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Going beyond mortality

Chorus Repertory, Manipur stages "When IVe Dead Awaken”

Jamil Mahmud
"A balance has to be maintained to keep the essence of Ibsen intact and make it palatable to the Manipuri speaking people since the culture, lifestyle and traditions of the Norwegians that form the background of the play are poles apart from that of the Manipuris.”
— Ratan Thiyam
Henrik Ibsen's last play, "When We Dead Awaken" (1899), is one of his most adventurous and intensely personal works. As the author intended, it is a dramatic epilogue' to his naturalism and a return to the poetic symbolism of his earlier plays like Peer Gynt’ and "Brand*. In the play, a sculptor, a surrogate for Ibsen, suffers "sorrows for a forfeited life."
Internationally renowned Indian theatre troupe, The Chorus Repertory
from Imphal, Manipur staged "Ashibagee Eshei" -- an adaptation of Ibsen's "When We Dead Awaken" - on the opening day of the International Ibsen Seminar and 1 heatre Festival '09. The show, along with a gala inaugural, took place at the National Theatre Hall, Bangladesh Shilpakala Academy on November 12.
Ratan Thiyam, one of the foremost international theatre personalities, directed the play. In his directorial note Thiyam wrote, "In this piece of work I just wanted to feel a different Ibsen with imagery, fantasy and ecstasy."
As the name suggests, "When We Dead Awaken" centreson the non-reality of characters or the symbolism of characters. The play has a lot of metaphysical references, which are remarkably absent in Ibsen'sother plays.
Sculptor Arnold Rubek, the protagonist of the play, has made a name for himself through his work, but cannot seem to find peace. I Ie is at ease with his wife Maja. On the other hand, Maja is drawn to Ulfhejm, a bear hunter. Irene, a beautiful woman and a model for his artworks from Rubck's past, re emerges.
Awakening memories, desires, and an acute existential crisis in Rubek, Irene leads him to a mountain through a dreamy journey. As they approach the summit, both are killed in an avalanche. From lite valley below, Maja sings exultantly.
Story apart, Thiyam's concern was to fit the characters in the Manipuri adaptation "Ashibagee Eshei". The master director took this as a great challenge
"A balance has to be maintained to keep the essence of Ibsen intact and make it palatable to the Manipuri speak-
ing people since the culture, lifestyle and traditions of the Norwegians that form the background of the play are poles apart from that of the Manipuris. It also has to work the other way around — a Manipuri 'Ibsen' play for the global audience," suggested Thiyam's directorial note.
Despite having a language barrier (the whole play was in Manipuri), a standing ovation from the full-house pointed out Thiyam's success. |
The dramatic change of the set = between acts, gestures and body Ian-g guage of the performers and brilliant use ?
of chorus kept the audience glued to their seats till the end.
Use of surrealistic elements was also apparent throughout the play: Dali's Melting Clock' and the journey of Rubek and Irene on a dreamboat through a lotus garden with flying fish and doves surrounding them, for instance.
Rajkumar Bhogendra Singh, Sorokhaibam Ibomcha Singh, Chirom lilasana Meetei and Pebam Somo Singh, among others, were the lead actors in the play.
Another show of the play was held yesterday at the same venue. Today, Centre for Asian Theatre will stage its brand new production "The Communicator" at the NationalTheatre Hall. The play is directed by Kamaluddin Nilu.