Arundhati Nag: she brought her dream to life |
THERE's a hush in the auditorium. A theatre buff shivers with
anticipation. His neighbour settles into her amply cushioned seat, and
then examines the coir matting under her toes, and the overhead
ventilator pipes, the thrust stage for superior audience-actor
interaction. They soon study the minimal settings, made of bamboo and
board.
Four musicians take their places onstage. Two actors enter, holding a
banner with a picture of a golden deer on it. The stage is set. The play
begins.
Can this Ramayana-based, Kudiyattam-adapted performance of "Maya Sita
Prasanga" by Mysore's lauded Rangayana repertory company set the right
mood for the opening of `Ranga Shankara', Bangalore's first
state-of-the-art dedicated theatre? Will its exploration of illusion and
reality prove potent? What will this new 300-seat theatre at J.P. Nagar
mean to the city's cultural life? These questions buzz silently around
the hall with its perfect acoustics, its latecomers' gallery, its
brilliant lighting system, its revolving stage with a trapdoor for
experiments as the invisible curtain went up on a 35-day theatre
festival from October 28 to December 1, 2004.
The event marks the culmination of a dream. The realisation of a
four-year-long search for funds, for materials, for enthusiasts to build
a 12,500 sq. ft., three-storey theatre complex. At the heart of this
unusual theatre, built at a cost of Rs. 4 crore by the Sanket Trust
chaired by Jnanpith awardee Girish Karnad, lies the story of an
indomitable spirit named Arundhati Nag. Even the other trustees —
including Bangalore Little Theatre (BLT) founder-member Vijay Padaki,
National School of Drama graduate S. Surendranath, and theatre
enthusiast S. Parameshwarappa — concede that. Similar accolades come
from the project's consultant, president of the Indian People's Theatre
Association (IPTA) M.S. Sathyu.
Twenty-five years ago, when this multilingual stage and screen actress
relocated to Bangalore from Mumbai after marrying Kannada thespian
Shankar Nag, she carried within her a deep longing. To build a space
with a voice similar to Mumbai's popular Prithvi Theatre in Karnataka's
capital. As her dream found resonance in like-minded individuals, their
first wish was granted with the laying of a foundation stone at a
government-donated site on November 9, 2000, by former Chief Minister
S.M. Krishna and an initial corpus of Rs. 20 lakhs.
Since then,
Arundhati's inner fire has melded together a crew of theatre buffs. A
software specialist put her job on hold to assist with the nitty-gritty
of `Ranga Shankara'. A journalist chose to coordinate the festival's
variegated seminars and allied screenings. Mumbai's Atul Kumar, who
directed "The Blue Mug", volunteered to work at the theatre till
February 2005. Granite for the flooring and the dramatic staircase were
donated by a quarry, while another concern cut it for free.
Manufacturers of sanitary ware and bathroom fittings donated their mite.
A woman labourer from rural Karnataka gave Arundhati Rs. 5, while
industries like Mysore Sales International Limited (MSIL), Biocon,
L&T, Himatsingka Seide Ltd., and Volkart contributed to the corpus.
Oddly enough, not a single IT major chose to be part of the big picture.
Looking back, Arundhati recalls her experiences leading up to October
28: "All of Bangalore knew I was building this theatre. There's was only
one song I'd been singing for four years. For someone who was doing 42
shows a month 25 years ago, that's been the journey. But it's been worth
it."
Worth it? Of course. Because this intimate theatre is dedicated to the late visionary Shankar Nag. (Its name stems from ranga,
which is Sanskrit for theatre, and the art's presiding deity,
Shankara). Because the theatre has a unique computer-based script,
sound, costume bank and video archive to enrich research. Because its
inaugural festival celebrates Indian legends like Habib Tanvir from
Chattisgarh and Ratan Thiyam from Manipur, while initiating an exchange
with the inspiring Prithvi Theatre annual festival. (As part of this,
Tanvir's Naya Theatre presents "Agra Bazar" and "Charan Das Chor",
followed by Ajoka's "Aik Thi Nani" (with Zohra Sehgal and Uzra Butt),
and Italy's Luoghi Delle Arte in "Commedia Delle Arte Galore".
"Let `Ranga Shankara' speak for itself," declares Arundhati. "We know we
want to showcase theatre, maybe music and dance once a year. We are
committed to staging 300 shows every year. Today, theatre seems to have
lost the capacity to address issues close to the hearts of the people,
such as the environment or human rights. I hope Ranga Shankara will
become a nerve centre to address community issues."
She stresses, "This theatre will strive to bring Karnataka to the
centre-stage of world theatre, as well as bring world-class theatre to
the common man in Karnataka." By her side, Sanjana Kapoor of Prithvi
seconds every word. Towards this end, assisted by a generous subsidy
from a major cell phone operator, ticket rates have been kept at a
uniform, class-free Rs. 49, while the theatre facilities can be hired at
approximately Rs. 5,000 per day, including lights and sophisticated
equipment.
The hope is that `Ranga Shankara' will become a nerve centre to address community issues.
As crowds gather to watch a platform performance based on the recent
incidents in Manipur in the ground floor foyer, as a prelude to the
Rangayana show, theatre is being discussed threadbare in the candlelit
café. Other buffs browse through cultural fare at the in-house
bookstore. To every participant, it's heady to breathe deeply of the
theatre of life.
What does it all portend? Sathyu, a celebrated theatre veteran, says,
"It's the only theatre built entirely by theatre people. It's the best
in India today, completely responsive to our needs."
Padaki, who's responsible for creating a new generation of enthusiasts
with his annual summer workshops, adds, "Only through collaboration can
theatre touch the community. We'd be keen to build `Ranga Shankara' into
a viable institution."
`Ranga Shankara's' future plans include initiating German GRIPS-style
theatre workshops for over 20,000 city students between ages seven and
12 round the year. And bridging the divide between Kannada theatre at
H.N. Kalakshetra and English plays at Chowdiah Memorial Hall, and luring
talented actors back from TV and films. "Theatre people now have no
excuse. They have to win the audiences back," smiles Arundhati.
Arundhati recalls that Shankar Nag saw theatre as "a unifying language, a
forum for creating sensitive experiences". Within the `Ranga Shankara'
vision, there is no place for parochialism, class or linguistic
politics. Now that `Ranga Shankara' is dramatically real in
brick-and-concrete, how does the dynamic woman at its very heart feel?
"I can't believe this is true," Arundhati whispers. "I feel I'm living a
dream." But, of course, it took blood, sweat and tears to create this
dream of a theatre.
Is this the cue for a pan-Indian theatre renaissance?
(Originally in The Hindu Sunday Magazine, 2004)
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