A Doll’s House [Et Dukkehjem, 1879] is Henrik Ibsen’s best known and most widely performed play. In Spain, it was Ibsen’s first translated play, in 1892, and it has been translated, published, staged and rewritten multiple times since then. The objective of this article is to do a preliminary analysis of the reception of three stage rewritings by Ana Diosdado (1938-2015) and Lucía Miranda (1982- ) that have as a common element their Francoist references that were used to make the plot more relatable for the Spanish audience. Therefore this article studies how the reception and interpretation of A Doll’s House in contemporary Spain has been influenced by the self-perception of the backwardness of the country in relation to women’s emancipation during Francoism, which made the situation of women in that period comparable to that of Nora in 1870s Norway.
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