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The Delhi Ibsen Festival 2010 is unique in every way, because it encompasses an aspect of Ibsen's work and theme, rarely discussed; Ritual, Tradition & Folklore. In the Indian context, this is especially important, because it helps us to define our own point of contact with Ibsen. We have to see him, not as a stranger in our midst, but bring him into our environment and into our minds, in a manner that he becomes familiar and endearing. Only then can we make the most of his work, in its contribution to Indian theatre.

In 2008, we had commissioned the second generation of Indian directors who, while having known Ibsen as one of the most important Western dramatists, had never themselves, directed Ibsen. They had however, over a period of almost 20 years, evolved a style of their own, in the later phase of a post-colonial environment, and thus when they did take up the challenge of producing Ibsen, it was entirely different from their predecessors, on whom the influence of Colonialism had been much greater. In 2009, we selected the younger generation of directors, who were even more distanced from their Colonial legacy, and who were now considered to be the generation, which was 'After Post-Colonialism'. The impact of their Ibsen was extremely radical, and new directions in their work were strongly discernible.
The future exploration with Ibsen in the Indian theatre-scape provides many new areas of engagement, which do not require to be theoretical contentions, because in practice, the Ibsen provides substantial material, in many different areas,; viz. new ideas, creative dramatic practice, interdisciplinary research, etc. Indeed, “Ibsen ji”, as Ila Arun likes to call him, is fast becoming a dear companion, championing new causes.

Director, The Dramatic Art & Design Academ