In Poland, as elsewhere, several women made significant contributions to the popularization of Henrik Ibsen’s work. Among the female translators, actors, authors and social activists interested in his work, Gabriela Zapolska (1857–1921) takes pride of place. Described as a “rebellious talent”, this writer, essayist and actress was one of the liveliest and most independent minds of her time (see: Borkowska 2011). Ibsen’s work provided an important, though mostly implicit, context to all of her activities. This complex and multifaceted relation is in need of critical investigation. Here, however, I am primarily concerned with Zapolska as an Ibsen actress, in particular with her favourite role in Et dukkehjem. She was the second Nora Helmer in Polish theatre history and reprised the role over a period of nearly 18 years (1882–1900) in Cracow, Lvov, Warsaw as well as in smaller townlets, introducing Ibsen to numerous and diverse audiences (see: Raszewski 1951; Lewko 1996; Peiper 2004). Although Zapolska enjoys a relatively prominent profile in the history of Polish culture as a playwright, her work in all fields should be revisited. Many plays from her abundant output became an instant stage success in Poland upon their premieres; some still frequently return to the stage today. Her dramatic achievements and their position in Polish literary history, however, remain a subject of controversy. Zbigniew Raszewski, Poland’s most influential theatre historian and the author of the first serious

中文翻译：

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第二个波兰诺拉：GABRIELA ZAPOLSKA 寻找她自己的 IBSEN

在波兰，和其他地方一样，有几位女性为普及易卜生的作品做出了重要贡献。在对他的作品感兴趣的女性翻译家、演员、作家和社会活动家中，加布里埃拉·扎波尔斯卡 (Gabriela Zapolska，1857-1921 年) 位居榜首。这位被描述为“叛逆天才”的作家、散文家和女演员是她那个时代最活泼、最独立的思想家之一（参见：Borkowska 2011）。易卜生的作品为她的所有活动提供了一个重要的背景，尽管大部分是隐含的。这种复杂而多方面的关系需要进行批判性调查。然而，在这里，我主要关注作为易卜生女演员的 Zapolska，尤其是她最喜欢的角色 Et dukkehjem。她是波兰戏剧史上的第二位诺拉·赫尔默 (Nora Helmer)，并在近 18 年 (1882-1900) 的克拉科夫、利沃夫、华沙以及较小的城镇，将易卜生介绍给众多不同的受众（参见：Raszewski 1951；Lewko 1996；Peiper 2004）。尽管扎波尔斯卡作为剧作家在波兰文化史上享有相对突出的地位，但她在各个领域的工作都应该重新审视。她的多部作品在波兰首演后立即在波兰获得成功；有些人今天仍然经常重返舞台。然而，她的戏剧性成就及其在波兰文学史上的地位仍然是一个有争议的话题。Zbigniew Raszewski，波兰最有影响力的戏剧历史学家，也是第一部严肃戏剧的作者。尽管扎波尔斯卡作为剧作家在波兰文化史上享有相对突出的地位，但她在各个领域的工作都应该重新审视。她的多部作品在波兰首演后立即在波兰获得成功；有些人今天仍然经常重返舞台。然而，她的戏剧性成就及其在波兰文学史上的地位仍然是一个有争议的话题。Zbigniew Raszewski，波兰最有影响力的戏剧历史学家，也是第一部严肃戏剧的作者。尽管扎波尔斯卡作为剧作家在波兰文化史上享有相对突出的地位，但她在各个领域的工作都应该重新审视。她的多部作品在波兰首映后立即在波兰获得成功；有些人今天仍然经常重返舞台。然而，她的戏剧性成就及其在波兰文学史上的地位仍然是一个有争议的话题。Zbigniew Raszewski，波兰最有影响力的戏剧历史学家，也是第一部严肃戏剧的作者。