Piano was the nineteenth-century status-symbol and the epitome of
the domestic bourgeois ideology. Learning to play the piano was a
necessary part in the upper-class education. Also, the piano could
provide the married woman with a rare possibility for an artistic
escapade from the restraints of her gendered identity. Henrik Ibsen
uses the motif of piano and piano music most elaborately in three
dramas: A Doll House, Hedda Gabler and John Gabriel Borkman,
developing from Nora's tarantella dance to Borkman's Danse Macabre.
Ibsen's Piano focuses on these three dramas, examining how the
dramatist uses these motifs both as dramatic tools essential for
the structure of the drama, as well as the epitome of the cultural
forces and ideologies of the nineteenth-century bourgeoisie and the
characters' means by which they attempt to transcend those forces.
Ibsen's Piano brings Ibsen into a larger context of
nineteenth-century literature, music and studies of private life.
Its interdisciplinary perspective addresses literary and cultural
scholars as well as musicologists and feminist scholars.
General
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