This thesis is concerned with the influence of A Doll's House or Nora by Henrik Ibsen on the following Slovenian drama texts: Školjka (Shell) by Lojz Kraigher, Magda by Alojzij Remec and Nora Nora by Evald Flisar. The thesis compares Ibsen's Nora with each of the individual dramas, searching for similarities and dissimilarities between the works. The main focus of the thesis is on the female characters, their aims, and the question as to whether the characters have achieved their aims. The analysis and comparison of the texts revealed that Kraigher's Školjka (Shell) and Flisar's Nora Nora clearly show the influence of Ibsen's Nora, while Remec's Magda does not. Although Školjka and Nora exhibit numerous similarities, they are quite different in regard to their conflict and main idea. This may be attributed to the specific type of realism in Slovenian drama, which is characterised by romantic and post-romantic attributes, which are evident in Školjka through the yearning of a profound love, while Nora overcomes this conflict by reaching for the self-actualization of an individual. As a contemporary writer, Flisar designed his drama Nora Nora quite differently, but still shares an idea similar to that of Ibsen. Even though 125 years have passed and women's emancipation movements have made significant progress, we are again confronted with an unhappy individual and, consequently, an unhappy marriage (or unhappy union of two persons). There is no visible influence of Ibsen's Nora in Magda. Both the dramas are very much focused on the female character's yearning and suffering, but similarities are few and far between and seem to be mostly coincidental. Nora is, at the end of the play, a stable personality who realises that this is the time for resistance, her chance to build her own personal identity, uninfluenced by her father or husband. Magda, however, is far from being a stable personality. She falls deeper and deeper with each scene and keeps losing her own sense of selfhood. Her only aim is marriage so, unlike Nora, she is trapped in the traditional role of the woman - merely a mother and a wife.