Atrium revisits Ibsen – Revista Teatre Barcelona
The doll house of Henrik Ibsen returns to the scene in the Atrium room in a new production directed by Raimon Molins. The Norwegian author’s classic keeps intact his ability to challenge the present with an incisive look at identity, social roles and individual freedom.
After the remodeling of the theater in November 2024, Atrium promotes a new own production with one of the most emblematic texts of the European repertoire. The work, one of the most translated and performed in the world, portrays the crisis of Nora Helmer, a woman who discovers that her married life is, in reality, a cage built with conventions.
Ibsen, more current than ever
Raimon Molins places the validity of the text in the current context: “doll housewritten in 1879, talks about the struggle of individual identities within society, with marriage and the family as an absolute metaphor for this system”, and adds: “We are in 2026, in a society that perceives itself as free and advanced, but the reality is always more complex than we would like to admit”.
For the director, the center of the conflict is clear: “The work mainly talks about the struggle of a woman inside a house that becomes a closed, ideological and claustrophobic space, full of learned roles and silenced tensions”. And he adds that Nora’s story “allows us, once again, to enter a theater that, because it is deeply human, challenges us and makes us live our present from the past”.
The adaptation concentrates the action on four performers —Claudia Manini, Jordi Llordella, Chris Martinez i Anna Maruny— and puts the focus on the dramatic core. Nora and Torvald Helmer form, apparently, a happy marriage with three children. In the midst of the Christmas season, his life seems consolidated in comfort and social advancement. But beneath this surface lies a structure based on appearance and control. The famous final knock on the door – which became a symbol of female emancipation – now resounds in the Atrium.
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