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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