20世紀的上半葉,在易卜生劇作中,只有《玩偶之家》(《娜拉》《傀儡家庭》)、《人民公敵》(《國民公敵》《剛愎的醫生》)、《群鬼》等寥寥幾部戲劇被搬上了中國的舞臺,而這幾部戲的演出中,又只有《玩偶之家》的演出到了20世紀30年代中期才真正獲得了巨大的社會轟動效應。相對于易卜生劇本在當時中國的影響力,其相應的演出仍顯得劇目稀少、場次不多、規模偏小。這既折射了當時易卜生劇作在中國的"寫實主義"演出由生澀到成熟的過程,又說明易卜生劇作在中國的傳播與移植還有很長的路要走。

In the early half of the twentieth century,A Doll’s House,An Enemy of the People and Ghost were the only plays being performed on the Chinese stage.Among those plays,only A Doll’s House was a sensation in Chinese society before the 1930 s.Compared to the influence of the texts of his plays in China at the same period of time,the number of Ibsen’s plays on Chinese stage was small,and the performances were low-key and not frequently revived.This reflects the maturing process of the"realistic" performance of Ibsen,and reveals that there is much more to do to introduce and adapt Ibsen to China.