October 2013 issue

Theatre is a magic world where stories and characters come alive on stage in front of you. You can see and feel the laughter, drama and tension unfold before you. Unlike in a movie, where you see larger than life characters far off on a screen, on a stage, you get to watch people who are just like you, enact various roles. Yet, this magical world of theatre somewhat did take a beating because of the onslaught of movies, TV and other entertainment avenues.

Today, with the foray of new theatre companies and innovations on stage, people are flocking back to theatre, which is good news. Of course there are many challenges but for the theatrewalahs, the curtain call moment gives them the high and keeps them going. It is this passion and dedication towards their craft that is encouraging people in theatre to continue and experiment. In return, they are getting what they deserve – respect and recognition.

The October 2013 issue ‘Curtain Call’ of One India One People, is an ode to theatre in India as we look at the new trends in theatre craft, theatre in major languages, regional theatre, street theatre, people and companies who are nurturing theatre and more.

Here is a curtain raiser of the October issue on Theatre:

Deepa Gahlot

In the article ‘English theatre is flourishing’, Deepa Gahlot, Mumbai-based film and theatre critic, says that English theatre is definitely having a good time now with an audience out there, hungry for fresh work and more and more producers, directors and actors interested in staging original English plays. Availability of sponsorships is also adding to the zing.  

Om Katare

In ‘The growth of Hindi theatre’, Om Katare, renowned theatre personality and founder of Yatri theatre, says that Hindi theatre fraternity is looking at expanding its horizons and reaching to one and all, but requires support from the state government, corporates and other institutions to flourish.

Ashlesha Athavale

In ‘Theatre thrives wherever Marathi manus exists’, freelance journalist and translator Ashlesha Athavale, looks at Marathi theatre which continues to draw crowds and has a great future. But those involved should look at it like a venture which needs hard work and new ideas to make it a success and sustainable enterprise, she says.

Manvita Baradi

In ‘The vibrant hues of Gujarati theatre’, Manvita Baradi, theatre practitioner, architect and an Urban Planner and a trustee and a member of the team of Theatre Media Centre also known as Garage Studio Theatre since 1976, analyses the history of Gujarati theatre and its scenario today.

While she appreciates the healthy upsurge of a young band of actors at present, she cautions that if contemporary theatre won’t reflect societal trends and concerns, it might turn into a puppet of powerful vested interests.

Shoma Chatterjee

In ‘Bengali theatre and some immortal pillars’, freelance journalist, film scholar and author Shoma Chatterjee, writes how Bengali theatre groups are exploring new subjects, new ways of performing, interpreting old classics and mythological texts through modernist and postmodernist readings, and are transcending boundaries of culture, language and performance.

Manoj Barpujari

In ‘Theatre of Assam and Manipur: close proximity in contrast’, senior journalist and art critic based in Guwahati, Manoj Barpujari presents a candid view of Manipuri and Assamese theatre. While Manipuri theatre is faced with the challenge of articulating a present that is caught in the vortex of bitter social and political conditions in the state, theatre in Assam is bearing the brunt of divisive politics. In such situations, the theatre fraternity is finding it difficult to carry the humane message inherent in every creative pursuit to the expected height, he points out.

Salim Arif

In ‘National School of Drama: Time to reinvent’, Salim Arif writes that while the contribution of India’s premiere art institution, the National School of Drama (NSD) to the existing theatre scene is beyond doubt, the direction in which it has worked in the last several years needs serious introspection. Arif is one of the most popular directors in Hindi theatre in India and an illustrious alumnus of National School of Drama, New Delhi.  He is currently the Head of Department of Actors’ Studio in Whistling Woods International, Mumbai, Asia’s leading Film School.

Quasar Thakore
Padamsee

In ‘In the company of theatrewalahs’, Quasar Thakore Padamsee notes how theatre companies have been playing an important role in nurturing the health of Theatre in India. From creating a base for systemic training, startling innovations and experiments, to providing lucrative opportunities, it is an exciting time for theatrewalahs, he says. Quasar has been working with theatre company QTP since its inception in 1999, as its Artistic Director and is one of the founders of Thespo, the all India youth theatre movement.

Akarsh Khurana

In ‘Smaller towns hungry for drama’, Akarsh Khurana, proprietor of Akvarious Productions, writes about how smaller towns across India have over the last few years surprised him with their affinity and understanding of theatre. He is convinced after these visits that there are more places with a thriving theatre scene to be explored.

Arjun Ghosh

In ‘Saga of street theatre’, Arjun Ghosh, Assistant Professor at the Department of Humanities and Social Sciences, Indian Institute of Technology, New Delhi, chronicles the history and growth of street theatre in India. Street theatre is an entertaining and powerful medium to highlight the social and political injustices happening in a society. As a political form, it challenges the hierarchies of society allowing its audiences an undifferentiated arena. However, street plays are not encouraged because they pose a challenge to the authorities.

Gustasp & Jeroo Irani

In ‘Know India Better’, we feature Chikmagalur and Coorg, home to vast coffee plantations and if you want to taste the authentic Indian coffee, then these places are where you should head to. India is the only country in the world that grows shade-grown coffee, said to be the finest mild coffee in the world. While Chikmagalur is considered to be the birthplace of Indian coffee, Coorg has a great deal to offer to the tourist – forays in the Dubare forest, waterfalls, village walks and plantation treks among other things. 

Text and photos:  Gustasp & Jeroo Irani

Gustasp and Jeroo Irani are travel companions for whom life is a never-ending journey. Over the last 25 years they have travelled extensively across India and the globe, taking the rough with the smooth; sampling different cultures and cuisines.

Arvind Gaur

In ‘Face to Face’, we feature Arvind Gaur, eminent theatre personality and founder of Asmita Theatre in Delhi. Arvind Gaur is a man with a mission. Though he studied to be an engineer and worked as a journalist initially, it was theatre that gave a purpose and meaning to his search for a medium that could help him explore and express the social issues that were happening around him.  It was to bring a change in society through the medium of plays, that he founded the theatre group Asmita in 1993. Since then, he has consistently built a committed and passionate team of young actors, who are conducting his street plays at every nook and corner of Delhi, be it educational institutions, residential colonies, offices, and even slums and markets.

Asmita has carved a niche for itself in the Indian theatre scene by staging plays of varied socio-political interest, while not losing out on mass appeal. Name a contemporary issue and Gaur’s team has staged a play on it. Besides creating awareness about social issues, he wants his plays to create a debate in society and inspire people to participate rather than remain mute spectators.

Arvind Gaur spoke to Rajlakshmi Pillai about the need for a cultural policy, his role as a trainer, his experiences with theatre stalwarts and the future of theatre in India.

In ‘Great Indians’, we feature -

Badal Sarkar, He weaved magic on stage (1925-2011) (Profile by Shoma A. Chatterji); 

Machindra Kambli, Konkani quirkiness (1952-2007) (by Ramu Ramanathan, Mumbai-based playwright and director) and 

Safdar Hashmi, The champion of street theatre (1954-1989) (by Moloyashree Hashmi, President, Jana Natya Manch)

And also read our regular columns and other features. To book a copy, email to oiopfoundation@gmai.com / oiop@vsnl.net or call Nagesh Bangera, OIOP Subscription-in-charge at 022- 2353 44 00.

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