17.
Theatre of Relevance –Demystifying myths in Theatre!
-Manjul Bhardwaj
Myth No. 1 : Auditorium is not theatre
Myth No. 2 : Only specially gifted or special talent or super-special can become a theatre person
Myth No. 3 : Theatre captive: Sets, backstage, etc. (Western influence)
Myth No. 4 : No space for people
Myth No. 5 : Theatre is merely a medium of entertainment
Myth No. 6 : Theatre cannot bring social change
Myth No. 1 : Auditorium is not theatre
There is difference in auditorium and theatre. Auditorium is a venue for performance. It does not cover the theatre in totality. It is one of the components of theatre. However, many theatre persons limit themselves only to auditorium and also influence the people that auditorium is theatre.
Theatre of Relevance defines, ‘Theatre is a performance (an expression) of human thoughts, feeling, experience and it’s purpose and the minimum requirement for a theatrical experience is one performer and the one audience.’
One performer and one audience complete the theatrical experience. Wherever these two essential elements of theatre meets, the theatre starts. Theatre is not captive of a particularly designed auditorium or a platform which is called as stage. Whenever a performer and an audience meet, a stage is created automatically and invisible auditorium covers both the performer and the audience. Where two elements of theatre experience each other a chord is struck, all the walls are broken i.e., Theatre of Relevance!
Myth No. 2 : Only specially gifted or special talent or super-special can become a theatre person
The general prevailing impression propagated by theatre fraternity that special people can only perform in theatre. The National School of Drama, New Delhi and other formal government institutions of theatre in India selects only a handful people for training them in dramatics. The euphoria is that these institutions are training the most talented and special people for theatre. Theatre of Relevance breaks this myth and believes that every human being can and possess the ability to perform in theatre. Theatre of Relevance performed a number of plays with the people who are destitute and deserted. All the plays have been received well across India and the world. For example, “Vishwa: The World” and “B-7”.
Myth No. 3 : Theatre captive: Sets, backstage, etc.
When performing process starts in Theatre then actors are the sole props. An actor’s body & sound is the basic & ultimate instrument of performance. Theatre of Relevance classic production in India & world broke this myth. The performers artistically & aesthetically crave their body according to the requirement of the script. The box set is thrown out from Theatre of Relevance productions. We keep the space on stage & alive which ignites the audience imagination. The plays are performed in audience heart & mind. Classics like Napunsak, Garbh, Anhad Naad – Unheard Sounds of Universe, Nyay ke Bhanvar Mein Bhanvri & Rajgati are glorious phenomenal examples of Indian stage. Audiences become a performer in our productions & have a soul searching impact forever!
Myth No. 4 : No space for people
Audience is the first, foremost & powerful theatre person in Theatre of Relevance. Without audience there is no Theatre. So audience is the key for holistic performance. Theatre of Relevance involves audience in performance, in writing, in acting, even directing and finally hold a discussion after the performance.
Theatre makes the common people aware of their problems and the drastic consequences which are not visible and have far reaching effects in society. Theatre gives voice to their issues to stir the chord with human souls and ignite their conscience.
Myth No. 5 : Theatre is merely a medium of entertainment
The world does not extract crude oil to produce jelly. Main object is fuel for mechanical transport. Jelly is a byproduct. Similarly Theatre is human fuel. It can start with entertainment but does not end with it. Entertainment is not the purpose of Theatre, it is a byproduct. Purpose of theatre is to ignite the conscience of audience & society at large.
The question is where is the scope for entertainment of people when a woman has been raped, where a girl child is killed before she sees the light of the day, and where there a woman is burnt alive for dowry . How can you entertain the people where a natural or un-natural calamity has shattered their dreams? Theatre of Relevance is a roti (bread) and not an ice-cream. Theatre empowers people. IT gives an opportunity to express & voice their concern which leads to empowerment.
Myth No. 6 : Theatre cannot bring social change
Theatre of Relevance has broken this myth by liberating by more than 50,000 child laborers across all over India.
“Theatre of Relevance” essentially deals with the person. When I say person that means, the person i.e., who is he or she? What is his or her relationship with society? The internal process of the person starts working. And “Theatre of Relevance” provides an opportunity to the persons to express this internal process in the form of a theatrical performance.
This exactly is the relationship between “Theatre of Relevance and Child Labourers”. For instance, the child labourer is living in a disintegrated “self” that means, no self-concept, no self-confidence, lot of pain, no hope, etc. The parents also live their life with an attitude “born to serve the society”. Theatre has given the children self-confidence a sense of self-worth. It helps them interact with other people. It helps their powers of concentration, memory and observation skills and aids improvisation and imagination. It develops their personality. Theatre of Relevance breaks this web of exploitation by motivating these people through performances by themselves for the society at large.
The moment you think of theatre of relevance, the process starts of self-exploration. It is two way process, as person and as performer (performer include, actor, writer, director, conductor, musical, lights man, craftsman, designer etc., every personal required/involve in theatre). You look (perform) inside before you express (perform outside.
It starts from self-assessment i.e. your strengths and areas to work which enhance your capabilities. Theatre by birth is a medium of communication. Communication means expression. Expression is the need of every human being. Every human being has the will and capacity to communicate. But the intensity and frequency (of the required matter to be communicated) is more or less. This causes the problems i.e. like listening, speaking, speech patterns, spontaneity, common sense, presence of mind, etc. This problem can be tackled by theatre.
It starts from the confidence rather collecting your breathing to get in touch with the feelings-putting together, making decision with a little risk and then speak out. This leads your journey to the character means analysis of self. Who am I? What have I to perform? Where? Whom? When? The questioning starts with self. As many layers you explore of character for characterization as many layers you reveal of yourself with authenticity, courage and conviction. Your imagination, visualization kicks off very fast on rapid scale. The outer behaviour comes in great influence, which touches your feelings in depth, attitude and finally your values. The values decide your personality, the way you lead your life. Theatrical processes assert you, accept you and project you which no other medium does with your personality in totality.
I am amazed with the range of theatre and the vast areas it covers. People have restricted themselves to a particular aspect of theatre that is street, operas, environment, etc. One can visualize a vast range of world through theatre and it becomes difficult to limit it to such faculties as: acting, direction, or other rudiments of theatre. Theatre facilitates to new horizon. It is like a river that can nourish and sustain culture by its strength.
…to be continued…
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