塞爾特宗教

易卜生(1828～1906年)

Ibsen,Henrik (Johan)

挪威劇作家。在二十三歲時在卑爾根一所新的國家劇院裡謀得編導和常駐劇作家的職位，負責創造一種「民族戲劇」。1857～1863年易卜生在挪威劇院執導，1863年劇院破產。自那時起，他開始遊歷歐洲，過著一種自我放逐的生活，一直到1891年。在義大利他撰寫了道德劇《布朗德》（1866）和輕快的《皮爾金》（1867）。在寫完諷刺劇《社會支柱》（1877）後，他開始找到知音，而《傀儡家庭》（1879）、《群鬼》（1881）、《人民公敵》（1882）、《野鴨》（1884）和《羅斯默莊》（1886）這些情節簡明有力的中產階級道德劇，為他贏得國際聲譽。他更具象徵主義的劇本有《海達.加布勒》（1890）、《建築師索爾尼斯》（1892）、《小艾友夫》（1894）和《當我們死而復甦時》（1899），大部分寫於1891年他返國以後。易卜生在劇本中強調人物特性重於情節鋪展，提出像政治腐敗和女人角色變化的社會問題，以及從挫敗的愛情和破壞的家庭關係產生的心理衝突。他對歐洲的戲劇影響很大，公認是現代詩劇的締造者。

English version：

1828～1906年

Ibsen,Henrik (Johan)

Norwegian playwright. At 23 he became theater director and resident playwright of the new National Theater at Bergen,charged with creating a “national drama.” He directed the Norwegian Theater from 1857 to 1863,when the theater went bankrupt. He then set off on extended travels in Europe,beginning a self-imposed exile that would last until 1891. In Italy he wrote the troubling moral tragedy Brand (1866) and the buoyant Peer Gynt (1867). After the satire Pillars of Society (1877) he found his voice and an international audience with powerful studies of middle-class morality in A Doll's House (1879),Ghosts (1881),An Enemy of the People (1882),The Wild Duck (1884),and Rosmersholm (1886). His more symbolic plays,most of them written after his return in 1891,include Hedda Gabler (1890),The Master Builder (1892),Little Eyolf (1894),and When We Dead Awaken (1899). Emphasizing character over plot,Ibsen addressed social problems such as political corruption and the changing role of women as well as psychological conflicts stemming from frustrated love and destructive family relationships. He greatly influenced European theater and is regarded as the founder of modern prose drama.

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