In need of a push
Does our regional theatre
have an identity of its own, or is it a summation of individual
success stories? Nonika Singh finds
out
»
Noted playwright
and theatre person Dr Atamjit has won the prestigious Sahitya
Akademi award for his play "Tatti Tawi Da Sach".
»
Neelam Mansingh
Chowdhry has just returned after staging "Nag Mandla"
at the prestigious Sadler Well’s theatre in London and
"The Suit" at Marvellous Reality Theatre and Cinema
Festival on the theme of magic realism in New Delhi.
»
In Jammu,
Balwant Thakur cannot get over the response his highly acclaimed
play "Ghumai" received at six international festivals.
To cap it all, he has received an invitation from the London
International Festival of Theatre to stage "Bawa Jitto".
»
Kewal Dhaliwal,
recipient of the Ford Foundation fellowship, is a happy man
after successfully organising the sixth theatre festival in
Amritsar.
»
Four members of
Chandigarh’s theatre group Abhinet have made it to the
Bhartiya Rangkosh, an encyclopaedia of Hindi theatre published
by the National School of Drama (NSD) in collaboration with the
Natya Shodh Sansthan, Kolkata.
»
Himachal Sanskritik Shodh Sansthan Avam
Rangmandal, Mandi’s, production "Sakharam Binder"
has been chosen for the prestigious Bharat Rang Mahotsava, NSD’s
annual theatre fest at New Delhi.
Chandigarh-based theatre group Abhinet’s “Who’s afraid of Virginia Woolf?” was well received by the audience |
So
has the regional theatre finally arrived, as these
achievements reveal? However, according to Neelam, "There
is no such thing as Punjabi theatre. At best, we are individuals
working in Punjabi language. Beyond this there is no similarity
in context or content. We all work from our own points of
view." Does it mean that theatre in the region is a
summation of individual success stories and hardy reflects a
significant growth of theatre as a whole?
Dr Atamjit
doesn’t agree. Rather he takes immense pride that in the
recent past, many theatre centres have emerged in Punjab.
"In both Jaiton and Mansa, a lot of theatre activity is
happening. In fact, 20 years ago there was just one name on the
horizon of Punjabi theatre — Neelam Mansingh. But today there
is Kewal Dhaliwal, Dr Sahib Singh, Pali Bhupinder, Kirti Kirpal
and many more."
Dhaliwal, who
has made Amritsar a nucleus of theatre, agrees, "Indeed,
right now in Punjab there are nearly 150 theatre groups as well
as many auditoriums at many small places like Preet Nagar around
here reflecting the grassroot growth of theatre." He holds
that theatre today has become part and parcel of Punjab’s
cultural milieu and plays are being staged at khed melas
and even at gurdwaras.
Another theatre
activist Jatinder Brar has come up with Naatshala in Amritsar
that has answered the long-felt need for a state-of-the art
auditorium in the city. Naatshala hosts at least 100 plays a
year.
Dhaliwal
attributes this regeneration to various theatre festivals that
have been held in Amritsar "It has ensured continuity,
which is an integral part of theatre’s development," he
adds.
Chandigarh’s
well-known theatre director Umesh Kant agrees. He, too, credits
these festivals to theatre’s coming of age in the city
beautiful. Yet, do these festivals have any bearing upon theatre
that is happening in the city and the region? Not many agree.
Take the instance of the Haryana Government that in recent times
took a lead in organising a theatre festival. But Gurgaon-based
theatre person Mahesh Vashistha is not impressed. "The
state government is least bothered about propagation of theatre
in Haryana."
However, Vishav
Deepak Trikha, who has taken over as the deputy director of
Multi Art Cultural Centre at Kurukshetra, is determined to
change things for the better. He has identified several groups
and individuals in the state, who are committed to the cause of
theatre. However, even he agrees that the scenario is far from
rosy as theatre persons are not given due recognition. Brijesh
Sharma, who along with wife Baljinder Kaur Sharma, is trying to
keep theatre alive in Hisar with actor-based productions,
agrees, "The state is oblivious to the problems of theatre
persons. While the authorities bend backwards to honour
sportspersons, theatre personalities don’t figure on the
government honours list."
M. R. Dhiman,
founder director of the Adi Manch, Ambala, is pained at the
impasse that theatre is facing, "Theatre groups in Haryana
depend heavily upon the government support and have not learnt
to generate revenue from the public. Hence they are forced to
work in a sporadic fashion".
Even in
Chandigarh most theatre groups work in a kneejerk fashion and
lack both vision and cohesiveness, he adds. Thus, Chandigarh’s
Abhinet, founded in 1974 and credited with many milestone
productions like "Ashadh ka ek Din" and "Mitti ki
Gadi", seems to have fallen silent today. However,
Harish Bhatia, secretary, Abhinet, refutes the assumption that
the group is a spent force and argues, "Ten productions in
seven years (between 2001 and 2008), including the
much-commended "Who’s afraid of Virginia Woolf?",
proves that it is very much alive and kicking."
Still, theatre
from Chandigarh, except Neelam’s plays, is hardly creating a
buzz.
Kant blames his
alma mater, the faculty of Department of Indian Theatre, Panjab
University, Chandigarh, for this state of affairs.
Dhaliwal, too,
feels theatre departments of various state universities can
certainly do more in giving theatre the professional push it
needs. He also bemoans the absence of professionals in various
aspects of theatre activity like music and set design, etc. He
also feels bogged down by the dearth of trained actors and says
the varsities’ departments should rise to the occasion.
Thakur in
Jammu, too, is caught in a similar predicament. Not only actors
but even theatre groups eventually move over to commissioned
television programmes that pay better. Still, theatre in Jammu
has come a long way from the time when his 10-member theatre
group Natrang had only five members as audiences. Today
international acclaim has translated into local recognition and
packed auditoriums.
But conditions
for theatre in the region have been far from amenable. Punjab
saw the dark chapter of terrorism, yet theatre persons like
Dhaliwal worked all through. Neelam remembers days when working
in Punjabi itself was considered infra dig. But Dr Atamjit feels
that even today conditions are far from favourable. While
saluting all those who survive on theatre alone, he states,
"As there is no cultural policy in the state, governments
act on whims and fancies and reward whosoever they feel
like."
Yet, is it fair
to blame the government alone? Aren’t theatre groups,
especially those who dish out mediocrity time and again, equally
responsible for affecting the cause of theatre by diluting
quality?
Trikha shifts
the onus on NSD alumni for alienating people and creating
highbrow stuff, alien to the sensibilities of the common man.
Indeed, in Haryana, where the Saang tradition is popular
even today, few care to even use the local dialect. Brijesh
feels that Haryanvi dialect saps the emotive power of the
subject and turns a play, at best, into a comic skit. However,
Vashista, toying with a "Andha Yug" in Harayanvi
dialect, observes, "Local idiom has its flavour."
Seema Sharma,
who has been running a repertory and theatre institute in Mandi,
Himachal Pradesh, echoes similar sentiments. "How can
theatre be cut off from its local roots?’ Working
simultaneously in both folk theatre as well as modern theatre
she claims, "Local audiences have become more responsive
and even appreciate plays, based on the writings of Chekov and
Gorky."
Even in Punjab,
viewers have become more discerning. But Dr Atamjit, while being
happy that audiences have become choosy, asserts, "They
have no right to demand quality till they are ready to pay for
it." Because whenever groups have tried to make theatre
aficionados realise that there are no free lunches, the moves
have fallen flat.
Yet despite
many difficulties, individual efforts, tales of persistence and
undying passion have kept the theatre’s flag afloat. According
to Rajneesh Kashyap, a theatre artiste from Shimla,
"Theatre has never been a cakewalk. Problems like lack of
rehearsal space and sponsors, etc are universal."
Whether theatre
is suffering as part of the design of powers that be who want to
keep it on the margins or the unconcerned audiences who are
ready to clap but won’t pay for the pleasure, the odds will
always be against this performing art that is yet to become part
of the educational system. However, individuals will always find
the gumption to beat the odds. Will individual efforts transform
into an identity for region’s theatre? "Yes,"
according to Dr Atamjit, "With a semblance of common thread
yet spurred by individual sensibilities is close to finding a
distinct identity and space." Inspired by Natrang in Jammu,
many theatre groups have come up in Udhampur, Basholi, Ramnagar,
Reosi and other places that are doing theatre in Dogri. While
the first contemporary Dogri play was staged in 1935, in recent
times, says Thakur, "People woke up to the concept of Dogri
theatre only in 1986 when we participated in the North Zone
Theatre Festival." Seema’s institute has produced a fair
number of enthusiasts, who are doing theatre in different parts
of Himachal Pradesh.
The reopening of Gaiety Theatre
at Shimla also spells good news for theatre enthusiasts in the
state that has centuries old history of folk theatre. In
Chandigarh, where theatre’s moorings precede the opening of
Tagore auditorium, Abhinet has been recast with renewed vigour
and several theatre groups continue to work in the tri-city. In
Hisar, Brijesh has discovered audiences, even if select, who are
ready to patronise theatre in small ways. Undeniably, the ball
has been set rolling. With government patronage and active
support it could gather momentum and hit the goal post.
115-year
history
A scene from Kewal Dhaliwal’s
“King Lear” |
Punjabi
theatre is more than a century old. While the first
Punjabi production "Sharab Kaur" dates back to
1895, stellar contribution was made by Norah Richards, I.C.
Nanda and Harcharan Singh. Other stars in the galaxy of
Punjabi theatre include thespian Balwant Gargi, Ajmer
Aulakh and titan Gursharan Singh.
History
of Chandigarh’s theatre is almost as old as the city
itself. Initial forays into theatre were made by Champa
Mangat Rai and Eulie Chowdhry. The first full-length Hindi
play "Konark" directed by Virendra Mehdiratta
and NC Thakur was staged in 1957. Gargi set up the
Department of Indian theatre at Panjab University,
Chandigarh. Abhinet, a group associated with meaningful
theatre, came into being in 1974.
In Jammu
and Kashmir, the first contemporary Dogri play "Achhoot"
was staged in 1935. Vishawanath Khajuria, Ramnath Shastri,
Dinubhai Pant and Kavi Rattan are some significant theatre
personalities of Jammu. Natrang, which has put Dogri
theatre on the international map, was formed in 1983.
Both
Haryana and Himachal Pradesh, too, have strong folk
theatre tradition. People like Ashok Bhagat, Avtar Sahni,
Lakhanpal, Sumar Sharma, Mahesh Vashistha, Brijesh Sharma
and Sanjay Bhasin have been actively associated with
theatre in Haryana. Adi Manch, which has so far staged
nearly 40 plays, was set up in 1976 and its last
production "Ek Aur Dronacharya" was
staged in Ambala in 2009.
In Mandi, Ramesh
Ravi, Professor Kirpal, Rupesh Upadhaya, Lawan Thakur,
Naresh Kumar Mastana, Rajesh and Sapna have been active in
theatre. In 1984, Suresh Sharma, presently NSD repertory
chief, set up Ankur Kala Manch, while in 1990 his wife
Seema Sharma started a theatre institute, Himachal
Sanskritik Shodh Sansthan Avam Rangmandal. — NS |
|