Transcript
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Maria Valles

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Characterization through Physical Motions and Gestures in Hedda Gabbler and Death and the

Maiden

Stage directions play an emblematic role in the development of the protagonists in

Dorfman’s Death and the Maiden and Ibsen’s Hedda Gabler. Through physical motions and

gestures the key female characters Paulina Escobar and Hedda Gabler, both successfully

transmit more about their personalities than dialogue can explain. The characters’ motions

and the way they interact with others further highlights the main features of their unique

personalities. Paulina Escobar has endured a traumatic experience which she is unable to

overcome, and alternatively Hedda Gabler finds herself trapped in an unhappy marriage and a

constant search for control. Stage directions are not essential to every play; however in Death

and the Maiden and Hedda Gabler, both authors through physical motions and gestures

develop the character’s relationships, emotions, and lastly a manipulative characteristic found

in both characters.

Both Dorfman and Ibsen take advantage of stage directions to define the bizarre and

unique characteristics of Paulina’s and Hedda’s emotions. Both women are portrayed as

emotionally unstable and act inappropriately or simply unexpectedly during delicate and

difficult situations. This challenges the reader’s mind when it comes to understanding the

characters, and brings up questions about the possible reasoning behind their actions. In

Death and the Maiden Paulina holds Dr. Miranda hostage because she believes he is the one

responsible for the torture she received many years ago. What is most peculiar about the

situation is that she acts noticeably calmly, as if she were performing a daily duty. Dr.

Miranda finds himself tied up, immobile, and with a gag in his mouth as Paulina simply

“watches from the terrace” (Dorfman 42). This is an unusual behavior for someone who is in

the process of torturing what could possibly be an innocent victim. It is unknown whether it

is just an act that Paulina puts on as self-defense, but she appears to be confident as she is

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able transmit tranquility in a situation where she would be expected to be extremely nervous

and unsteady, at one point she is described to be “calm, till the end of the scene” (Dorfman

4). Paulina’s actions as well as Hedda’s, emphasize the peculiarity of their characters. As

noted in her physical gestures Hedda rejects anything coming from her husband Tesman;

when there is an allusion to a possible pregnancy Hedda rapidly “walks about the room,

raising her hands in desperation” (Ibsen 21). This is an example of Hedda’s reaction to a

delicate situation, and it exposes to the reader Hedda’s repugnant opinion of pregnancy and

even to the idea of having a baby with Tesman. The way that Paulina and Hedda physically

react to a given situation reveals each woman’s individual personality. Paulina seems to be

serene but at the same time unstable and Hedda also seems unstable but at the same time

more impatient for she is seen “nervously crossing the room” (Ibsen 41) and “rising

impatiently” in times of difficulties (Ibsen 43).

There is a distinct contrast between Paulina’s marriage with Gerardo Escobar, and

Hedda’s unhappy relationship with her husband, George Tesman. This becomes evident

through the physical contact between each couple. From the very beginning, Dorfman

exposes Paulina’s character as a victim of a traumatic experience; this is enhanced when her

husband says, “If you knew how much I love you. If you knew how much it still hurts me”

(Dorfman 9). Gerardo treats Paulina with great delicacy when “he takes her in his arms” and

“she slowly calms down” (Dorfman 11). Gerardo is very careful about the way he handles his

wife and knows exactly how to act in order to protect her emotions. He is constantly afraid to

make a wrong move that could cause Paulina to “relapse again” (Dorfman 8). Paulina and

Gerardo are in constant physical contact, for example when Paulina is “fiercely holding on to

him” (Dorfman 10). This indicates the comfort and security she finds in her husband. At the

same time this action also demonstrates that Paulina is constantly seeking an authoritative

position over him. On the other hand, Hedda’s character transmits a feeling of disgust and

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discontent towards her husband George Tesman; she looks at him “with cold eyes”

throughout the play (Ibsen 35). Hedda finds herself trapped in an unhappy and loveless

marriage which is further emphasized when she says, “and then, what I found most

intolerable of all–…was being everlastingly in the company of –one and the same person-”

(Ibsen 38). By expressing to Judge Brack that she finds herself incapable of living alongside

her husband whilst conversing about her recent honeymoon, Hedda is portrayed as distant

and characterized by cold motions and gestures. Hedda is described to be “looking at Tesman

with a cold smile” (Ibsen 48) and as “cold and immovable” (Ibsen 75). Altogether this

portrays her as a heartless and unhappy woman that seems incapable of loving anyone, not

even herself. Contrastingly, Paulina shows that she is sheltered from pain by her supportive

husband Gerardo.

Stage directions also reveal another aspect of these characters’ personalities. Both

Paulina and Hedda display a manipulative persona, despite the fact they have very distinct

ways of expressing this. Hedda’s character is particularly scheming and controlling as she

constantly has a second intention of self-interest behind her actions. When Mrs. Elvsted is

introduced in the play Hedda proceeds to “kiss her cheek,” which coming from Hedda is very

unusual (Ibsen 27). This action immediately brings up doubt within the reader. Hedda’s

superficial actions become evident when Mrs. Elvsted proceeds to correct her by saying, “My

name is Thea” as she refers to her by the wrong name even though they went to school

together when they were young (Ibsen 27). As the play progresses and Hedda is talking to

Mrs. Elvsted she “takes a chair from the table, seats herself besides her, and strokes her

hands” (Ibsen 29) and “passes her hands softly through Mrs. Elvsted’s hair” (Ibsen 84). It is

not until later in the play that the justification behind her actions begins to come together and

make sense. Hedda is eager to retrieve information from Mrs. Elvsted and uses physical

contact to build trust and comfort in their relationship. Paulina on the other had uses the

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object of the gun as her method of manipulation; when she holds Dr. Miranda hostage

Paulina “shows him the gun and points it playfully in his direction” (Dorfman 20) and

subsequently “puts the gun to his temple” (Dorfman 32). The gun gives Paulina a sense of

being in control. In Paulina’s head, Dr. Miranda tortured and had control of her both body

and soul. By holding the gun, Paulina obtains a feeling of satisfaction. Finally, Paulina is the

one who can do what she pleases with her ‘torturer’ and not the other way around. Paulina

holding a gun naturally manipulates Dr. Miranda’s thoughts and emotions, for his life is at

risk, and Paulina could pull the trigger at any second ending his life.

It is clear that in Death and the Maiden and Hedda Gabler the importance of stage

directions is equivalent to that of the dialogue itself. If this technique were to be taken away

from the play, the depth to which the reader is able to understand the characters through their

physical motions and gestures would be nearly impossible. The constant physical contact

between Paulina and Gerardo indicates the proximity and closeness of their marriage.

However, the inexistent contact between Hedda and Tesman demonstrates the lack of

affection and happiness in the couple. The tranquility of Paulina’s actions and the hysteria of

Hedda’s reactions emphasize the characters’ emotions and foreshadow the reasoning behind

their actions. The specificity of stage directions also highlight Paulina’s and Hedda’s constant

search for manipulation and control over others. Stage directions do not determine the

characterization of the characters, but facilitate the readers’ understanding of the overall

purpose and meaning of the play.

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Bibliography:

I b sen , Hen r ik .  Hedda Gab le r . T r ans l a t ed by Edmund Gosse and Wi l l i am

Arche r . 1 . S t i lwe l l : D ig reads . com, 2005 . 12 -86 . P r i n t .

Dor f man , Ar i e l .  Dea th and t he Ma iden . 1 . New York : The Pengu in

Group , 1994 . 3 -68 . P r i n t .

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