The Hindu Business Line : Staging an energetic show

There has been quite a transformation in the theatre scene, especially in terms of participation of youngsters and more importantly, girls and women," says Prof Lakshmi Chandrashekhar, theatre artiste, translator and English professor, NMKRV College, Bangalore. And Bangalore is slowly, but surely, emerging as an exciting hub for theatre.

"When I started doing theatre in the late-1970s, it was very difficult to get women to do theatre. Most of the women would be wives or sisters of men in the team. The major inconvenience was because theatre happened in the evening; so you had issues of curfew, transportation, and uninhibited mingling with members of the opposite sex, especially on stage. Earlier, theatre was considered an idle sport, as if you were ruining yourself if you got into it, as there was never money in theatre. But now the attitude change is evident," she says.

Even amateur theatre is commercialised to the extent that professionals, especially directors and technicians, are being hired. While earlier people did theatre for the love of it alongside a proper career to hold fort, these days go-getting youngsters want theatre as a full-time profession. "The trend of getting paid for services can be attributed to the coming of National School of Drama (NSD) graduates to the city," says Lakshmi. "First, they're used to putting up huge, lavish productions. Second, they've had professional training and, finally, for them the stage is their livelihood. And apart from this, a lot of young people are increasingly participating in theatre because they feel it's a gateway to the big screen."

Agreeing with her is M. Manjunath (27), state-level award winning director and teacher, "I believe that theatre is by itself a very rewarding experience. Moreover, theatre is not only about acting or directing. It's more holistic and it's actually personality development at its best. It's a confidence builder. Each and every element of theatre is a teacher in its own way."

The role of Ranga Shankara

Ranga Shankara, Bangalore's very own well-equipped theatre, has provided the much needed impetus to the slightly sagging interest in dramas and plays. Small-cast troupes, especially software engineers, are putting up productions, which work very well in intimate theatre. Even college students are now passionately involved in theatre. Also, there has been the creation of a new, young audience. Many software professionals look forward to watching plays, particularly during weekends. Ranga Shankara in fact conducts workshops especially during theatre festivals.

An added advantage in today's tech-savvy era is that publicity, thanks to e-mails and SMS, can be created at almost zero cost. And apart from theatre, there are other avenues for the youth. The cornucopia of audiovisual media including cartoons, animated films and advertisements need people who know how to use their bodies and voices. Dubbing artistes, voice lenders and even event managers would have great launch pads in theatre.

The significance of training

"Theatre is a discipline like music or dance. You can't sing or dance classical without any training. Theatre is a composite art. In music, you train your voice, in dance you train your body, and in theatre you train both and your mind along with that, because it requires imagination and interpretation, and the use of body and voice in a suitable manner," says Lakshmi. "It's not necessary to go to a drama school, because everybody can't afford one. But attending workshops or even working with an experienced, imaginative director will suffice. If you're serious about acting, you need to observe people, see how persons of a particular age group or social background behave, the way they use their hands, their gestures, the way they walk, et al.."

On the other hand, Manjunath emphasises on experience. "I haven't had any formal training as such. For the past 10 years, I've been in theatre. Although I came into theatre as an actor and a backstage worker, I took up full-time direction because I felt it was more challenging. While directing, you need to be completely well versed with acting, music, editing, scripting, lighting... basically the big picture. So, what matters most is your approach to theatre. And it's very important to get feedback from seniors, audiences, and artistes... You need to be prepared for improvisations and innovations. Because if you can't accept new things and learn from them, people will not be able to accept you or what you try to do. And as a director, your interpretation and presentation of the play is what will hold your audience. "

For those who believe in formal training there's no dearth of options. There are many established theatre groups in Bangalore that offer 1-2 month workshops. Prema Karanth's Benakka Makkala Kendra, for instance, teaches children mime, body language and voice exercises before putting up a production at the end of the workshop. The National School of Drama's Regional Resource Centre in Bangalore conducts workshops, where well-known theatre persons train you in every aspect of stagecraft — right from acting to lighting.

The changing scenario

The choice of themes has also changed significantly over the years. "We used to be far more idealistic in our choice of themes. We were more naïve — we truly believed that through street and stage plays, we could transform society, the way people think," reminisces Lakshmi. "But today, the emphasis is far more on entertainment. Youngsters have an eye on the market. They feel the pulse of the audience and give them what they want."

On a more personal level, Manjunath has noticed drastic changes in not only his thinking but also handling of plays. "For instance, earlier I used to feel that whatever is done with energy and enthusiasm will definitely attract the audience. But after watching plays, mainly those of Habib Tanveer, I realised I was totally way off base. It's your level of involvement with your character as an actor — the mannerisms, body language — that strikes a chord with the audience. It's not just the veer rasa that's going to get people hooked; you have nine to choose from."

While youngsters are drawn to the exciting opportunities afforded by theatre, they in turn are bringing a whiff of fresh air into the timeless world of theatre. As Lakshmi succinctly puts it, "It's this reciprocity that will keep theatre alive. Theatre will grow and youngsters will grow with it."

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