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From
Tehelka Magazine, Vol 9, Issue 27, Dated 07 July 2012 |
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| CULTURE & SOCIETY |
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PSYCHOLOGIES |
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‘Dialogue and debate from street plays inspire change’
WHO Delhi-based theatre veteran Arvind Gaur heads the Asmita Theatre Group. His directions of Girish Karnad’s Tughlaq and Bhisham Sahni’s Hanoosh have been critically acclaimed. He is the recipient of Radha Krishna Award, 2007, and the Karmaveer Puraskaar 2008.
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Arvind Gaur, 63, Writer and Director
Photo :Shailendra Pandey |
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What factors into the success of Court Martial, your longest running play?
Court Martial is on social and caste-based discrimination, which remain relevant. It has inspired people to raise their voice against oppression. Be it the farmer asking for land rights or the common worker protesting pay cuts, the central theme finds a reflection in their fights; the right of every individual to live with dignity.
Difference between street and stage theatre?
Street plays are direct and immediately involve the varied audience. From this sense of urgency is born dialogue and debate. That in turn inspires the individual to dare to change and take initiative. My street play Pustakalay ya Madiralay in Bihar, lead to libraries cropping up.
How does your background influence your work?
My engineering background helps me visualise and design the play. Journalism exposed me to socio-political issues. It gave me direction and sensitised me towards people and their issues. Television taught me editing that helps keep the audience’s focus and portray precisely what I want.
Why are solo performances important to you?
A solo performance use one actor to communicate the entire idea of the play. It goes beyond conventional realms of theatre, and I can use multimedia creatively. In my play on child mortality, one actor played eight characters. Once, I used a TV discussion show format as the space for an actor to play many characters.
How do foreign audiences react to India-centric plays?
Although foreign audiences don’t follow Hindi, there is an enthusiasm to understand India’s socio-political makeup. I adopt multimedia techniques using communicative formats. An actor paint on stage making the play visually communicative. Songs convey difficult emotions. Synopsis and post play interactive sessions lend the audience a better grasp of the topic.
Esha Vaish
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