ABSTRACT
The fi rst Japanese production of A Doll’s House took place in 1911, and my production, Double Nora, in 2005. In the 1911 production, the fi rst modern female actor appeared on the Japanese stage, while the 2005 production marked the fi rst ever collaboration between authentic Noh and modern theater. The chapter examines certain aspects of the women’s rights movement relevant at the time of the 1911 premiere and the signifi - cance of the collaboration between traditional and modern acting styles in the latest production of the play.
