A Study on the Ibsen Directing Trends of the St. Petersburg Drama Theatre: Focusing on MDT, Komisarzhevskaya Theater and BDT’s <Ghosts>

Henrik Ibsen’s <Ghosts>(1881) has long been recognized as one of the most controversial and influential plays in the modern theatre canon. By addressing taboo subjects such as venereal disease, incest, hereditary degeneration, and euthanasia, the play openly challenged the moral hypocrisy of bourgeois society and unsettled nineteenth-century audiences and critics alike. Initially denounced as immoral and indecent, <Ghosts> was banned from many theatres but eventually became a model for the problem play and a cornerstone of European realism.<br/> This article situates <Ghosts> within the broader trajectory of European theatre history and focuses on its continuing resonance in the twenty-first century through the lens of contemporary Russian theatre. Specifically, it analyzes three productions staged in St. Petersburg’s major academic theatres—Maly Drama Theatre (MDT), Bolshoi Drama Theatre (BDT), and the Komissarzhevskaya Theatre—in commemoration of Ibsen’s bicentenary. Each theatre adopted a distinct interpretative strategy that reveals both the malleability of the text and the evolving concerns of Russian society and stage practice. <br/> MDT’s production emphasized psychological intimacy and the moral dilemmas of the family, highlighting the complexity of Mrs. Alving’s role as both victim and accomplice, while also underlining Oswald’s tragic plea for the sun as an emblem of unattainable truth. BDT fused the Russian realist acting tradition with symbolic scenography, using lighting and sound to magnify the play’s motifs of rain, darkness, and fire, thereby staging the inheritance of guilt as a visual and sensory experience. Komissarzhevskaya Theatre, by contrast, explicitly aligned the narrative of hereditary guilt and suppressed truth with pressing socio-political realities such as war, migration, and democratic fragility, employing documentary-style staging and multimedia projections. <br/> By examining these productions comparatively, the study demonstrates how <Ghosts> continues to function as a “living classic.” The play’s core themes—hypocrisy, repression, and the haunting persistence of past sins—are remarkably adaptable to new cultural and political contexts. The case of St. Petersburg further underscores the role of repertory theatres as custodians of tradition who nonetheless revitalize canonical texts through innovation. Ultimately, the enduring vitality of <Ghosts> lies in its ability to be ceaselessly reinterpreted: whether through the intimate psychological focus of MDT, the symbolic-realistic synthesis of BDT, or the socially engaged framework of Komissarzhevskaya Theatre, Ibsen’s play exemplifies how classics remain relevant when refracted through the concerns of the present.