Erik Bøgh’s A Caprice (En Kaprice) premiered 7 September 1859 at the Norwegian Theatre in Christiania (Oslo), staged by theatre manager Henrik Ibsen. The production then ran for another 35 performances during the 1859–1860 season. In relation to the population of the town, this is by far the greatest box-office success in the history of regular theatres in Norway. No wonder that Michael Meyer understood A Caprice as the ultimate example of the unholy trade Ibsen was forced into as a theatre manager. According to Meyer, in staging A Caprice Ibsen was for the only time in his life “rebuked for truckling to the box-office” (Meyer 1971, 166). The contemporary criticism claimed that Ibsen, by staging A Caprice and other dance performances, was reducing the Norwegian Theatre in Christiania to a kind of amusement park for the lower classes (Morgenbladet Nr. 278, 9.10.1859). Contrary to prevailing opinion, we will in the following present A Caprice as the summit of Ibsen’s theatrical career and underline that both this and other dance productions staged by Ibsen in this period were not at all mere amusement for the lower classes but instead important expressions of artistic creativity and development.

中文翻译：

---

随想曲——易卜生戏剧生涯的顶峰

埃里克·博格 (Erik Bøgh) 的《随想曲》 (En Kaprice) 于 1859 年 9 月 7 日在克里斯蒂安尼亚（奥斯陆）的挪威剧院首演，由剧院经理亨利克·易卜生 (Henrik Ibsen) 上演。然后在 1859-1860 赛季期间又进行了 35 场演出。就该镇的人口而言，这是迄今为止挪威常规剧院历史上最大的票房成功。难怪迈克尔·迈耶将《随想曲》理解为易卜生作为剧院经理被迫从事的邪恶交易的最终例子。根据迈耶的说法，易卜生在上演《随想曲》时是他一生中唯一一次“因为卡车运到票房而受到责备”（迈耶，1971 年，第 166 页）。当代批评声称易卜生通过上演《随想曲》和其他舞蹈表演，正在将克里斯蒂安尼亚的挪威剧院减少为下层阶级的游乐园（Morgenbladet Nr. 278, 9.10.1859）。与流行的观点相反，我们将在下文中将《随想曲》作为易卜生戏剧生涯的顶峰，并强调易卜生在这一时期上演的这部舞蹈作品和其他舞蹈作品根本不是为下层阶级提供的娱乐，而是对下层阶级的重要表达。艺术创作与发展。