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20世纪的上半叶,在易卜生剧作中,只有《玩偶之家》(《娜拉》《傀儡家庭》)、《人民公敌》(《国民公敌》《刚愎的医生》)、《群鬼》等寥寥几部戏剧被搬上了中国的舞台,而这几部戏的演出中,又只有《玩偶之家》的演出到了20世纪30年代中期才真正获得了巨大的社会轰动效应。相对于易卜生剧本在当时中国的影响力,其相应的演出仍显得剧目稀少、场次不多、规模偏小。这既折射了当时易卜生剧作在中国的“写实主义”演出由生涩到成熟的过程,又说明易卜生剧作在中国的传播与移植还有很长的路要走。
In the first half of the twentieth century, only Ibn Batt’s home was the home of the dolls (“Nora” “puppet family”), “public enemy of the people” (“national public enemy” Ghosts “and a handful of other plays were put on the Chinese stage. Only the performance of” Doll’s House “in these few show performances really gained a huge social sensation until the mid-1930s. Relative to Ibsen’s script at the time of China’s influence, the corresponding performances still seem rare, less than a small scale. This not only reflects the process of the ”realistic" performance of Ibsen’s play in China from jasper to maturity, but also shows that there is still a long way to go before Ibsen’s play in China spreads and transplants.