Ila & Ibsen: The ghosts within

Neha Kirpal

Ghosts from the past always return in some form to haunt the present… that’s the theme of KK Raina and Ila Arun’s latest play Peechha Karti Parchhaiyaan.

Staged recently as part of National School of Drama’s 21st Bharat Rang Mahotsav Festival, the family drama is a Hindi adaption of Norwegian playwright Henrik Ibsen’s controversial play Ghosts. First staged in 1881, it caused quite a stir as it portrays a conflict between generations caused due to changing beliefs and customs. The story centres around the family of the late Maharaja Kunwar Viraj Bhanu Pratap Singh, whose death is shrouded in mystery, talked of in whispers and hidden from the inscrutable eyes of his widow, Yashodhara Baisaheb (Lady Alvin), played by Ila herself. The family is still clutching onto its past feudal glory, and the narrative constantly hovers around the theme of hanging on to age-old traditions in the light of contemporary times. The repercussions of these outdated rituals come back to haunt future generations as ghosts from the past, preventing them from breaking away from the shackles perpetuated by their ancestors.

In a sense, the ‘ghost’ becomes a metaphor for various conventions, taboos, superstitions, the caste system and religion. The play’s setting is Ila’s home state, Rajasthan. Her character constantly confronts and questions the family priest (Pastor Manders) who wants to uphold the family’s honour and prestige.

The play throws light on several contemporary issues such as domestic violence and suppression of women. “They still cannot break these traditions, and one is not supposed to say anything against society. Ibsen’s characters gave an inner voice to all such women,” says Ila.

Ibsen remains the most-performed playwright after Shakespeare and his universal appeal lies in his concern with the human condition and its failings. Ila has always admired him and the themes of his plays, many of which connect with women and their issues. Some of her earlier adaptations of Ibsen’s plays include Peer Ghani (Peer Gynt) based in Kashmir, Mareechika (Lady from the Sea) set in rural Rajasthan and Hardeep Kaur Gill (Hedda Gabler) set in Mumbai. She has been organising Henrik Ibsen Festival for some time and wrapped its fifth edition recently at Prithvi Theatre, Mumbai.

Ila believes that what Ibsen perceived in 1881, is still relevant today, especially in India’s smaller towns, villages and even its educated societies. Simultaneously, his plays have also dealt with various controversial subjects, such as incest, euthanasia and sexual transmitted diseases, which were far ahead of their time. “These kinds of plays are very close to my heart. Ibsen has provided me this beautiful canvas where his words help me reach out to society,” she says.

On the art of adaptation, Ila says, “You translate word from word, keeping closely to the text, but after it is all done, you are told that an audience does not have the patience to sit through lengthy texts. But this is what the playwright wrote and who am I to question his text?” She then starts the process of ‘surgery on the text’, which according to her, is the most difficult part of the exercise, almost like rewriting the entire script.