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China was coerced into joining the global development wave at the turn of the 20th century. The once-dominant ideology has collapsed, replaced by a multicultural landscape that embraces Western democracy, science, and civilization. In addition to helping society transition from traditional to modern social structures, the complicated historical context of this period of intense cultural contact between East and West also played a direct role in modern Chinese drama’s shift from classical to modern dramatic aesthetics. By the 12th century, Chinese opera had undergone a protracted and difficult evolution and metamorphosis, developing its own distinct aesthetic heritage, creative form, and strong national characteristics. However, realistic dramatic tactics became an essential aesthetic tool in modern drama as a result of drama’s Western importation, which directly challenged the dominance of classical Chinese opera. The Ching Liu Troupe’s Uncle Tom’s Cabin (which was adapted from American author Harriet Beecher Stowe’s novel Uncle Tom’s Cabin) premiered in 1907 and marked the beginning of Chinese drama. Modern Chinese literature and art absorbed its aesthetic ideas and new artistic style. In terms of form and concepts, it also influenced the change of modern Chinese literature and art. The foundation project for modern Chinese drama was completed in the 1920s, but it took until the 1930s for modern Chinese drama, which Zhu Guangqian, referred to as “the unexplored land of Chinese literature,” to reach maturity.

Drama, because of its direct ties to society, was essential to the May Fourth Movement in emancipating the intellect. One can discover exceptional and very modern-minded authors who are deliberately or unintentionally affiliated with Ibsen’s dramas throughout the significant historical development of modern Chinese drama. Particularly, the theatrical revolution and individual emancipation have reached a new high thanks to the translation of Ibsen’s social dilemma drama A Doll’s House (1878). Between 1918 and 1948, A Doll’s House was published in China in nine different translations. The drama was repeatedly presented on Chinese stages. It is extremely uncommon for a Western dramatist to be regarded so highly in China. A group of Chinese playwrights as a result produced a large number of classics with great excitement, including The Greatest Events in Life (1919), Shrew (1920), After Going Home (1922), Three Rebel Women (1920), Sunrise (1935) and many others.

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1.2 Literature Review

Ibsen is a renowned Norwegian playwright. Ibsen’s drama has been the subject of extensive examination both domestically and internationally. Monographs, dissertations, and newspaper pieces about Ibsen’s dramas are examples of these achievements. The majority of current achievements focus solely on the analysis of Ibsen’s dramatic techniques and themes, and the comparison of his well-known social problem drama A Doll’s House with modern Chinese drama remains comparatively underdeveloped.

1.2.1 General Review of A Doll’s House

The Ibsen’s drama not only had a significant impact on European theatre and literary paradigms, 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。