摘要：To some extent Ibsen's career as a dramatist was conditioned by the physical limitations of the theatre buildings. He succeeded in turning these limitations to his advantage. Through dialogue and scenography he tried to achieve a longing in the audience to see the characters succeed in getting out of oppressive, prisonlike conditions. Gradually concentrating the action in the narrow room, he succeeded in achieving the effect of claustrophobia particularly in his work in the years 1877-86. After that he experimented in bringing the basic narrowness out in the open air scenography in 1888 with The Lady from the Sea. In Hedda Gabler and partly in John Gabriel Borkman he returned to the interior stage, but in the rest of the 1890s he preferred to situate some or most of the action in the open air. This selfimposed constriction is capable of producing an intense experience exactly because the urge to be free is amplified by the physical narrowness. Consequently it has proved difficult to make a successful movie on the basis of a modern prose play by Ibsen. The moving camera tends to dissolve the spatial limitations.

注：因版权方要求，不能公开全文，如需全文，请咨询杂志社