易卜生(1828～1906年)
Ibsen, Henrik (Johan)
挪威剧作家。在二十三岁时在卑尔根一所新的国家剧院里谋得编导和常驻剧作家的职位，负责创造一种「民族戏剧」。1857～1863年易卜生在挪威剧院执导，1863年剧院破产。自那时起，他开始游历欧洲，过着一种自我放逐的生活，一直到1891年。在义大利他撰写了道德剧《布朗德》（1866）和轻快的《皮尔金》（1867）。在写完讽刺剧《社会支柱》（1877）後，他开始找到知音，而《傀儡家庭》（1879）、《群鬼》（1881）、《人民公敌》（1882）、《野鸭》（1884）和《罗斯默庄》（1886）这些情节简明有力的中产阶级道德剧，为他赢得国际声誉。他更具象徵主义的剧本有《海达.加布勒》（1890）、《建筑师索尔尼斯》（1892）、《小艾友夫》（1894）和《当我们死而复苏时》（1899），大部分写於1891年他返国以後。易卜生在剧本中强调人物特性重於情节铺展，提出像政治腐败和女人角色变化的社会问题，以及从挫败的爱情和破坏的家庭关系产生的心理冲突。他对欧洲的戏剧影响很大，公认是现代诗剧的缔造者。
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.