Henrik Ibsen and Indian theatre

2007·5.1 MB·English

by  Banerjee, Utpal K.

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.