type of drama that developed in the 19th century to deal with controversial social issues in a realistic manner, to expose social ills, and to stimulate thought and discussion on the part of the audience. The genre had its beginnings in the work of the French dramatists Alexandre Dumas (Dumas, Alexandre, fils) fils and Émile Augier (Augier, Émile), who adapted the then-popular formula of Eugène Scribe's “ well-made play” (q.v.) to serious subjects, creating somewhat simplistic, didactic thesis plays on subjects such as prostitution, business ethics, illegitimacy, and female emancipation. The problem play reached its maturity in the works of the Norwegian playwright Henrik Ibsen (Ibsen, Henrik), whose works had artistic merit as well as topical relevance. His first experiment in the genre was Love's Comedy (published 1862), a critical study of contemporary marriage. He went on to expose the hypocrisy, greed, and hidden corruption of his society in a number of masterly plays: A Doll's House portrays a woman's escape from her childish, subservient role as a bourgeois wife; Ghosts attacks the convention that even loveless and unhappy marriages are sacred; The Wild Duck shows the consequences of an egotistical idealism; An Enemy of the People reveals the expedient morality of respectable provincial townspeople.

Ibsen's influence helped encourage the writing of problem plays throughout Europe. Other Scandinavian playwrights, among them August Strindberg (Strindberg, August), discussed sexual roles and the emancipation of women from both liberal and conservative viewpoints. Eugène Brieux (Brieux, Eugène) attacked the French judicial system in The Red Robe. In England, George Bernard Shaw (Shaw, George Bernard) brought the problem play to its intellectual peak, both with his plays and with their long and witty prefaces.