International Ibsen Conference – «Ibsen's Topicality» | June 25-27 2026

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 for this continuing topicality?

The question invites several answers. Firstly, it could be argued that the themes Ibsen addresses in his dramas are still relevant today. The dynamics of family structures, the relationship between humans and the environment, or the consequences of a capitalist economy have by no means lost their significance. At the same time, the formal characteristics of Ibsen’s plays, which are so open and contradictory seemingly invite a diversity of creative interpretations and adaptations. Reference 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 presence of the action on stage is undermined by the constant reference to past events creates what Szondi calls a “gap” or an “abyss” that open for new readings.

At the XVIth International Ibsen Conference, we want to explore the question of Ibsen’s topicality from different perspectives and encouraged submissions that address any of the following themes:

Family Dynamics: To what extent are the family dynamics and the associated gender relations and genealogical structures that Ibsen explores in his plays still relevant 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 attention paid to these issues reflected in current stagings?
Ecological Dynamics: 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 problems that can only now be developed considering recent approaches in ecocritical studies? How is the attention paid to these issues reflected in current stagings?
Social Dynamics: In their Marxistic interpretations of Ibsen’s dramas, the representatives of German “Ideologiekritik,” such as Leo Löwenthal, Theodor Adorno or Peter Szondi view the social themes of Ibsen’s plays as the complex effects of a capitalist economy. These perspectives are perhaps more relevant now than ever before. Here, too, the question arises as to how the attention paid to corresponding political issues is reflected in current stagings.
Aesthetic Perspectives: Do Ibsen’s dramas have specific formal criteria that explain why the plays can always be updated and unfolded in new contexts? Does the specific temporal structure of Ibsen’s drama, which ultimately culminates in a crisis of the fundamental concept of dramatic presence, paradoxically have something to do with how the plays are continually updated and related to present contemporary themes?
Performative Perspectives: 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 productions and how do current performances attempt to bring the aesthetic relevance and topicality of Ibsen’s drama to the stage?
Philosophical Perspectives: Many of Ibsen’s plays revolve around philosophical themes in that they develop historical, ethical or existential problems (for example with reference to medieval or folkloristic topics). Here, too, the question arises as to whether the corresponding themes are still relevant today and how they can be updated.

Prof. Müller-Wille (second from the left) together with the Norwegian Ambassador, Mrs. Kjersti Rødsmoen (first from the left), her PA, Mrs. Christa Kolden (second from the right), and embassy counsellor Lars Løberg (first from the right).