مشخصات پژوهش

In Henrik Ibsen’s major realist dramas—A Doll’s House, Ghosts, and Hedda Gabler—emotional crisis is rarely voiced directly; instead, it is materialized through objects, spaces, gestures, and silences that function as precise carriers of psychological meaning. This dramaturgical strategy anticipates T. S. Eliot’s concept of the objective correlative: “a set of objects, a situation, a chain of events which shall be the formula of that particular emotion.” The significance of this work extends powerfully into performance theory and actor training. Contemporary directors often impose psychological realism onto Ibsen’s restrained dialogue, risking sentimentality. But as Fischer demonstrates through rehearsal ethnographies, “performers achieve greatest emotional authenticity not by “feeling more,” but by trusting the object: when Hedda touches her father’s pistols, the actor need not "become suicidal"—the prop is the affective cue”. The primary aim of this study is to analyze how Henrik Ibsen employs the objective correlative—not as a borrowed poetic device, but as a constitutive dramaturgical system—in A Doll’s House, Ghosts, and Hedda Gabler. It seeks to demonstrate that in these plays, emotion is not expressed through psychological revelation or soliloquy, but engineered through the precise arrangement of objects, spaces, silences, and stage directions—where a burning orphanage, a slammed door, or a pair of pistols functions not symbolically, but structurally, as the very syntax of tragic feeling. The study will examine how Ibsen’s material dramaturgy anticipates and reshapes T. S. Eliot’s concept, transforming it from a theory of poetic emotion into a methodology for dramatic affect. By mapping the recurrence, juxtaposition, and kinetic activation of correlatives across the three texts, this research aims to reconstruct Ibsen’s formal grammar of structural emotion—and in doing so, reposition him not only as a social critic, but as a pioneering theorist of embodied spe