A SECOND POLISH NORA: GABRIELA ZAPOLSKA IN SEARCH OF HER OWN IBSEN

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