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CLASS: PUBLIC
SUMMARY:XVIth International Ibsen Conference: Ibsen's Topicality
DESCRIPTION:It is often said that Ibsen’s dramas are astonishingly topical.
  In fact, a glance at the sheer number of performances of his plays around 
 the world today would seem to prove this point. But what are the reasons fo
 r this continuing topicality?\n\nThe question invites several answers. Firs
 tly, it could be argued that the themes Ibsen addresses in his dramas are s
 till relevant today. The dynamics of family structures, the relationship be
 tween humans and the environment, or the consequences of a capitalist econo
 my have by no means lost their significance. At the same time, the formal c
 haracteristics of Ibsen’s plays, which are so open and contradictory seemin
 gly invite a diversity of creative interpretations and adaptations. Referen
 ce could also be made to Peter Szondi’s famous claims regarding the strange
  temporal structure of Ibsen’s drama in his Zurich dissertation Theorie des
  modernen Dramas (1956; Theory of Modern Drama). The very fact that the pre
 sence of the action on stage is undermined by the constant reference to pas
 t events creates what Szondi calls a “gap” or an “abyss” that open for new 
 readings.\n\nAt the XVIth International Ibsen Conference, we want to explor
 e the question of Ibsen’s topicality from different perspectives and encour
 aged submissions that address any of the following themes:\n\nFamily Dynami
 cs: To what extent are the family dynamics and the associated gender relati
 ons and genealogical structures that Ibsen explores in his plays still rele
 vant today? Are there questions and problems in the plays that can only now
  be developed in light of recent approaches in gender studies? How is the a
 ttention paid to these issues reflected in current stagings?Ecological Dyna
 mics: Many of Ibsen’s plays directly or indirectly decentralize the subject
 , which is also expressed in an interest in more complex human-environment 
 relations or actor-thing-networks. Do the plays contain questions and probl
 ems that can only now be developed considering recent approaches in ecocrit
 ical studies? How is the attention paid to these issues reflected in curren
 t stagings?Social Dynamics: In their Marxistic interpretations of Ibsen’s d
 ramas, the representatives of German “Ideologiekritik,” such as Leo Löwenth
 al, Theodor Adorno or Peter Szondi view the social themes of Ibsen’s plays 
 as the complex effects of a capitalist economy. These perspectives are perh
 aps more relevant now than ever before. Here, too, the question arises as t
 o how the attention paid to corresponding political issues is reflected in 
 current stagings.Aesthetic Perspectives: Do Ibsen’s dramas have specific fo
 rmal criteria that explain why the plays can always be updated and unfolded
  in new contexts? Does the specific temporal structure of Ibsen’s drama, wh
 ich ultimately culminates in a crisis of the fundamental concept of dramati
 c presence, paradoxically have something to do with how the plays are conti
 nually updated and related to present contemporary themes?Performative Pers
 pectives: How do the performative elements that characterize Ibsen’s drama 
 in the form of specific stage directions, scenographic and/or choreographic
  elements (dances, appearances, exits) relate to the ongoing topicality of 
 his drama? How are these performative elements intensified in current produ
 ctions and how do current performances attempt to bring the aesthetic relev
 ance and topicality of Ibsen’s drama to the stage?Philosophical Perspective
 s: Many of Ibsen’s plays revolve around philosophical themes in that they d
 evelop historical, ethical or existential problems (for example with refere
 nce to medieval or folkloristic topics). Here, too, the question arises as 
 to whether the corresponding themes are still relevant today and how they c
 an be updated.\n\nProgramm folgt.
DTSTAMP:20260223T065027Z
DTSTART:20260625T070000Z
DTEND:20260627T100000Z
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