage stands an oval table, covered by a cloth and surrounded by chairs. Downstage right, against the wall, is a broad stove tiled with dark porcelain; in front of it stand a high backed armchair, a cushioned footrest and two footstools. Upstage right, in an alcove, is a corner sofa, with a small, round table. Down stage left, a little way from the wall is another sofa. Upstage of the French windows, a piano. On either side of the open door way in the rear wall stand wot-knots, holding ornaments of terracotta and majolica. Against the rear wall of the smaller room can be seen a sofa, table and a couple of chairs. Above this sofa hangs the portrait of a handsome old man in generals uniform. Above the table a lamp hangs from the ceiling, with a shade of opalescent, milky glass. All round the drawing room bunches of flowers stand in vases and glasses. More bunches lie on the table. The floors of both rooms are covered with thick carpets. Morning light. The sun shines in through the French windows.”
Act one
- “stops just inside the door”
- “goes to the French windows and throws them wide open”
- “bewildered at the table”
- “puts it on the piano”
- “george Tesman comes into the rear room from the right”
- “in open doorway”
- “puts the hat on the chair by the table”
- “She puts her parasol in the corner of the sofa”
- “looks towards the audience”
- “Hedda enters the rear room from the left”
- “oh that maids left the French windows open”
- “goes towards the audience”
- “by the wot-knots on the right”
- “goes away towards the stove
- “by the French windows impatiently”
This is a small example of the extent in which Ibsen goes to, to describe how an actor should move around his set ideas, no description is wasted all are essential to the actors performance.
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My idea for this set design is to show the entrapment of Hedda, I want to show what is trapping her or who is trapping her. 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.
