Stage of change

Mona

As the pandemic rages on, theatre artistes from the region are finding ways to keep themselves occupied as live performances are yet to see the light of the day. Connecting with their community, trying hands at digital performances, and spending time reading and writing, these artistes are making the most of the challenging circumstances.

I am quite keen on exploring food and how it relates to caste, class, gender and lifestyle. — Neelam Mansingh Chowdhry, Theatre Director

Sahib Singh calls this period one of the best for learning ever, “Through the pandemic, I have invested all my life’s learning into theatre and also earned an experience that shall remain unparalleled.” Performing in rural Punjab is nothing new to him, but to take on the stage at a kisan morcha was special. “That’s a true test of your craft on how to engage people who are not in an ideal state to watch performances. Having left their homes, they are there for months; some sitting, others standing, consumed by their cause — to involve them in your act and keep your focus sharp is a litmus test.” He’s had multiple shows of Samma Wali Dang, an old solo act, as it has a small-time farmer for its theme. Rangkarmi Ka Bachcha draws inspiration from a migrant labourer’s journey to home.

Journey of food

Neelam Mansingh Chowdhry feels restless, but she is taking online classes, attending webinars and planning for her next production. “Technology is essential, vital; but it’s not art.” Through this period, she did hold one show. Black Box, with a lone actor, as opposed to the ensemble cast that she works with, restricting the audience to a batch of 12 to 18. Some 20 shows of these, she’s yearning to get back. The theme she wants to work on is the journey of food. “I am quite keen on exploring food and how it relates to caste, class, gender and lifestyle.” Having started research on this, she is looking forward to being on stage where it takes blood and sweat, sense of smell, that of touch! “In the meantime there is ‘via’ media, a director in Mumbai, an actor in Kanpur, another in Kolkata, people have opted to make it work, and this is going to stay.”

Zubin Mehta is surprised that the new order isn’t as bad as he thought it would be. “While nothing can replace the energy of a live act, it’s not like you can’t do theatre digitally. His Wings Theatre Academy started online classes in July last year. “It’s so amazing to see students progress. The digital medium comes with its own benefits; one can do presentations better,” says Mehta, citing that it’s the longest that he’s been away from stage. He started as a child artiste back in 1994. “I have worked every single day more than 13 hours and suddenly to not have that routine has been a sinking feeling,” says Mehta, who credits Vipassana for having saved him from falling into the low phase.

Keeping it up

While Sudesh Sharma’s Theatre For Theatre’s calendar remained packed with festivals through the year, in this period they had to make-do with a five-day winter festival before stage shows were stalled. To beat the stagnancy, they have started with TFT Rang Samvaad – a series of webinars. “About two years is more than enough to brush up on reading, assimilating it to reflecting on work and life, now we want to be amongst the audience, where we belong,” says Sharma. “We have taken the digital route and connecting with eminent theatre personalities twice a week and creating a knowledge bank for theatre students all over the world.”

Apart from being connected with the theatre community digitally, Rani Balbir Kaur is busy pouring her heart and soul into My Theatre Memoir. “It’s going to be an interesting read, for it has lessons from theatre life and how I weaved them in my life.” About five decades into her art, she is one of first few women directors for Punjabi theatre. “Digital medium is a blessing in disguise as you can connect with so many people online.”

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