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)