論及易卜生（Henrik Ibsen）在當代的演出，學者經常忽略了法國。事實上，從薛侯（Patrice Chéreau）執導《培爾‧金特》（Peer Gynt, 1981）開始，法國重要導演如米蓋爾（Jean-Pierre Miquel）、拉薩爾（Jacques Lassalle）、法朗松（AlainFrançon）等，以及羅馬尼亞導演品悌力埃（Lucian Pintillié）、英國導演華納（DeborahWarner）、瑞士導演邦迪（Luc Bondy）、波蘭導演波蘭斯基（Polanski）等，均曾受邀執導易卜生。在此同時，新一代的導演亦陸續跟進，易卜生愈演愈盛，彷彿是我們同時代的人。本文回顧易卜生的劇作如何被引進法國？為何引起誤解？釐清當代表演易卜生劇作的主要潮流，重點將置於1980 迄今的表演現況，從導演對劇作的詮釋、與當代社會的連結，以及演技、舞台與燈光設計等層面，析論演出的當代意義。現任職於「柯林國家劇院」的布隆胥韋（Stéphane Braunschweig）五度導演易卜生劇作，每齣戲均展現新象，啓人深思，為研究的焦點。

Speaking of contemporary productions of Henrik Ibsen, scholars often neglect those of France. In fact, since Patrice Chéreau directed the legendary Peer Gynt in 1981, other important directors like Jean-Pierre Miquel, Jacques Lassalle, Alain Françon, foreign directors like Lucian Pintillié, Deborah Warner, Luc Bondy,Polanski have been invited to stage Ibsen at Paris with great success. At the same time,the young generation of directors also began to explore Ibsen who has become more and more popular in the new century. This paper retraces the introduction of Ibsen into France in the late 19th century, then analyzes French representations of Ibsen from 1980 till 2012 in the aspects of translation, interpretation of plays, acting, stage & lighting designs, and the relationship to modern society in order to understand the significances of performing Ibsen nowadays. Stéphane Braunschweig, the actual Director of the National Theatre of Colline, with five insightful productions of Ibsen,is the focus of paper.

易卜生布隆胥韋；《玩偶之家》；《海達•蓋卜勒》；《羅士馬山莊》

Ibsen；A Doll’s House；Stéphane Braunschweig；Hedda Gabler；Rosmersholm