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十九世纪易卜生的著名剧本《傀儡家庭》(1879)在世界许多国家和文化中改编过或者表演过。剧本的最后一场戏是女主人公娜拉意识到自己是丈夫的傀儡后,离开她的丈夫和三个孩子,大声关上门后离开家。她自觉到在她的一生中,她一直只是作为她丈夫家庭的装饰,甚至她把自己比喻成傀儡,觉得自己从小就是她父亲的玩偶,结婚以后又是她丈夫的玩偶。易卜生的现实剧作对中国和亚洲其他地区的影响为深远。可以说在20世纪二三十年代的中国,易卜生是西方作家中最多被讨
Ibsen's famous script “puppet family” (1879) of the nineteenth century was adapted or performed in many countries and cultures around the world. The final scene of the script is when the actress, Nora, realizes she is her husband's puppet, leaves her husband and three children and closes the door before leaving home. She realized that during her lifetime she had been a decorating only for her husband's family, even though she compared himself to a puppet, feeling her father a doll from an early age and her husband's doll after marriage. Ibsen's real drama has far-reaching implications for China and the rest of Asia. It can be said that in the twenties and thirties of China in the 1920s, Ibsen was the most condemned of Western writers