Norwegian playwright and poet. 1828 was born on March 20th, 2008 in a family of timber merchants in Sheehan Town, southern Norway. 1834, after his father went bankrupt, the whole family moved to Wen stapp village near the town. /kloc-at the age of 0/6, he became an apprentice to a pharmacy in Grimstadt town. In my spare time, I often read Shakespeare, Goethe and Byron, and then I write my own poems and learn Latin. Six years of hard apprenticeship honed his fighting spirit and cultivated his creative interest, which was an important stage in his life. 1850, Ibsen went to Kristiania (present-day Oslo) to take the entrance examination for medical universities, but he was not admitted because of his poor performance in Greek, mathematics and Latin. Encouraged by the torrent of bourgeois revolution sweeping across Europe, Ibsen made some friends with progressive ideological tendencies in the literary and art circles, actively wrote articles for the workers' association and other publications, participated in the workers' movement led by Norwegian socialist Malcus Tran, and published the satirical weekly Andrimana in cooperation with two friends. He also wrote a set of sonnets entitled "Wake up, Scandinavians in Slovakia", calling on Norway and Sweden to send troops to support Denmark and fight against the Prussian invaders. In his first historical drama, Katrina (1850), he turned over an old case and turned a "traitor" in Roman history into an outstanding figure fighting for civil liberties. The script not only embodies the revolution of 1848, but also shows his personal rebellious spirit. This play was published by a friend of his. 185 1 autumn, he wrote a prelude for Bergen theatre, which was praised by ole bull, the founder and famous violinist of the theatre. He was hired as a boarding playwright and director and agreed to write a new play every year. 1852, he was sent to Denmark and Germany to visit the theater. His plays in Bergen Theatre include A Midsummer Night (1853), Tomb of the Warriors (1854), Madame Inge of Esterro (1855) and Banquet of Solhaug (1856). During this period, Ibsen participated in no less than 145 scripts. His practical experience in drama creation can be compared with Shakespeare and Moliere. From 65438 to 0857, Ibsen was transferred to the Capital Theatre as a director. Married susana torre Sen the following year. 1862, the theater closed down, and he had to borrow money to live, but he still worked tirelessly. In this theater, he successively wrote The Pirates of Hellgren (1858), Romantic Comedy (1862) and The Man Who Wants the Throne (1863). He felt sad that romantic comedies that advocated free love and opposed old-fashioned marriage were viciously attacked by social conservative forces. At the same time, the war between Denmark and Prussia in 1864 made him worry about the independent future of the whole peninsula. So he decided to travel abroad. This year, he left Norway for Italy; Living in a foreign land, suffering from malaria, and tired of his family, he was heavily in debt and his life was extremely embarrassing. With despair, he wrote a poetic drama brand (1866), which was his first creative achievement when he lived abroad. Later, he wrote Bill International (an old translation by Bill Gunter, 1867). Both of these plays show the theme of "personal spiritual rebellion". Through Brand, he condemned the ugly reality of capitalist society, denounced religious morality, and put forward his own moral ideal, angrily advocated spiritual extreme individualism, showing an uncompromising spirit: "Get everything or nothing." 1864 Ibsen lived in Rome, Dresden and Munich for 27 years. 1873, he wrote The Emperor and Galileans, in which he put forward the concept of "the third realm" to communicate emotion and spirit. 1874 and 1885, he went back to Norway twice for a short stay. 189 1 year, Ibsen returned to the motherland as a famous writer. His later works, The Architect (1892) and When We Wake Up After Death (1899), are autobiographical works. 1900 Chinese stroke. He died on1May 23, 906 after a long illness. The Norwegian parliament and people from all walks of life held a state funeral for him. Ibsen's creative activities took place in the second half of the whole 1850 century, from 1899 to 1899, when we wake up after death, when published under the pseudonym of Bryn Csolti Ann Bouyami. He writes in various genres, both poetry and drama; Write both sad dramas and comedies; Write both historical dramas and modern dramas, as well as satirical dramas and quiz dramas. With 50 years of experience, I have written 25 plays, usually once every two years. He works very hard, taking a lot of notes and drawing up an outline before writing. After writing the first draft, revise it repeatedly until it is finalized. Many preserved manuscripts show his meticulous and rigorous conception process in his creative practice. Ibsen's plays partly reflect his life experience. His living environment and the people he is familiar with have become the basic materials in his creation. For example, the town in Youth League (1869) is a portrayal of Shane Town, and the attic of eckedahl's family in Wild Duck (1884) is an artistic representation of the attic of Wen stapp Village; The story of "Social Pillar" takes place in the town of Greenstate. In the play, the snobbery, greed, hypocrisy, fraud and vulgar and decadent lifestyle of shipyard owners, businessmen and priests in this town are vividly displayed. Ibsen always holds a serious attitude, closely observes the life around him, and strives to reflect major social problems in his creation and show the conflict between personal moral ideals and traditional social customs. Ibsen's creation and the development of his thoughts are marked by the times. The European Revolution in full swing from 65438 to 0848 and the vigorous national independence movement in Norway improved his national consciousness. His early works, such as Madame Inge of Esterro and The Man Who Wants the Throne, are romantic, with Norwegian history and folklore as the theme and patriotism and democratic spirit as the theme. In his article Song of the Warrior and Its Significance to Art (1857), he once emphasized the important role of folk customs in national literature. The development of Norwegian capitalism disillusioned Ibsen's romantic fantasy. In his works in the 1960s, he expressed his dissatisfaction with social reality by symbolic means. The theme of "spiritual rebellion" also embodies the author's individualism and anarchism. Major social and political events, such as the Franco-Prussian War in the late 1960s and the emergence of the Paris Commune, further stimulated Ibsen's enthusiasm for criticizing capitalist society. Romantic Comedy has shown a realistic tendency in the author's creative techniques. This tendency is even more obvious in the Youth League, which directly attacks bourgeois democracy. Realism plays a leading role in such problem dramas as Social Pillar, A Doll's House and Ghost. Starting from the family life of ordinary citizens, he dissected the evil capitalist society and its morality, and shaped the image of people who demanded free action. Engels pointed out that Ibsen's plays reflected the world of people with "their own personality and pioneering and independent spirit" of the middle and small bourgeoisie. The distinctive Ibsen-style social drama develops and enriches the creation of realistic drama. He abandoned the thrilling scenes such as camouflage, misunderstanding, murder and duel that were popular on the stage at that time, and deliberately put "stage discussion" in the development of the drama plot. Although some discussions are too serious, intense and didactic, their purpose is to guide the audience, think about practical problems, better express the characters' personalities and enhance the dramatic effect. The intensification of social contradictions and the proliferation of decadent bourgeois ideas made Ibsen gradually fall into pessimism, and his creation was branded as a wild duck and gradually became a mysterious symbolism. His later works, such as Rotherham Village (1886), The Lady at Sea (1888), Haida Gable (1890), The Architect and Little Ai Fu You (1. Ibsen's plays have had a far-reaching impact on the development of dramas all over the world. John Galsworthy in England inherited Ibsen's symbolism in his creation. James Joyce of Ireland studied Norwegian in order to read Ibsen's original works. He also wrote papers on Ibsen's plays and compiled Ibsen-style plays. Taking Ibsen's realistic art as an example, Bernard Shaw opposed the popular "well-structured drama" and emphasized the content and form. He believes that "Ibsen's authentic Norwegian plays are completely in line with the life of the middle class and intellectuals in the whole European city." Bernard Shaw's evaluation of the problem drama masters is systematically discussed in Ibsen's Essence (189 1). In the early 1980s, a social activist once performed A Doll's House in an apartment in London. Bernard Shaw plays lawyer krogh Stein, and Marx's youngest daughter Elena plays Nora.