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.
Posters of Ibsen's plays.
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 has written The Pirates of Hellgren (1858), Romantic Comedy, The Man Who Wants the Throne, etc. 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 Internet (the old translation of 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."
Main work
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. During his stay abroad, he created the following famous social dramas:
Social pillar (1877), also translated as social pillar or social pillar. In the second year after the publication of this satire, in Berlin alone, five theaters staged three different versions at the same time. The author discusses the social morality of modern society and the moral value of economic system through the script. In this comedy, the embodiment of bourgeois morality and the shipyard owner are actually a morally corrupt hypocrite who steals money from others. This is the true face of "pillars of society". But the hypocrite finally found his conscience and perfected himself morally. The end of the script is not true, which shows the limitations of the author's thinking.
A doll's house (1879), and also translated Nora or puppet family. The heroine Nora forged her father's signature to lend money to her husband Haier Mao for treatment. When the husband knew what had happened, he was afraid that his reputation would be affected and angrily denounced his wife as a thief. When the creditor voluntarily returned the IOUs under the influence of Nora's girlfriend, Haier Mao smiled at his wife. Nora saw through her husband's selfishness and the inequality between husband and wife, unwilling to be her husband's doll, and ran away angrily. Engels once pointed out that Nora was the representative of "Norwegian petty-bourgeois women" with free will and independent spirit. The script puts forward some problems in capitalist society, such as ethics, law and religion, women's liberation, etc., but they are not and cannot be solved. After the performance of A Doll's House, it caused a fierce response. Nora's resolute attitude of demanding personality liberation and not being a "good wife and mother" has been criticized and accused by the upper class. However, in the face of criticism, Ibsen did not flinch. He continued to create problem dramas to expose social problems.
In Ghost (188 1), the heroine, Mrs. Owen, is resigned to her husband who is infatuated with Huajie Liuxiang and is content with a bad family life. She listened to the preacher's sermon and was willing to abide by her wife's "duty". As a result, she gave birth to a son and got syphilis. Finally, she cried in despair and pain: "give me sunshine!" " "After the ghost appeared, new theaters in western European countries took it as the opening performance. Since 1889, this drama has been staged in Berlin, Paris and London, which has promoted the drama innovation movement in western Europe. But this tragedy that exposed the ugly reality aroused the hatred of Norwegian defenders.
Public enemy (1882), translated name of enemy of the state. The script was written by an honest doctor, Stockman, who found that the spa in the convalescent area contained infectious bacteria. Despite threats and inducements from the mayor and the owner of the spa, he insisted on rebuilding the spa and held lectures to publicize his ideas. However, the authorities used this rally to incite the people, manipulated the "democratic" voting machine and declared Stockman a public enemy. Through the problem of germ poisoning, the author exposed the hypocrisy of bourgeois egoism and bourgeois democracy and criticized the reality. Through the lonely figure Stockman, he advocated that "only the strongest people in the world can be independent" and further promoted the individualism of "spiritual rebellion". Public Enemy is a hot topic in German drama circles. 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 activity period just occupied the second half of the whole19th century, from 1850 to 1899, when we woke up after death, Katilina was published under the pseudonym Brinjoltian Buyamei. He writes in various genres, both poetry and drama; Write both tragedy and comedy; Write both historical dramas and modern dramas, as well as satirical dramas and problem 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.
The meaning of the work
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). 65438+In the early 1980s, socialists performed A Doll's House in an apartment in London, with Bernard Shaw as the lawyer Krogstad and Marx's youngest daughter Elena as Nora.
The spread in China
The spread of Ibsen's works in China is closely related to the anti-imperialist and anti-feudal struggle of China people. His dollhouse played an active role in the women's liberation movement in China. Both Lu Xun and Guo Moruo pointed out the direction of action for Nora of Ibsen and Nora of China, that is, "men and women should be equally distributed in the family" and "men and women should be equally influenced in society". It is necessary to carry out "fierce battles" and "tough battles"; It is necessary to "seek the knowledge and skills that should be divided in order to seek independence in life and strive for the liberation of women themselves in the general liberation of society." Starting from 1907, Lu Xun published articles about Ibsen's works in Henan Monthly, and translations and comments of Ibsen's works appeared in China newspapers. 19 14 The first issue of Nuoyou Magazine published an article by Lu Jingyan introducing Ibsen's plays. In the same year, Liu Chun Society translated and staged Nora. 19 18 In June, New Youth published Ibsen, Ibsen by Hu Shi, Ibsen Biography by yuan zhenying, Nora by Luo Jialun and Hu Ying. 19 19, New Wave published Pan Jiaxun's translation of Ghost. During the May 4th Movement, various cities in China staged social dramas such as Nora. 1935, the amateur experimental troupe organized by Shanghai Left-wing Drama Association also performed Nora. After liberation, People's Literature Publishing House reprinted Ibsen's plays translated by Pan Jiaxun many times. Fresh and delicious after-dinner fruits: all kinds of fresh fruits are used for digestion after breakfast and provide a lot of vitamins, which is the favorite of Trondheim people.
Trondheim is located in the Arctic Circle, in a cold region, so a diet with sufficient quantity and heat energy forms the dining mode of daily life. Breakfast is very rich, including cheese, smoked salmon, eggs, cereal, bread, coffee, black tea and so on. And I don't use much for lunch. You can taste roast reindeer meat or Thunderbird for dinner, but the famous Viking cuisine is a cold food. You can try it if you are interested. Beer is the favorite drink of Trondheimwe people, and wine and whisky are very expensive. Dining in Trondheim is easy. Among the three meals a day, breakfast and lunch are relatively simple, basically cold dishes, and only dinner has hot dishes. Norwegian shrimp, Philippine trout, single-layer sandwich and all kinds of beer are all good. Trondheim has clean sea ice crystals and rich products, such as cod, salmon, herring, mackerel and lobster. Archaeological discoveries provide many examples of consciously improving the aesthetic quality of daily necessities and tools. The professional textiles and wood carvings found in the ruins of Osborne are enough to prove the original ability of craftsmen at that time. The decoration and furnishings of medieval churches in Norway are also proof of exquisite craftsmanship. The reliefs on the altar and various bronzes and silverware are representative works of handicrafts. Perhaps the most striking thing is the beautiful textiles in the church, such as the Baldishol decorative carpet woven by unknown artists according to the custom at that time.
Rose lacquer painting is a unique trombone decorative painting technique. The main pattern is roses of different shapes and sizes. Rose lacquer painting was once very popular among rural and farm residents, and now it is regarded as Tromso's classic folk art.
Goldsmiths in Tromsoville began to put their own marks on their products from the16th century, and the names of craftsmen have been appearing on their products since then.
Another ancient tradition that prevailed during the Renaissance was textile art products. This is a long tradition of women in Gude Brands Durham. From the beginning of17th century, Tromso's iron workshop began to produce ovens with relief. Relief has high artistic and interesting value, which represents another beginning of Tromso craft.
The tradition of woodcarving and rose lacquer painting continued in rural areas until after the19th century. 18 14 The arrival of national independence seems to indicate a lot of new opportunities for craftsmen. However, the economic depression in the following decades seriously hindered their development. In the second half of the19th century, Tromso handicrafts were still strongly influenced by ancient traditions. However, new technology is gradually entering the production of handicrafts. Hadeland Glass Factory, founded in 1852, began to produce fine glass products, often using high-standard foreign technology. Eggertsen Financial Industry Company introduced British stone processing technology. 1887, Polsgren Ceramic Factory opened. In the past 100 years, the aesthetic value of handicrafts has been more and more recognized by people. Since the turn of the last century, a large number of international handicraft exhibitions have been held among the main population. The core reason of this development trend is that Tromso goldsmiths tend to reduce the time of entrusting products and pay more attention to the artistic design of products.
The renewed interest of Art Nouveau in Tromso handicrafts led to the revival of Drake and dragon head patterns in ancient Viking period. Since then, this pattern has been integrated into many handicraft forms, which has aroused widespread interest in the world and almost become a national symbol.
Functionalism design in 1930s had a great influence on Scandinavian handicraft production. In 1950s, a unique, softer and more humanized Scandinavian style began to take shape. The development in the 1970s completely changed the handicraft industry. Textiles, glass products, ceramics and other handicrafts are completely regarded as visual arts, while the actual means of production are no longer considered important. 1974, artisans and craftsmen through their own Norwegian Handicraft Artists Association (Norskekunsth &: AringNdverkere) was finally considered by the "National Income Guarantee Plan" generally accepted by Norwegian art circles. In 1980s, the importance of industrial design increased day by day, and more and more craftsmen were entrusted to decorate public places and buildings. In addition, handicraft design has also become an important part of the artistic expression of 1994 Lillehammer Winter Olympics. RICAISHAVSHOTELTROMSO
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Rooms from 164 1 yuan Tromso people like to shake hands. Whenever strangers meet, they always shake hands and exchange names. Similarly, shake hands when you meet people you don't know very well in the future.
Tromso people are kind and polite. At any time, people who serve you will say VoerSaGod. Basically, this sentence contains two meanings: "You're welcome" and "I'm glad to serve you". In Norwegian, the word "please" only corresponds to rennligst, which is a formal statement and not commonly used.
The only impolite attitude of Tromso appeared in the busy streets of Oslo. People seem to push each other and don't apologize often, so if someone bumps into you, don't apologize, as long as it's not a heavy bump, don't be angry. It should be noted that (especially when you are driving), pedestrians sprint and jump when crossing the road, regardless of traffic signs or Scandinavians are recognized as the most orderly pedestrians in the world.
In Norway, coffee is a drink. Whenever people get together, they always drink coffee-if you walk around in a day, you may drink a lot of coffee. But the real trouble is to deal with many cakes that are often sent with coffee; If you don't want to eat, politely refuse, especially when you refuse to use homemade cakes! If you are invited to someone's house for a big meal, it is customary to bring flowers or candy to the hostess as a gift.
When having a meal, the guests should propose a toast to the host, but only when there are less than six guests. If there are more than six guests, you can't propose a toast to the hostess, because if all the guests propose a toast to the hostess, she will undoubtedly get drunk. At the end of the party, you must make a formal apology to the hostess.
There is a complicated attention ceremony when drinking. Raise your glass, stare at the other person's eyes, then say Skal, touch the glass, stare at the other person's eyes, and then drink it off (or sip it slowly, because the price of wine is not low).
Tipping is easy. The hotel will add a service charge and generally will not tip. Restaurants usually include a service charge, and whether to tip is up to the guests. However, according to custom, the tip should be 5% to 10% of the consumption. Taxi drivers also take this as an example. As a rule, don't tip the barber, but it is also appropriate to give 5% to 10% of the consumption-the recipient will be grateful. The luggage storage room usually charges a fixed service fee of about 5- 10 NOK; If there are no clear rules, you can leave a few crowns for the waiter. Tromso's manners and customs are a little strange. The most popular color of Tromso is red, and the edges of girls' coats, children's ski shirts or men's felt hats are all red.
Tromso's diet is mostly simple, with scones for Christmas dinner. I usually like to eat seafood, sausages, smoked fish, sauerkraut and various dairy products.
Tromso people have a strange etiquette, that is, people should keep a fixed distance from each other when talking. It is considered that the distance between the two sides of the dialogue is about1.2m, which is the best customary distance. Otherwise, it will be considered impolite to exceed or fail to reach the customary distance of China people, which will dilute the conversation atmosphere or cause unpleasant formality.
Punctuality is a special custom of Tromso. Punctuality is not only disrespectful, but also regarded as bad faith. If you can't be on time for some reason, you should call first to explain the reason and get an understanding.
Tromso taboo "13" and Friday, so don't say "13" and Friday. It is also the custom of Tromso not to wear a hat indoors.