My prologue begins with a room-the four walls and a door within which so many women have been confined. To be more exact, my starting point is the leaving of that room, and the slamming of a door. Furthermore, the four walls are really only three (and these not substantial), for they construct a play, not a real world, and the departing woman-Ibsen’s Nora-has only a fictive existence. Even her exit through the outer door that leads to the street has to be taken on trust. As readers and audiences, we hear but do not see it. Nora goes into the outside world but what remains on view is the interior of the doll’s house.