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Chinese infatuation with Henrik Ibsen started a year after he
died. In 1907, the great Chinese writer Lu Xun (1881-1936) first
introduced the Norwegian dramatist and poet to Chinese readers in
the monthly literature magazine He Nan.
Many great Chinese men of letters, including Hu Shi (1891-1962),
Mao Dun (1896-1981), Ba Jin (1904-2005) and Guo Moruo (1892-1978)
continued showing great interest in Ibsen and his works.
Hu and his students of Peking University translated more of
Ibsen's works and although Hu and Lu Xun disputed on many issues,
they shared admiration for Ibsen.
Hu also raised the term "Ibsenism" to describe modern drama in
the revolutionary magazine New Youth in 1918.
In 1925, Mao Dun wrote in an article, in which he stated that
the great Norwegian playwright was as popular as Karl Marx.
Why was Ibsen so popular in China at that time?
Lu Xun said Ibsen was among the first playwrights that Chinese
audience read during the introduction of modern drama in China.
Ibsen was also able to present on stage social problems and aligned
his plays with the majority of the people.
Ibsen's ideas coincided with the new movement occurring in
China, promoting women's liberation and challenging traditional
conventions. His thoughts on democracy also appealed to the Chinese
audience.
So although Ibsen never travelled to China, he helped start
Chinese modern drama and inspired a number of pioneer dramatists
such as Hong Shen (1894-1955), Cao Yu (1919-96) and Ouyang Yuqian
(1889-1963).
In 1914, Shanghai's Spring Willow Studio staged A Doll's
House. Since then the play has been widely performed in China
including some productions directed by Cao Yu.
The play also caused social stirs in China. In 1926 in Beijing,
the police intervened during a performance of A Doll's
House as they considered the play unconventional and too
radical since both men and women were actors in the production.
In 1935 in Nanjing, a female teacher was fired after playing the
role of Nora consequently creating a public debate on the role of
women in China.
In the last two decades, Ibsen's Peer Gynt,
Brand, A Doll's House, Hedda Gable and
An enemy of the People have been staged.
To some degree, Ibsen's popularity in China dropped as Chekhov
became more popular. Two years ago, the National Theatre Company of
China launched its first international drama festival and its theme
was "Eternal Chekhov."
(China Daily August 22, 2006)
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