What kind of western influence do we have on
English language theatre?
The influence is very strong. The concept of text based drama
is entirely Western. The Indian tradition incorporates all performing
arts. The word Natya is used for dance and theatre. In that sense
the format of the novel as we know it today is also a Western concept.
Verisimilitude in story telling is also a Western concept. Our texts
and performances focused on values, nobility and larger than life
emotions. Do you envision this genre of English language theatre evolving
in the coming years? How?
As all arts it must evolve or it will be a fossil even before it
takes wings! English language theatre is a mere fledgling. It has
to grow. How will it grow and what will it become is left to be
seen. It all depends on the kind of audiences it caters to and the
patronage it receives.
In your plays, you always address the various
issues around sexuality - child sexual abuse in Thirty Days in September
or alternate sexuality in Bravely Fought the Queen and A Muggy Night
in Mumbai. Why?
I don�t see 30 Days in September as a play on sexuality at all.
It is about oppression. I think all my plays talk about societal
oppression first and then about gender or sexuality. Out of the
thirteen odd plays I have written only some focus on sexuality,
but those are the ones that get picked out!
How would you describe Mahesh Dattani backstage?
Invisible! Very few people know the real me. And I think I will
like to keep it that way!
Writing, acting directing- which role do
you enjoy most? Do these roles ever interfere with each other?
I like them all. But I think I like teaching and directing the
best. It is difficult writing and directing your own work. Would
love to do someone else�s work. Sometimes they can interfere with
each other. For example, when I am directing I have to make a conscious
effort to be very critical of my own work and see it from the director�s
point of view.
As a playwright, what do you look for in
your audience?
I want my audience to lend their concentration. Whether they like
what they see is secondary. But I only wish they would take the
trouble to focus on the stage rather than on their cell phones!
How do you distinguish stage and film? Are
you happy with the cinematic adaptations of your plays?
They are completely different mediums. The only thing they share
in common is their ability to mirror the human condition. I am happy
with some adaptations and not so happy when the translation from
stage to cinema doesn�t happen.
Do you think writing in English has put you
on the international map?
I don�t think I am on the international map! But yes, writing in
English is a distinct advantage so you do not have to depend on
the strength of a translation to see you through your travel across
the borders into other English speaking countries.
How do you achieve the remarkable unison of
the artistic and commercial ends in your plays?
I think you have to work hard at it. You do not want to compromise
on what you want to say and yet you do want what you have to say
to be heard. You cannot ignore your audiences. And you cannot ignore
your expression either. The two are not always opposed to each other.
Finally, the play, which has been made into
a film recently: Dance Like a Man � a very exciting title. Reminds
us of Lord Shiva and that you are an accomplished dancer yourself.
Please elucidate.
Yes I did study Bharata Natyam for six years, many many years ago!
That was the inspiration for the play. The title came about because
of the strong association with Shiva in our ancient culture but
the irony of it is that male dancers in our society are actually
looked down upon. It is seen as effeminate. This duplicity towards
our culture is what I have highlighted in the play.
Apart from the new artists, what is unique
about the theatre festival being held at Oxford Bookstore, Bangalore?
There are very few platforms available for new talent to perform.
The festival of plays are all a result of the recent workshop I
held for actors and playwrights. They are the voices of the future
and I think it will be exciting for Oxford bookstore�s patrons to
be the first to witness new emerging talent and what they have to
offer.
Please comment on the choice of plays at
the theatre festival.
All plays are a result of a month long workshop and the only criteria
I used is that they be completed. There was no imposition on theme
or content. I only helped them explore and strengthen the possibilities
that they have created. They are diverse in style and in subject.
From a ten headed Ravana to the celebration of childhood in an inner
city area. From a Devadasi�s story to a marital battle, I think
they all have the potential to become full length productions once
they are fully developed.
My heartiest congratulations to you for the
fine work of art in Morning Raga? But
do you think your latest venture can find a niche among the youth?
Why?
I think the film caters to a wider audience beyond youth. It is
about a young group of people starting a music group and it is also
about a reclusive traditional Carnatic singer. In their meeting,
there is a meeting of worlds and culture.
