The dollhouse represents Nora's domestic life, which is restrictive and stifling. She is expected to be a perfect wife and mother, but she feels trapped and unfulfilled.

Willy Loman's obsession with success is a metaphor for his need for approval from others. He constantly seeks validation from his family, friends, and colleagues, but he never feels truly satisfied.

Blanche DuBois's white dress symbolizes her fragility and vulnerability. It is a stark contrast to the colorful and vibrant world of New Orleans, and it highlights her sense of displacement and isolation.

The fence in August Wilson's play Fences symbolizes the racial segregation of the American South. It is a physical barrier that divides people of different races, and it represents the social and economic inequalities that exist between them.

The cherry orchard in Anton Chekhov's play The Cherry Orchard symbolizes the family's impending doom. The orchard is being sold to pay off the family's debts, and its destruction represents the loss of the family's wealth, status, and history.

Mother Courage's wagon in Bertolt Brecht's play Mother Courage and Her Children symbolizes her resilience and determination. She uses the wagon to transport her goods and her children, and it becomes a symbol of her ability to survive in the face of adversity.

Godot in Samuel Beckett's play Waiting for Godot symbolizes hope. The two main characters, Vladimir and Estragon, wait for Godot to arrive, but he never does. Their waiting is a metaphor for the human condition, and Godot represents the hope that something better will come.

The birthday party in Harold Pinter's play The Birthday Party symbolizes the protagonist's impending doom. The party is a strange and unsettling event, and it foreshadows the protagonist's ultimate fate.

The bald soprano in Eugene Ionesco's play The Bald Soprano symbolizes the absurdity of language. The characters in the play speak in nonsensical and illogical ways, and their conversations highlight the difficulty of communication.

The game of "Get the Guests" in Edward Albee's play Who's Afraid of Virginia Woolf? symbolizes the couple's marital problems. The game is a series of verbal attacks and insults, and it highlights the deep-seated resentment and hostility between the couple.

The coin toss in Tom Stoppard's play Rosencrantz and Guildenstern Are Dead symbolizes the characters' lack of control over their own lives. The characters are constantly being manipulated and controlled by others, and the coin toss represents their inability to make their own choices.

The AIDS epidemic in Tony Kushner's play Angels in America symbolizes the resilience of the human spirit. The characters in the play face death and despair, but they ultimately find hope and meaning in their lives.

The war in Bosnia in Sarah Kane's play Blasted symbolizes the brutality of war. The play depicts the horrors of war, including rape, torture, and murder, and it highlights the devastating impact of war on the human psyche.

The dinner party in Caryl Churchill's play Top Girls symbolizes the changing roles of women in society. The play brings together women from different time periods and social backgrounds, and their conversations highlight the challenges and opportunities that women face in the modern world.

The beauty pageant in Martin McDonagh's play The Beauty Queen of Leenane symbolizes the objectification of women. The pageant is a contest in which women are judged solely on their physical appearance, and it highlights the way in which women are often treated as objects to be admired and desired.