Henrik Ibsen and Indian Theatre UTPAL K. BANERJEE Thispaperisbased on astudyofeightmajorworksofHenrikIbsen:Brand(1866),Pur Gym(1867). A Doll's House (1879), Ghosts (188/), An Enemy of rhe People (1882). The Wild Duck (/884). Hedda Gabbler (/890), and Little Eyolf(/894).as performed in India(andBangladesh).Dividedintothreeparts, thepaperaimsat:(i)arapid evaluation of Ibsen'sworldview(weltanschauung)anditsprincipalcharacteristics:(ii)astudyofexperi encesinproducingIbseninIndia;and(iii)ananalysisoftheimpactofIbsenonIndiawith special reference totheHindi, MarathiandBengali theatrescene. In the first part, Ibsen is briefly seen, at the outset, as a father of modem theatrical symbolismandnaturalism,andaplaywrightofoutstandingskills.withoften-radicalbeliefs. Wetake a peek at his: (a) daring choice ofsubject-matter on a problem-plus basis; (b) naturalistic framework;(c) view ofspirituallife of theindividual;and(d) neal craftingof plays with piecemeal revelations. Wethenlookatthesystematicevolutionof Ibsen:his yearsoflearning;hi'stopicaldramasbasedonhisproblematicrelationshipwithNorway;his internationalbreakthrough-with hisaccountofuniversalhuman life;hisdidacticuseof theatre on humancontlicts-psychological,ideologicaland social;andhis singularsuc cess. Inthe secondpart. we discuss, insomedetail. the personalexperiencesof producing IbseninIndia(andBangladesh),asaprocessofdialoguewith. scoreofwell-known direc torsofthe Indiantheatreworld,namely: I.EbrahimAlkazionADoll'sHouse,Ghosts,and HeddaGabler;2.KumarRoyanADoll'sHouseandAnEnemyofthePeople;3.JoyMichael onA Doll'sHouseandHedda Gabler;4.UshaGangulyonADoll'sHouse;5.Rudrapasad SenguptaonGhostsandThe WildDuck;6.MohanMaharshionADoll'sHouseand Ghosts; 7.ToritMitraonTheMosterBuilderandlittleEyolf;8.Anuradha KapuronTheWildDuck; 9.BansiKaulon PeerGynt:10.ArunMukhopadhyayonAnEnemyofthePeoplettI. Saoli MitraonAnEnemyofthePeople andADoll'sHouse;12.RobinDasonA Doll'sHouseand Peer Gym; 13. M.K. Raina onAn Enemy ofthe People. Ghosts and The IVlldDuck; 14. RudraprasadSenguptaonGhosts andAnEnemy ofthe People;and 15.Kamaluddin Nilu (Bangladesh)onBrand,apartfromAmalAllana,AnjanaMaharshi,NissarA1lanaandSuman Mukhopadhyay. Inthethirdpart. we summarise theimpactof IbseninIndiawith specialreferenceto Marathi,Hindi and Bengalitheatres, intermsofcontent.form.andtechnique.lbsencame early tothese thrce languagesina natural setting, problem-playcontentandsnucrunngof Sang",NataAVol.XLI. No.I, 2007 48 UTPAL K.BANERJEE drama,buttheatreinallthethreelanguageshasgonebeyondIbsen'sframework.Threevital. aspectsofIbsenarcreferredtoinconclusion:dimensionsofGreektragedy;premonitionsof doom;and Norwegian geography. I, IBSE."Arm 'VOXPOPULI' AftertheadventofWilliamShakespeare(1564-1616)inEngland, HenrikIbsen(1828-1906)in Norway wasprobablythenextbrighteststarinthetheatrefirmamentoftheworld.According to the cognoscenti, almost everyday there is one performance orthe other of his plays somewhereintheworld.And,accordingtotheperceptiveobservationsofM.K.Raina,there issomeproductionorotherofIbseninIndiavirtuallyeverymonth!Reputedtohavecreated a'nationaldrama' forNorwayatanearlyage.Ibsenfoundhisvoiceandaninternational audiencewithpowerfulstudiesofmiddle-classmoralityinthelate 1870.,Emphasisingchar acter overtheme,headdressed social problems like political corruption and the changing roleofwomen,alongside psychological conflicts stemming from frustrated love and de structive familyrelationships. Having greatly influenced European theatre,he is undoubt edly the founderofmodemprose drama. On the flip side, August Strindberg (1849-1912), who wrote the first modem Swedish dramainhistimeandwhoseiconoclasticworksportrayedthebattleofthesexes-usinga combinationofdramaticnaturalismandpsychology-wasverynearIbsen'stimesandspirit, buttookanunusually dimview of Ibsen'soeuvre.Ibsen, onthecontrary, hadasteady regard for Strindbergand was reputedto have always hung the latter's portrait above his workplace.BertoltBrecht(1898-1956),themasterofsatiricalmusicals,propounderof'epic theatre'andfounder-directorofthefamousBerlinerEnsembleinthepost-Naziera.issaidto havecommentedtohisactor-wifeHelenaWeigelonIbsen:"Verygood,forhisowntime."As wassurmised,Brecht,while appreciating Ibsen'ssocialconcerns,perhapsthoughttheydid notgomuchbeyond theGreektragicform! Incontrast,GeorgeBernardShaw(1856-1950),whosedramaticoutpouringsemphasised social andeconomic issues insteadof romance. adopting the ironic comedic tone that characterisedallhiswork,wasanavidadmirerofIbsen,Inhisfamouscritique,Quinressenre ofIbsenism; he1IITOte that when the husband Torvald bends down over his chair and the bangofthedoorimpliesNora has leftherhusband'shouse-thisbang shakesthewholeof Europe!Thebangechoedindistant Kolkatawhen,in1952,Bohurupee'sproductionshowed Bulu (Nora)havingthe vermilion mark, sacrosanctin Hindu marriage, wipedoffher fore head-just before leaving the house-with a collective gasp of breath escaping from the membersoftheaudience,heardeveryeveningoftheshow! In the seminal novella, Strir Patro (The Wife's letter) by Tagore (1861-1941),Mrinal leavesher husband, almostresonating Nora'sparting dialogue:"I have heardthatwhena wifedesertsherhusband'shouse,asIamdoingnow,he islegallyfreed fromallobligations HENRIKIBSENANDINDIAN THEATRE 49 towardsher.Inanycase.Isetyoufreefromallyourobligations.Youarenottofeelyourself boundin the slightest wayanymorethan Ishall.Theremustbeperfectfreedomonboth sides."It is a less-noticed fact thatin anotherof Ibsen'splays,John Gabriel Borkman (1896),there is asurreptitiouslove-affairbytheprotagonistwith hisill wife'svivacious sister: virtually mirrored inthethemeand treatmentofTagore'sDuiBon(TwoSisters) in 1932,altered10 Malancha(TheGarden-Grove)in1934. Nearerourtimeinothermedia.RainerWarnerFassbinder(1946-J982)inGermanywas involvedintheavant-gardetheatremovementinMunichbeforeheundertooktorevitalize theGermancinemainthe1970..HisfilmedtheatreofADoll'sHousewascinernatographedin surreal purplecolour and hechanged the end: by makingNorastay backinherglorious rights-bycompletelymakingita'powergame'!InIndia,SatyajitRayadaptedAnEnemyof thePeopleoncelluloid, with thepollutionofmunicipal waterchanged tothedistributive sourceinthetemplecharanamrita(sacredwaterfrom thegoddess's feet). AslateasJanuary 2006,whenOslocelebratedanIbsenFestivalanddecidedtohonour the world's glitterati who have played Ibsen's women across theglobe, the honour list includedLivUllmannwhohadplayedNoraintheBroadwayforyears;GlendaJacksonand ClaireBloomfromthe UK;BibiAndersonfromSwedenwhohasplayedNoraandHedda Gabler;andLiseFjeldstadand WencheFoss(now87)fromNorway-besidesIndia'sown SaoliMitrawhomadehermarkasNora.AGermanoperaproducedPeerGyminballetformin theOsloCityHallandUllmannperformedacameoonthemother-and-sonduofromHedda Gabler. Obviously,thefbsencharmhasscarcelywornoutyet! Ibsen'asaDramatist After recounting Ibsen's abiding popularitytill date, a briefassessment of hisplays, sourcedfromliterarystudies.willbeinorder,beforedelvingintoIndia'samazingloveaffair withthisvirtuoso genius. Ideas:AccordingtoGascoigne,Ibsen'soriginalityliesinhisdaringchoiceofhissubject matter.Yearslater,thisaspectofhiswork-s-the'problem'partofhisproblemplays-wasthe oneenduringsourceofenjoymentandinspirationforplaywrightslikeManojMitrainfar-off Bengal,whoisjustlyknownforhisSajanoBagan(orBanchharamkiBagicha).Mencken, however,considersthathisideas,afterall,arereallynotextraordinaryandwhathesays.in thelastanalysis,iswhateveryreasonablyintelligentmanhasthoughtofalready.BUIthough notaprophet.heisaplaymakerofastoundingskill---onewhohasanewmethodtoconvey ideas.Hisdirectandskilfulmanner,ofclothing simpleandevenself-evidentargumentsin unusuallylucidandbrilliantdramaticforms,helpshimtocommunicateideasIhroughplays. Suchideasinhissocialdramasshow.forinstance,thatitisunpleasantanddegradingfor a wife to be treated as mere empty-headed mistress(A Doll'sHouse);that p:ofessional patriots andtown-boomersare frauds (AnEnemyofthe People);that successIn busmess usuallyinvolvesindoingthingsthataself-respectingmanhesitatestodo(TheWildDuck); thatawomanwhocontinuestocohabitwithasyphilitichusbandmayexpecttohavedefec- 50 UTPAL K. BANERJEE tive children(Ghosts); that asharedsorrow tends to dampenpassion in husbandand wife, andsotobringthemtogetheronamoresecure basis (LittleEyo/f);that amanof55or60is anass to fallin love with aflapperof17(The MasterBuilder); or thatthe worldis barba rously cruel to a woman who has violated the Seventh Commandment (viz., the ban on adultery)oramanwho hasviolatedtheEighth,viz., theban ontheft(HeddaGabler).Ibsen himselfmade these summariesfor hissocialdramasinhis notes: Nachgelassene Schriften. They are,onthewhole, simple ideas. Aesthetics:Ibsen'schiefinterest asadramatistisnotthepropagationofethicalideas,but solutionofaestheticproblems. Hegives more thoughtto questions ofdramaturgy: to get ting hischaracters onand off the stage; to buildingup climaxes;and to calculatingeffects than to theideationalcontentofhis dramas. Almostany ideais goodenough, so long asit canbeconvertedinto aconflictand theconflictcan beworkedout in astraightforwardand effectivemanner.Thereisanairofabsolutereality, anoverwhelmingconviction,acomplete concealmentofthedramaticmachinery, Forexample,inADollsHouse, insteadofacompli catedplot-workingbeautifullytoaforeordainedclimax-hepresentsscenesinthe lifeofa husband andwife,andhitsuponanactionthatisallsuspenseandallemotion.Inaneworder of experience in the theatre, the audience finds its nerves racked by a glimpse through a terrifying keyhole. The result is not a well-made stage-play, but a scandal that does not caress andsoothe, butarrestsand shocks.c-,aplay that is adirectimitation ofreality. Characters: As observed by Brustein, Ibsen is not the champion of such things as women's rights, divorce, euthanasia, or cures for syphilis. Ibsen'sundisguised sympathies areforthecitizen: adomesticatedman,the agentofexistinginstitutions,whoidentifieshis needs withtheneeds ofthecommunity,such asTorvaldHelmer. Incontrast,the individual isrevolutionaryman,superiortoallconfiningsocial,politicalormoralimperatives,whofinds his purpose in the pursuit of his personal truth: Pastor Brand, Doctor Stockman, Master BuilderSales.InIbsen'smind, these twotypes are like slaveand master, sofundamentally opposedthat avictory foroneisinevitablyadefeatfor theother,sothatthe citizen'srights arealwaysattained atthecostoftheindividual'sfreedom,with self-realisationasthehighest value. ConsideringtheradicalismofIbsen'sbeliefs,itisentirelyfittingthatheshouldinitiatethe theatre ofrevolt. Thereisnoothermodemdramatistwhoserevolutionaryintegrityhas been quite so pure. Ibsen's revolt is perhaps more poetic than reformist or propagandist. But, examininghis works as acontinuous,consistentdevelopment, his deepestquarrel is prob ably less with those pillars ofchurch, state and community who dominate his plays. than with the supreme authority figure: God himself! In keeping with the logic ofhis poetic imagination, Ibsen'sbasic conflictisfrequently messianic;its characterofahero is arebel against God and its issue is not superficialchanges in the socialstructure, but a complete alterationinthemoral natureofman. Ibsen's messianic rebellion-however muted, disguised or repressed-is never com a pletely absent. The revolt functions in play more conspicuous for discipline, order and HENRIKIBSENANDINDIANTHEATRE 51 objectivitythanin the relativelyshapeless.expansiveandextravagantepicslikeBrandand PeerGynl.Ibsendoesdenounce hisrebelidealistsattimeswithasmuchheatashisPhilis tinesandconformists.Brand,forexample.isonewhoseidentificationwithGodissostrong that itbecomes arevoltagainstGod, andheispunished bycelestialvengeanceintheform ofanavalanche.WiththesoleexceptionofDoctorStockman,infact.allofIbsen'sidealist charactersare subjecttopartialorcompletecondemnation. Naturalism:To Ibsen, 'symbols' are organic.suchas the wildduck.which isanactual animalthatcanbe lovedorhated, while 'images' aresuggestive, suchasthedoll'shouse, whichreflectsthe meaningoftheplaybutcannotbeusedinaction.Inthesecondhalfofthe 19' century,moderntheatricalsymbolismhadembracednaturalismalready.Takingoverthe naturalistic stagesetting,Ibsen putit (0 far from a naturalistic use.Thecareful web ofhis dialogueisvery different from normal drawing-room conversationandthedrawing-room furniture is no random selection either. Ibsen's dialogueand stage direction indicate the preciseroleofeverylamp,windoworalcove.Nolightiseverswitchedonandnocurtainis ever drawn without Ibsen using the action as a symbolic accompaniment to thedramatic situation.ButIbsenalsousesmuchbroadersymbols,whichfitperfectlyintothenaturalistic frameworkwithoutlosingtheirsymbolicstatus.SoHeddaGabler'sburningofEilert'smanu scriptisnearer child-murderthan to literary vandalism.Ibsen isindisputablythefatherof moderndramaticsymbolism. Asinferredby Gascoigne. whendramatistssucceed intreatingcontemporarysituations seriously, the particular trappings ofthe situation often overwhelm their wider meaning. Ibsen'splays. with a fewexceptions.are aboutthespirituallifeofthe individualandabout love. While they have been accepted bythe world as 'problem' plays,his naturalistic set tingsswamphim. Hencethesignificance oftheearlierquoteon himby Brecht,whoisthe modem theatre's foremost pedlar of contemporary messages. yet who gave all his great playsasettingfarremovedintimeandplacefromhisaudience:TheCaucasianChalkCircle and The Good Woman of Setzuan in theEast; and Mother Courage and GaIileo in past centuries. DramaticMethod:Ibsenusesthemethodofneatlygraftingpiecemealrevelations.gradu ally filling in details from the pastthroughout the play.Again,hisployis10 reveal minor crisesoccurringtothedramatispersonaeaftereveryactandtosavethemajorcrisis-almost a catastrophe-till the very end of the play. This makes the tragedy more poignant, but perhapsbearable. Lateron.ArthurMillerusedthismethodofgradualrevelationandescala tion ofcrises in his plays.Jean Paul Sartre, too. arranged his dramatic action ina si~irar chronologicalorder.buildinganarrativethatmovedfromtheindividualtothewholesociety and,at the very end, backtotheindividual. . Dialogue: Konstantin Stanislavsky(1863-1938).who inspiredactorsto achievegreater realismbyidentifyingdeeplywiththeircharacters,particularlyforChekovplays,hadpointed out thata man's personality has many facets like the faces ofadiamond,Even In natura] acting. say, by Torvald Helmer and Nora in A Doll'sHouse. one can observe how each 5Z UTPAL K. BANERJEE protagonist's multi-dimensional personality is rarely revealedon thestage. Confronting Ibsen.onecanreflectonthree seminalaspectsofStanislavsky's 'methodacting'.First, who isoneaddressing and whatisone's relationshipwithhim?Inotherwords. whatkind of socialconnectionhasitbeeninthepastandwhatisitatthepresentmoment?Second.when onespeaksout,whatreactionsdoesoneexpect?Doesonespeak10laybareone'smind.or, concealitbyfalsespeeches?And, whatisthepurpose?Third,howmuchisoneawareofthe sensibility of the person who is being addressed? AsKumarRoybroughtoutinthecontextofBohurupee'sproductionoftheBengaliPurul KhelainKolkata.the noteddirectorSombhuMitrafelt the urgetounderstandandexplore 'reality'notfromoutside,butinamorechallengingmanner,fromwithin.Thiswasquitein keepingwiththeStanislavskymethod,underwhichanactoruseshis'emotionmemory'(i.e., hisrecallofpastexperiencesandemotions)toidentifywiththecharacter'sinnermotivation. MitrachoseTagore'sRakta Karabi, followedbyIbsen,because he wantedthe objectivity ofthetruth inherentinlifeitself. Asitturnedout,bothplayswerea phenomenal success. As can besurmised, Ibsen has been afavouredplaywrightin India andmany eminent theatre persons have either produced Ibsen's plays. or held workshops or play-reading sessionsofIbsen.lie,manyclaim,isvirtuallyanationalplaywrightinIndia!Inthefollowing section,werecounttheIndianexperienceinhandlingIbsen.turningtodirectorswhohave produced his plays. II. ON PRODUCING IBSEN' E.Alkazi, eminenttheatredirector,formerDirectorofNSD 1.Considering that ananalysis of Ibsen'splays. characters andideascanbe a vast subject,onecanperhapsconfineoneselftowomanasacentra] characterintheplays handled by me, namely, NorainA Doll'sHouse, Mrs. Alving in GIWSIS,and Hedda GablerinHeddaGabler. 2 Nora is a very simple character in a quiet, happy marital relationship with Torvald Helmer.Socially,themaleisheldassuperiortothefemale.Theeconomicarrangement is that the male isthe breadwinnerwhilethe female isin perpetual dependence.The moralrelationship isbuilt accordingtothe prevailingnormsofthesociety.All three fronts-social.economic.moral-headtowardsacataclysmicupheaval,constituting theplay'sclimax. 3. Mr.Alvinghasghoststobeexorcised.Inherownanalysis,shefindsherselfwanting, andisawareofasenseofguilt. Herrectitudemakesherpractiseabstinencefromher *Thorsection is basedonconversationswiththedirectors concerned conducted on phone orin person. ough thefirst pers~m is oftenused,thephrasingis theauthor's,and lhe statements arenot to betaken as quotes fromthedirectorsIn question. HENRIK IBSENANDINDIANTHEATRE 53 creativehusbandandsheisawareofasenseofsin.Herson,theartist,wassentaway fromtheparentsandissufferingfrominheriteddisease.Thesunisthesymboloflight andwisdom.radiatinglifetotheearth.Inbetweenaretheclergy,thepillarofreligion and society.The earnings ofthe poorpeople flow to the church and thecompleted orphanage goes up inflames.Mrs, AJving isalsoanuprightwomaninrelation to society,but shekeepsthe illegitimatechildofherhusband andexploitsherphysically asanemployer.Thenthere is theclass conflict betwen the elderAlving's twooff spring.Itisalifeofsinandcrime,andwhentheclergymanandReginagoawayona ship,youcanalmosthearthefoghorn!Thereisaninbuiltsenseofsuffering.withonly contemptforthe manto whomshehasreturned.Mrs. Alving, aswife. is coldand morallysuperior.Openingup oftheorphanageoperatesatmultiplelevelsofirony with the clergyman feelingmoral righteousnessandthe wiferedeemingher ownlife thathas been alie, shehavingdone awaywith the lifeofhersonand the maid.The lattergoesawayprobablytoalifeofprostitution! 4. HeddaGablerisadominatingwomanwithadestructivestreak,Shehasuttercontempt forherhusband,withaperceivedattractiontoanothermanwithsuperiorattributes. ThejudgeBrackismeanwhiletryingtoblackmailher,whichistoomuchforherself esteem.Shealsoturnsvindictiveonherformerloverandeventuallydestroysherself. 5. Otherthan the above three, Brand is theportraitof aecclesiasticalentrepreneur. Again,theeconomic,moralandspiritualforcesgaingroundandBrandhasreasonsfor hisself-destruction.Asoilsingleindividual,hehasnosuperhumancapacityand,inhis nervousness andtension.he brings abouthisownfall. 6. Both Ghosts and Brandare plays of profound ideas and havealmost prophetic ele ments. Anuradha Kapur Directorof'vivadi'andProfessoratNSD 1. WhileIdirectedTheIVildDuckforthefinalyearstudentsofNSD,1workedonselected textsbyIbsen:LittleEyolj,TheWildDuck,andADoll'sHouse,fortheiractingexercises. 2 Fortheproduction of The IVildDuck,Iused aninnovativevideoinstallation,without anychangeinthecompletedattic.The garrelwasfilledwithstraw,wood,husk,etc.,as seen throughcamera-projections. 3. Ifind Ibsen hugelyrelevant. Hecan besustainedonanemotional plane,100. 4. Inthe acting exercises. studentstaketo Ibsenverywell.Hisrealismis notof the historicalkind,hutakintoStanislavsky'srealism,withastructuredvocabulary.Michael Chekov's 'Action andDramatic Notes',writtenfor his father's plays, provide many reference points. Bansi Kaul,directorof'Rang Yidushak'and guesrdirectorforNSD 1. I directed Gapan Gape Gappangamdas for NSD Repertory, as adapted from Peer Gynt. 54 UTPAL K.BANERJEE 2. WhileIbsen'splayswithmiddle-classcharactersdidnotappealtome,Iwasfascinated bythepoetry ofPeerGym,whichIthought washisfirstplaydealingwithfolkpsy chology.Hereavillagerstraysintoabigtown andbecomesthestapleofafolktale! 3. Itseemsasagaofdisplacement.-muchlikeour21q centurythatischroniclingmany displacements of nature, sound-pattern, languages and gestures. Our Gappo attains mediocrityinthisatmosphereandisnotsentimentalabouthismilieu.Indeed,anybody talkingofreasonsfordisplacementisconsidered ravingmadandnot 'politicallycor rect'! 4. I have given the playa multi-layered structure-e-and not linear- to drive this point home. Infact, it remains a biographical play, since Ibsen himself was a displaced person.Thethemereallytouchesallofusatsomepointortheother;andIammyself adisplacedpersonfromKashmir. 5. Ibsen's fascination forsymbolismeven touches theabstract andthepoetic. Ihave usedsome ofourownsymbolsandmyths. fromboth of which theprotagonistcan drawsupport.Insteadofreindeer,forinstance.IhaveusedourBarasinga deer. 6. Gappo is in the habit of spinning yarns and posing riddles for the villagers about himself.ThereisalotofinfluenceoffaithandChristianityhere.Whenthevillage-girl singshimalullaby, she isinthe image ofbothhis motherandhis lover.Thereare echoes here of ajourney's end.c-ofShiva's consortParvati andabodes in "Panch Dhaam'!This play, on the whole, is about us all and I am forever keen to take up theatricalchallenges! MohanMaharshi,director of'Sanker, Jaipur,ond 'Natua', Delhi I. IwasfullofBrechtonce,afterhavingworkedforayearwiththeBerlinerEnsemble;but SombhuMitra's Putul Khela changed all that. What, however, first brought me to Ibsen was the National Theatre's productionofPeer Gynt in the UK, where Albert FinnyandSirJohnGielguddidthedualrolesofPeerGyntaround 1970. 2. In1962,Alkaziproduced,inastraightforwardmanner,theNSDstudent-playofADoll's House, translated byKudsiaZaidi,inwhichIwasHelmer and Anjala Chitnis,thena teenager(andlatermywife),wasNora.IrememberSombhuMitraandTriptiMitra(the celebrated BengaliNora) coming to stay with Mama Warerkar, the famous Marathi playwright,andTriptilaughinglyquestioned Anjalathere:how she daredplay Nora. whichneededso muchin-depth understanding! 3. IdirectedADoll'sHouse,withthesametranslationasabove,inJaipurin1968andheld fiveshows.Thiswasaplaythatwasnoteworthynotforwomen'sliberation.butforthe factthatitturnedoureyestoinnerrealities,IalsodirectedGhosts there.basedona translationbyNemichandraJain. 4. Indee~,fndiantheatreinthelate19· andearly20· century wasunderthespelloflbsen andhisConcernforsocialissues.Ourgenerationfeltthe impactofIbsen's playson socialrealitiesasmuchastheimpactofplaysbyJohnGalsworthy(1867-1933),British HENRIK IBSENAND INDIANTHEATRE 55 novelistandplaywright,orBrechtor,forthatmatter,byplaysofAntonChekov(1860 19(4).theRussiandramatistandmasterofshortstories.relatingtopoeticrealism. JoyMichael,directorof'Yatrik' I. IdirectedTheWildDuckin1950beforeYatrikwasborn,withKusumHaiderasGina. Ekdal.Itwasalearningexperienceandarevelation.Itwasarealisticplaydoneona niftybudgetandwithoutaset-leavingalottotheaudience'simagination.Then I directedGhosts,whereIwasthemother,:10m.Alving,andRoshanSethmysonOswald. MyotherIbsen playwasHedda Gabler whereIdidtheeponymousrole. 2 IfoundIbsenasoneofthegreatestdramatists,afterShakespeare.whoinitiatedusinto thecomplexitiesofthemodernworld:becauseofhiswide-rangingchoiceofthemes andvariousshadesofcontemporarylife.Throughhimwelearnttolookatcontempo rary society,preoccupied withproblemsofpersonalandsocialreality.Yes,heisrel evanttothesocietyofhisowntime-andtoourowntime. 3.ADoll's House. forinstance. showsawoman who lives inacage: amidstshams, evasionsandlies. Ghosts revealthehypocrisyindomestic life.There isaninnate Senseofvaluesthatcontributestotheaction.InHeddaGabler. theprotagonistdorni nates theplay,with herdeterminedthoughtsandactions.Sherefusestodisassociate .herself from her lover,resultinginhertreachery.Whileshe longsforlife,sheisyet afraidofitanddeclinestoacceptthespiritualdimension. RobinDas,Directorof'Adinatya Drishti'andGuestDirectorforNSD 1. IlearntmyIbsenunderE.AlkaziwhowassynonymoustomewithIbsen'ssensibili ties!Later,IdirectedPurGynlforfinal-yearstudents,withanemphasisonthevisual arts.Tome,itwasadream-dramathatIlinkedtotheambienceinBengal-Bihar-Mithila inasurrealisticform-mixingrealismwithmelodramatodealwiththedeathofAase Gynt,Peer'smother,andtheviewoftheTrollkingdom. 2. IdirectedADoll'sHousein2002asarealisticplay-moreinthespiritofGreektragedy andrevertingtotheinnerrealism and howitimpingedonsoda!relationships. But Iused a stylised form with three Noras.Thisformenabledmetoexperimentwith operaticballet.TheftrstNorawasthevivaciousone,aslookeduponbyherhusband; the second Nora came throughflashback.asshewouldrecountherlifeafterayear fromleavingherhusband'shome;andthethirdNorawasarealhumanbeing-mean, frustrated andchallenging! M.K. Raina, Directorof 'Prayog'andGuestDirectorforNSD . . I. IdirectedGhostsinHindi,callingit'Pret',forNSD,inwhichstalwartslikeNinaGupta. AlokNathandothersacted.Later,IdidAnEnemyofthePeopleinHindiagain,calling it'lanta kaDushman', 2 Ghostswasanexerciseinrealistictheatrekeepinginviewitssocialtheme.Itwassetin amajorfiordinwesternNorwaywhereMrs.Alving'shouseislocated.AnEnemyofthe 56 lITPAL K. BANERJEE PeoplewasstagedinSri RamCentre(SRC) basementtheatre, wherethe audiencesat inthecentre and the setswere aroundthemtomake up for the limitedspace. 3.IfindIbsen'sthemeshavingafirmrootednessinIndia,whichwecanadoptand the appealbecomespan-Indian.He,infact,isveryclosetoourkindofsociety,wherewe toohaveclass distinctions. 4.Ghosts.inparticular,hasatouchofclassic Greektheatre,withanelementoftragedy. Torit Mitra. Painter and Directorof'Sansaptak' 1.Idirectedand translatedTheMasterBuilderin1997,callingit'Bohubrihi'inBengali. IalsodidUttleEyolfin2002inmyBengalitranslation,callingit'Aneek'. 2 Aforeignplayhasgenerallyabackdrop verydifferentfroman Indian play.But,inthe case ofIbsen, Ifound that his base of realism was capable oftranscreation and our approachtothesubjectmattercouldbethesamehere.UttleEyoifisalsonotalengthy playandwaseasyforustostage. 3. Aboveall,IfoundthesetwoplayshaveamilieuresemblingBengalisociety,which has lived withasocialrealitydifferentfrom thatofthe feudalclimateofUttarPradeshor MadhyaPradesh.Moreover,adoptionoftheatreasamediumofarthasalongtradition inBengal,incontrasttomanyotherStates.Socialrealismdoesnotneedtobeimported herefromoutside,asweneed anartificialimport ofthe Absurd preachedbySamuel Beckett (1906-89) or Jean Anouilh (1910-87). Our own playwrights like Mohit Chanopadhyay-whose oeuvre includes Mriryu Sangbad (The Tidings of Death), Mesh 0 Ravan (Ravan and the Sheep) and Chandraloke Agnikando (Fireworks on the Moon)-penmainly allegoricalplays,orManojMitra-whosefamousworksare SajanoBagan(TheDecoratedGarden),RajDarshan(TheRoyalAudience)andParabas (TheExile),dealingwithmetaphors. 4. LittleEyoifwasperformedintheSRCbasementinastylised manner,withanelaborate study-roomforAlfredAllmers.themanofletters,andakitchenforMrs.RitaAllmers (whoisforever'performingherduries'j-s-withatracing-paperscreenforprojectionof shadowpuppets.OnceEyolfdies,hisplastictricycleprojectsout ofthe tom screen. 5. ForTIleMasterBuilder;Icreatedanelaborateofficeroomatahighlevelwithcubicles and drawing boards for Halvard Solness and a wide front-stage gateway with an architectural design.The structure oflarge pillars was suggestively designed at the four angular ends ofthe proscenium. 6. I tried to view Allmcrs as one who is feudal within,but erects the glossy parasolof colonialismoutside.Hewants perhaps to protect his identity by compromising with technology inthe post-colonialera. The two giants ofmodem Bengali theatre, Utpal Out! and Shombhu Mitra, explored the theatrical possibilities ofIbsen's plays in Kolkata. Under Dutt's direction, Little Theatre GroupstagedGhostsin1950.followed byPutulerSangsar,atranslationofA Doll'sHouse.