In anticipation of Ibsenåret 2006, the Ibsen Year, Jon Fosse wrote a drama on the private life of “the father of modern drama” and his wife. Suzannah, written in 2003, is based on the known historical information about the private lives of the Ibsens; yet since much of this knowledge was lost when Suzannah burned their personal correspondence after Ibsen’s death, Fosse fills in the gaps of historical information with possible scenarios. Instead of taking the form of a modernist crime-fiction novel in which the suspect is unknown, Suzannah is a postmodernist “anti-crime” drama since we immediately know who committed the “crime” and we search for something that cannot be found or “solved”: the contents of the letters and the reasons why she burned them. Fosse presents the history of Ibsen, an influential modern playwright, in a postmodernist way; Ibsen never appears on stage and Suzannah is fragmented into three characters, each of which represents a different stage in the Ibsens’ life together. Fosse’s three Suzannahs serve as mouthpieces for Fosse to comment on and critique the Ibsens’ private life. In addition, Fosse alters Ibsen’s retrospective technique by having the Suzannahs narrate their experiences in present time as opposed to recalling their memories. The Suzannahs’ overlapping narration creates an overall experience of clues being reported at the scene of a crime or in cultural archives. Fosse’s fictitious account of the Ibsens’ private life shows a juxtaposition of, and a clash between, historical “fact” and fictional story. This approach allows Fosse to replace a totalizing modernist presentation of the Ibsens’ history with a fragmented postmodernist one, an approach that seeks to alter the traditional

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改变亨利克易卜生的光环：乔恩福斯的苏珊娜

为迎接易卜生2006年，乔恩·福斯写了一部关于“现代戏剧之父”和他妻子私生活的戏剧。《苏珊娜》写于 2003 年，基于已知的易卜生私生活的历史信息；然而，由于苏珊娜在易卜生死后烧毁他们的私人信件时，大部分知识都丢失了，福斯用可能的情景填补了历史信息的空白。苏珊娜不是采取嫌疑人未知的现代主义犯罪小说的形式，而是一部后现代主义的“反犯罪”戏剧，因为我们立即知道谁犯下了“罪行”，我们寻找无法找到的东西或“已解决”：信件的内容以及她烧毁它们的原因。福斯以后现代主义的方式呈现了易卜生的历史，这位有影响力的现代剧作家；易卜生从未出现在舞台上，苏珊娜被分成三个角色，每个角色都代表了易卜生共同生活的不同阶段。福斯的三个苏珊娜是福斯评论和批判易卜生私生活的喉舌。此外，福斯改变了易卜生的回顾技巧，让苏珊娜一家讲述他们目前的经历，而不是回忆他们的记忆。Suzannahs 的重叠叙述创造了在犯罪现场或文化档案中报告线索的整体体验。福斯对易卜生夫妇私生活的虚构描述显示了历史“事实”和虚构故事的并置和冲突。这种方法允许福斯用支离破碎的后现代主义来取代对易卜生历史的全面现代主义表述，