The Tribune, Chandigarh, India - The Tribune Lifestyle

An artist’s mind
Renowned contemporary artist Subodh Gupta shares how simple things inspire his work
Parbina Rashid

He is a Bihari and proud to be so, unlike some of his fellow brothers, who, when they reveal their place of origin (even though Bihar occupies a proud place in medieval history for its prosperity and great educational institutes), do it with a touch of awkwardness.

After all, the word Bihari is used like a slang elsewhere and it takes courage to stand up to what the term implies. And, everybody is not Subodh Gupta, world-renowned contemporary artist, who, does not hesitate to open the Chandigarh Lalit Kala Akademi-organised lecture-cum-slide show at the Government Museum and Art Gallery on Wednesday evening with these lines, “I am a Bihari and I am an artist. I am not a star as Diwan Manna puts it in his introductory speech. Please bear with my Bihari accent.” He didn’t have any, but the point was taken!

“Identity is very important to begin with,” he says and each of his creations which fall between 1996 and 2009 bear the telltale signs of his roots — 29 Mornings, My Mother and Me, Bihari (a self-portrait), Curry, Giant Leap of Faith, God is Hungry, so on so forth.

Subodh’s journey of unusual art as well as success begins with 29 Mornings, an installation he did using 29 stools, some of them painted and some just plain. “It was the time I was desperate to do something different and when I got this opportunity to make an installation, I used paltas (traditional stools) as a medium to express my childhood memories. And since religion is such an integral part of our lives, I painted those paltas with ritualistic symbols,” he explains.

If his 29 mornings and subsequently My Mother and Me (an installation of cowdung cakes) paved the path for his unique style, it was curry, the installation with kitchen utensils, that gave him his signature style — making sculptures with anything one finds in the kitchen!

“I just discovered what I could do with spoons, glasses, plates or lotas,” he replies as someone asks him why he chose utensils for his medium. But then, the philosopher in him takes over. “In this time of globalisation, food is first thing that binds different races and cultures together. So came Curry. It had everything one finds in a middleclass kitchen. With Curry, I also established the fact that sculptures can be simplified.”

Sure it can, at least that is the impression one gets looking at Aam Adami (mangoes made in bronze) and Potato Eaters.

But is it not a little too aam, creating potatoes or mangoes, however, real they look?

“As an artist nothing is my creation,” he says. “I just bring it from one place and install it at another giving it the proper ambience, and the object becomes objet d’art,” he explains. That explains some of his sculptures Doot (an ambassador car), Bullet (a motorbike with milk containers or the Door (a simple wooden door).

There are others — God is Hungry, Very Hungry God, 1 KG War, Black Thing, Miter, UFO Gandhi’s Three Monkeys, Still Steal Steel — those that have found a proud place in prestigious art galleries and museums around the globe and thus making him ‘the representative’ of contemporary art from Asia.

The names sound as fascinating as his creations and as we try to go beyond the obvisous to get the hidden message in his works, he cautions, “Don’t look for meanings always. Art is art.”

Yes, and Subosh is Subodh. Whether he likes it or not, he is the star in the art horizon, the brightest one at that.

It’s her life
Gurinder Chadha was in Amritsar to pay obeisance at the Golden Temple before the release of her movie It’s a Wonderful Afterlife
GS Paul

Like most of her movies, British film director of Indian origin Gurinder Chadha has yet again come up with a flick on the theme of marriage titled It’s A Wonderful Afterlife, which is a comedy based on how a mother gets obsessed with marrying off her overweight daughter.

While the film has already been released in London on April 20, it is scheduled for release in India this Friday along with the Hindi and Punjab version titled Hai Marjaawan. And before its release, Chadha was in Amritsar to seek divine blessing at the Golden Temple. We caught up with her.

“As Indians, we live and breathe marriage. As soon as a girl is born, the first and foremost thought that comes across the mind of her parents is wedding. This hasn’t changed. It’s the same with Indians in UK as well. But this thought has immense potential and works wonders,” she says.

The story of the film revolves around Shabana Azmi (Mrs Sethna) who is finding it hard to get a suitable groom for her overweight daughter Roopi (Goldy Notey). She later goes on a killing spree, murdering all those who rejected her daughter. What follows next is rib-tickling humour. The ghosts of these suitors want to be free of this world, but it can only happen once Mrs Sethna dies. But she wouldn’t let go of this world before marrying her daughter. So the ghosts come together to find Roopi a perfect match.

The star cast includes Shabana Azmi, Shaheen Khan, Goldy Notay, Sally Hawkins, Sendhil Ramamurthy, Sanjeev Bhaskar and Jimmy Mistri. The youngest members of the cast are the three-year-old twins Ronak and Kumiko.

The movie is a tribute to the classic Ealing Comedies of London with the presence of ghosts throughout, more in a comical than a scary manner. It was filmed primarily in English, with some Hindi and Punjabi dialogues. The title is a reference to Gurinder Chadha’s inspiration from Frank Capra’s film It’s a Wonderful Life.

“The Hindi and Punjabi food terms like paranthas have been incorporated in the original script to bring out the Punjabiyat and Indian flavour,” she says.

And her future projects? “My next venture will be different — a children’s movie featuring elephants in Kerala. It will highlight ecological problems through the children’s innocent association with the animal, their adventures etc,” she says. Chadha is also working on a project about Indian Independence struggle with Lord Mountbatten, Jawaharlal Nehru and Mahatma Gandhi as the major characters. “The history of Punjab and Partition of the country would be part of the script,” she says.

Twists & turns
Jasmine Singh

What is the biggest challenge before a theatre actor working for television serials? Not facing the camera definitely. But adjusting to changing scripts and sudden twists in the tracks — for days together you see a camera panning on a character and suddenly he or she leaves for a business trip to the United States, or nine out of 10 times meets with an accident and ends up in a full body bandage!

Anything is possible with TV soaps. But Sargun Mehta, a Chandigarh-bred actor who stars in Zee TV’s 12/24 Karol Bagh, as Neetu Sethi, has adjusted well to the ‘sudden’ changes in the scripts. “It used to bother me. It was a strange feeling to sit at home for the days when I wouldn’t have my track,” says Sargun. “However, now I have adjusted. I understand this is how it works on television.”

With a two-year theatre background, Sargun unassumingly lays out the difference in the two worlds - theatre and television. “Even today, I return to theatre for creative satisfaction.”

Having said this, Sargun adds that TV has its own positive points. “It is exciting to be a part of a daily soap. In theatre one is professional to the core and we get to work on various themes.”

Exactly, repetitive scripts, television needs to move beyond ‘triangle love tracks’, return of the ‘phoenix tracks’. “This is one problem with the scripts of the daily soaps. They are hardly experimental. At the same time, we think the audience doesn’t want to see any drastic changes in their daily soap patterns. They would welcome something different on TV, but for sure would return to the drama in matter of days.”

However, Sargun feels that there is an equal scope for male or female actors. “The former gets to play either the good or the bad boy, and the latter are either playing sati savitris or vamps,” says Sargun, who would obviously want to take the natural progression route towards Bollywood. “Tell me about a TV actor who wouldn’t want to do movies. Given a good script, I would take it hands on.” Till then she is happy following the curves and bends on the television route!

jasmine@tribunemail.com

Take 2

It will be interesting to see the actor Parmeet Sethi's directorial debut movie Badmaash Company, a con film with emotions. Parmeet is super-excited about his movie, which he wrote in just six days. Till now, we remembered him as the bad guy of DDLJ. His new role behind the camera sends out a message with a style, conning is not a good. As a producer he wrote a lot of scripts and directed some episodes of his wife's comedy show. With Badmaash Company, Parmeet starts a new inning in Bollywood. In conversation with Lifestyle…

Tell us what Badmaash Company is all about?

It is a story of a group of friends, who are out on a mission to become famous. The con film is set in the '90s in Mumbai. It is a very young and fresh film.

Why did you decide to be a filmmaker?

The simplest answer to this is, I love films.

What made you choose Badmaash Company as your directorial debut?

I had many ideas but this was the only one that I wrote from start to finish in six days. I think mostly, first films people write usually are about what they know.

Do you think the film will live up to the expectations?

I think so it will. Viewers have to give it a chance. I guarantee you no one will leave disappointed.

How confident are you about the subject of the film?

It is going to be the best con film, which has an exciting story, a perfect climax and a brilliantly constructed plot.

How did you manage to cast Shahid Kapoor and Indian Idol contestant Meiyang Chang?

Shahid Kapoor had the depth to showcase the journey of a 21-year-old boy because Kaminey and Jab We Met proved his versatility. And for Meiyang Chang, I wanted to give due representation to North East India. He is a good actor and is camera friendly.

How was your association with Yash Raj Films?

YRF was very supportive. In fact, they are the dream producers to have. They gave me the whole deal with the budget and set me out to make my film.

Finally, to make it in Bollywood you need luck, hard work or something else?

All of the above.

— Dharam Pal

From reel to virtual

Bollywood superstar Salman Khan, who hosts Dus Ka Dum on the small screen, says he would like to take the games how's third season to Twitter.

The micro blogging site is a favourite haunt of Bollywood celebrities like Shah Rukh Khan, Hrithik Roshan, Priyanka Chopra, Karan Johar, Arjun Rampal and Salman recently join the celebrity gang on the website.

And the 44-year-old actor, who has hosted two seasons of the TV game show, wants to play the third season with his fans on it.

"U kno wat I am gonna try n convince the sony guys to let me play dus ka dum vit u jst b4 the 3rd season n during as well , wat do u say (sic)?," Salman wrote on Twitter.

The actor is also awaiting the release of his home production Dabanng which stars Mahesh Manjrekar and marks the debut of Shatrughan Sinha's daughter Sonakshi.

"Dabangg ho, Dabangg means fearless vil release on eid (sic)," Salman wrote in another post. — PTI

NEW RELEASES
Two’s Company

Film: Badmaash Company

Producer: Aditya Chopra

Director: Parmeet Sethi

Starring: Shahid Kapoor, Anushka Sharma, Meiyang Chang, Vir Das, Pawan Malhotra, Anupam Kher

Badmaash Company is Yash Raj Films new film, which is directed by debutant director Parmeet Sethi. The film showcases the journey of a young boy coming of age. It is a very powerful con film set in 1990's in Mumbai. Parmeet Sethi, on the eve of his debut film release today he seemed confident of the movie's chances at the box-office. So, get ready to watch this movie in the theatres near you in Chandigarh, Panchkula and Zirakpur.

Film: It's a Wonderful Afterlife

Producer: Indian Films, Studio 18, Bend it Films

Director: Gurinder Chadha

Starring: Shabana Azmi, Sendhil Ramamurthy, Shaheen Khan, Sanjeev Bhaskar, Jimi Mistri

Bend it like Beckham fame director Gurinder Chadha's much awaited film shot beautifully in United Kingdom has a tagline: 'finding the right man can be murder'. The film promises something different. — Dharam Pal

Chirping for Sachin
Bollywood welcomes Sachin Tendulkar on Twitter

Cricket legend Sachin Tendulkar has joined Twitter, and film personalities went all out to welcome the ace cricketer on the micro blogging site.

One of Sachin's early tweets were: "By the way this time its real me. No more wrong information..."

Soon after, many actors posted messages on their Twitter pages welcoming him.

"The original rock star is here. Welcome Sachin Tendulkar. He is here. Give him all the love he deserves," posted Arjun Rampal.

Deepika Padukone wrote: "The only record left for him to break is maximum number of followers. Welcome the one and only and my favourite Sachin Tendulkar."

Karan Johar's account read: "A big welcome shout for the Sachin Tendulkar himself. Enjoy!"

"Finally on twitter, the god of cricket himself. A big welcome shout for Sachin Tendulkar himself. Spread the word." Wrote Shilpa Shetty.

Riteish Deshmukh said: "Sachin Tendulkar is on Twitter. We want him to beat Ashton Kutcher hollow. Spread the word. Follow Sachin."

Rahul Bose: "Welcome Sachin. What a pleasure!"

Arbaaz Khan: "Amcha Sachin tendulkar aala re (Our Sachin Tendulkar has come)... Welcome India's favourite son on twitter!!!"

Even internationally popular Indian filmmaker Shekhar Kapur said: "Welcome Sachin. " Sameera Reddy too joined in: "Twitter got more awesome. Let's welcome the undisputed king of cricket! We Love u Sachin! Sachin Tendulkar."

Atul Kasbekar: "Ladies and gentlemen, it is my proud privilege to introduce finally to Twitter, Sachin Tendulkar, follow the King now, go go go!!! Let's get Sachin on top of the Twitter verse in world record time, how cool to have an Indian displace Ashton Kutcher." — IANS

Side Lanes
Golaknath vs State of Punjab
Joyshri Lobo

Inder Golaknath was a slim, dark, dapper man with a thin moustache. He seldom smiled and to us youngsters, seemed to be constantly embroiled in court cases. He appeared burdened by them and widowhood. His wife Doris was considered one of the beauties of the family and when she passed on, leaving behind four very young and beautiful daughters, Inder’s responsibilities increased a hundredfold. He must have loved her dearly for he never married again and became a much admired, modern day ‘single father’. Today his lovely granddaughters and grandsons are top models and professionals.

Inder visited our parental home Ashiyana often, to share his problems with his cousin, my dadi, Norma Dutt. Both shared a common grandfather — Reverend Golaknath Chatterji. Norma’s mother Jane and Inder’s father Henry were siblings. Even at 100, Uncle Henry would walk to the Jalandhar market for a shave and haircut.

Golaknath Chatterji, who later converted to Christianity, and became a Reverend, owned huge tracts of land. A small piece still stands in the Mission Compound, where Inder’s daughter Bimla lives in the ancestral home.

In 1967, Inder challenged the right of any government to interfere in the Fundamental Rights of citizens, (the Right to Property being one of them) as stated in the Constitution of India. He was trying to protect the ancestral lands. It must have been a harrowing, gargantuan task, as the family watched and waited, letting the poor man do all the dirty work.

In 1968, the Supreme Court decided that ‘Fundamental Rights’ held a transcedental position, making them immune to amendment. However, six years later, in 1971, the same court backtracked and Parliament was allowed to amend Articles 13 and 378 and gave itself the right to change the Constitution whenever required.

Professor Conrad, a brilliant luminary in the judicial field, referred to the case and hinted at too much power in the hands of the head of state who could use it to his or her own advantage. His exact words are: “Could the ruling party, if it sees its majority shrinking, amend Article 368 to the effect that the amending power rests with the President acting on the advice of the Prime Minister?” His words are prophetic, as we have seen every government since then, curtailing, often brutalising the rights of our citizens. An Indian life has little value. It has become a mere voting number.

Emergency Rule between 1975 and 1977 further enslaved the Judiciary. Rampant corruption compromised it. Today, some very honest and dedicated members of the Judiciary are trying to re-establish their past glory. I hope they succeed for the rights of the people (read power), ought to come first if a country has to flourish.

Inder Golaknath was deprived of his vast lands. He was doled out a ridiculously low compensation (as is being done today) and overnight, from a rich land-lord, he became a struggling middle class citizen. In my humble opinion, the change has wreaked havoc in this country. The Fundamental Rights were well chalked out by our founding fathers, who borrowed ideas from socialist and democratic countries like France and the USA. Any changes that have followed have usurped our right to freedom. If Inder had won, he would be one of India ’s greatest heroes.

Nature’s best
SD Sharma

Ever since childhood, Bhiwani-based artist Ram Pratap has been exploring the secrets of nature and its unique phenomena. Today, a well-known artist Ram Pratap will hold the third solo show of his paintings at the Nehru Centre of Arts at Worli, Mumbai, from May 11 to 18.

It is indeed a rare feat for an artist without any family tradition in painting to transform perceived images onto the canvass. Images of earthen pitchers being carried by women, peacocks, horses, landscapes, to the portraits of Mahatma Gandhi and Hema Malini, Ram Pratap has done it all. With time, his works have attained philosophical orientations revealing the psyche of human beings, their relationship with nature, inner conflicts and much more.

Recalling his formative years, Ram Pratap says, “I took formal training in Gurgaon and after two years shifted to Bhiwani where I taught in a school. A chance meeting with a childhood friend Madhav Kaushik opened up new vistas, as we staged plays together and discussed contemporary art. Madhav moved to Chandigarh for a job and I decided to follow. I joined the College of Art to learn more.”

Here, he came into contact with graphic designer Ramesh Malhotra and later renowned painter Sidharth who helpred him hone his skills.

“I am sure that I will reach my destination as long as the couplet from my poet, friend and mentor Madhav Kaushik keeps on inspiring me — Mein jaanta tha mujhko woh mil sakti nahin, phir bhi hamne zindagi ka door tak peechha kiya,” he signs off.

Art of shopping
Ravia Gupta

Whoever said money can’t buy happiness simply didn’t know where to go shopping…which many believe is one quick way of knowing a woman and others feel is a contact sport like football! Women just enjoy the scrimmage, the noisy crowds, the danger of being trampled to death and the ecstasy of the purchase.

And with teenagers, the craze for shopping is even more. But then there’s always the danger of overspending or being duped, which is where the company of elders is of immense help. Do youngsters prefer that? We find out.

“The first shopping tips obviously came from my mum. But soon after I learn the art, I choose whether to shop with her or go out alone,” says Tanvi, a bank employee, who prefers to shop alone when it comes to her clothes and seeks her mother’s help only when she needs to save money.

Ditto for Anshu, a computer graduate, “I prefer to shop alone, rather than being rushed up by some elder.” Just out of university and working as a consultant, Arunpreet also loves to shop alone, and enjoy her time, space and freedom. “It saves you from unnecessary arguments and you end up buying the best when you are alone,” she says. Sanjula, a marketing executive, rather prefers friends for company. “Shopping is a stress buster for me and I prefer to go out alone; being with elders means they will influence your choice. But friends help you make contemporary choices that get appreciated more, and the companionship is fun,” she says.

“But when it comes to expensive things like electronics, jewellery, etc, I prefer to be with elders to avoid getting duped,” she adds.

Should teens be allowed to shop alone?

Pros: Best way to make them more responsible.

Helps them hone interpersonal skills.

Cons: Chances of getting cheated.

Peer pressure can influence their choice.

French connection

Samsung India is introducing twin cooling French door refrigerator, the RF67DEPN to its full suite of Frost Free refrigerators. Designed to directly address every need of the modern consumer, the Samsung RF67 refrigerator brings out best-in-class design, advanced technology, innovative features and storage options. .

A simple touch of the digital display can control the refrigerator’s temperature, monitor the water filter status and also control the water dispenser. The versatile ‘Power Freeze and Power Chill’ mode allows you to get things colder, faster for a last minute dinner or spur-of-the-moment party. Self-closing doors ensure that refrigerators have minimum leakage of cool air, thereby ensuring consistent cool temperatures in the compartments.

Bring style and space into your kitchen with the Samsung French door refrigerator available for Rs 80,000 in Platinum Inox colour. — TNS

art-i-fact
An Actor Prepares and How!
Nonika Singh

Is there a method to acting? Of course! In fact, it is even called method acting, a term that is used loosely, even simplistically, to reflect upon acting skills acquired through observation. But in the realm of theatre, it is a system that Constantin Stanislavski, a Russian actor and theatre director, believed in, propounded and codified for future generations.

It has guided theatre persons in the form of trilogy of his books — An Actor Prepares, Building a Character and Creating a Role. "Without doubt," says celebrated theatre person Neelam Mansingh Chowdhry. "It is the foundation and base of training an actor. It is a blueprint that allows an actor to understand the process that happens within him or her," she adds.

Noted theatre person G S Chani calls it the bible for all actors and feels that a method actor prepares for the character. "To him details are important and he goes deep into his character and the relationship with other characters." Pipes in well-known costume designer and actor Dolly Ahluwalia Tewari, "It is not just character, rather the actor has to plumb deep within himself or herself too."

Indeed in Stanislavski's system, actors deeply analyse the motivations and emotions of their characters as also recall emotions or sensations from their individual personal experiences. Memory of an actor and the feelings, in the sense of experiences, is the keyword. Of course, as a student of acting in the NSD when Dolly first read about it, she thought the concept was rather peculiar. By the final year, she understood its dynamics and later while working in B V Karanth's play even realised its pitfalls, the danger of immersing too deep into the character. In fact, the late thespian director had to warn her — "Dolly snap out of it." And, it is this tightrope walk, to acquire the skin of the character and to shed it later, which makes things difficult for an actor. Any wonder, back in time Robert Lewis questioned the system in his book Method or Madness?

Neelam, however, thinks it is fallacious to assume that Stanislavski expected his characters to go so deep as to delude themselves that make-believe was for real. Rather, he not only called stage a fictional reality and a scenic truth but also held - you are the subject and the object. In fact, she quotes one particular incident from his book An Actor Prepares to drive home her point. When in a particular scene an actor enquires, "Where is the matchbox?" Stanislavski replied, "Silly with a real matchbox you will burn down everything… fire your imagination."

Indeed, nods Chani "Ultimately one has to go beyond for a method is no more than a tool, a kind of a drill that is enabling but is not an end in itself." Thus he thinks that all those who followed after Stanislavski like Lee Strasberg, Stella Adler, Meyerhold and others took off from what Stanislavski codified. He quips, "And, it is this flight, that touch of creativity that is important." Why Stanislavski himself said: ‘Create your own method. Don't depend slavishly on mine. Make up something that will work for you! But keep breaking traditions, I beg you’.

Stanislavski's system was taken to the US by Lee Strasberg and is credited to have revolutionised American Theatre. Stella Adler, Sanford Meisner and Robert Lewis who worked with Strasberg later took a slightly different approach. Adler believed that actors should emote by using the scenes under given circumstances,
Meisner thought that Strasberg's techniques i.e. actors assessing their own experiences shifted the focus on the actor and thus inhibited them from telling the full story.

In modern India, Stanislavski is, being avidly read and taught in drama schools. Neelam, who has been teaching it to her students at Department of Indian Theatre, Panjab University for several years, without doubting the relevance of Stanislavski's techniques, however, says, "In seventies there was this movement in India searching for indigenous tradition and renewal of ancestral material." Besides, she adds that since we Indians lay so much stress on metaphors, mudras, symbols and imagery, regional impulses and considerations also play a key role in understanding Stanislavski.

Without doubt his approach has remained in the back of the mind of all those who studied it. But it is a knowledge that Dolly believes cannot be imbibed simply by browsing through and has to be practised through right exercises. Is method acting an antithesis to spontaneous acting… as it is widely believed to be? And the expert answer is no. While each good actor would have a blend of both (even Meisner and Strasberg taught actors to achieve spontaneity) at the end of the day feels Chani, "An actor is either good or bad and cannot be clubbed in any other category." Yet he has a long list of brilliant actors like Naseeruddin Shah, Om Puri and Pankaj Kapoor who he thinks imbibed a great deal from method acting. A complex process of acting that involves both mind and body, Dolly borrows the Shakespearean adage "to be or not to be" to define its complexity. Indeed, there is far more to method acting than meets the eye or an article can elaborate. nonika@tribunemail.com