Freelancer

– What are the most important aspects of your job?

I currently give lectures on Ibsen and theater, and introductory talks on theater plays, as either a dramaturg and/or Ibsen specialist. One of the most important aspects of my work is research. On the one hand, this includes literary research, archival research, sometimes conducting or reading interviews, watching performances, listening to podcasts, and more. On the other hand, an equally important aspect of this research is thinking about the audience I am going to address. What do they expect from me, and what can I expect from them? The preparation and delivery differ greatly depending on whether it is a guest lecture for a university course, an introduction to an adaptation of an Ibsen play, or a talk for enthusiastic “laypeople” who would love to know more about theater.

– What do you like most about your job?

Being able to talk for hours about theater, and especially sharing my knowledge, passion, and enthusiasm with others. Because I’m such a fan of theater and of Ibsen, I feel privileged to be able to turn this passion into my work. What I also particularly enjoy is the reactions and feedback from others: I once met a fifty-year-old man who had been a fan of Ibsen for over 30 years and thought he was the only one, and who was so happy to meet me; a woman who wasn’t really interested in text-based theater but decided to attend a performance after hearing me talk about it on the radio; and people who told me they were so inspired by my enthusiasm that they started exploring Ibsen themselves. It is this combination of talking about theater and receiving such responses that makes me love my work so much.

– In what ways are the studies that you have undertaken at the Centre for Ibsen Studies/Faculty of Humanities relevant to your job?

Of course it has given me substantial background, as well as knowledge and context about Ibsen’s life, works, and stage history. But what studying at the Centre for Ibsen Studies has also given me is the opportunity to interact with people from many different countries and backgrounds. The conversations you have about how theater functions in different countries, how Ibsen is known and received, and how people approach theater, literature, and interpretation differently are so insightful and eye-opening. It not only gave me a broader perspective, but it also made me reflect on my own (theater) culture. Multiple times I suddenly found myself having to explain and reconsider theatrical concepts and assumptions that were normal for me as a theater scholar from the Netherlands, but not elsewhere. The international aspect of Ibsen Studies is thus very relevant: it has made me more aware of my own position and knowledge, and how I communicate these concepts and my knowledge.

– What is the best tip for students who are thinking about job opportunities after graduation?

First: don’t be disheartened! It can be quite a tough world, especially in the cultural sector and those just starting out on the job market. You might not get a yes on the first try, or second try, or even third time. Sometimes you’re lucky, sometimes you’re not. Sometimes someone takes a chance on you, others won’t. But don’t give up quickly! Second: Don’t be afraid to reach out! In Dutch, we have the saying: Niet geschoten is altijd mis (If you don’t shoot, you always miss). So I keep shooting—and off goes another email!

– What is your favorite Ibsen work and why?

I love so many of his plays (and have a soft spot for Ghosts since it is the first Ibsen play I ever saw), but if I must choose a favorite, it would be definitely be Hedda Gabler. I love the character of Hedda in all her manipulation, entrapment, and strength. I’m still amazed by how misunderstood both the character and the play are, and how often they are “wrongly” staged. On top of that—and perhaps even because of it—the character, the situation (and the reactions to both her and the play) demonstrate exactly why Ibsen’s plays remain so relevant and why we must never stop performing Ibsen.

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