When Amartya Sen decides to write a blurb for a book, as he has done for ''Kaifi and I'' written by Shaukat Kaifi, there needs to be some juice in it. As he says, this work is an 'important part of Indian history, fired by sympathy, inspiration and imagination, but tempered by the hardship of reality.'

Shaukat Kaifi has been one of the pillars of Theatre in India and the anecdotes that she has included in this book provide valuable insights into the trials and tribulations of the people whom she was associated with while doing Theatre. Her memoir factors in the transitional status of the actress in an India proud of its egalitarian modernity. As a middle class woman she used the platform of theatre to run her household. She was proud about it.

In doing so she challenged societal norms about middle class women in India during those times. As is manifest from the quote in the book ' Whatever you do in your home, I too can do that but can you deliver dialogue on the stage? I am therefore better than you!' Her association with theatre began with the Indian People''s Theatre Association (IPTA) in 1947. IPTA was set up primarily to quell the smoldering riots in the wake of the country''s independence. In those times theatre had a clear responsibility, and even Prithvi Raj Kapoor who had already conceptualized Prithvi Theatre agreed to join hands with IPTA to rein in the communal monster.

Shaukat wonders whether this kind of bonhomie in the theatre fraternity exists in present times. Her career in theatre started with DHANI BANKE, directed by Bhisham Sahani. Her second play GHOST TRAIN established her prowess as an accomplished actress, and it was performed before an audience of 1200- a feat which is difficult to emulate in present times. She soon became a part of Prithvi Theatre where her first introduction to the legendary Prithvi Raj Kapoor was through admonition. Prithvi Raj Kapoor had this tradition that a woman could not stand in front of him and if she did, an anna''s fine would be levied on her. Shaukat not aware of this rule committed the folly but was nevertheless baptized into the institution.

It is through her memoir that one is made aware of how Prithvi Raj Kapoor was committed to his team members. He had created a 'workers fund' from which members of his team could borrow any amount as per their need. Prithvi Theatre was born the day Prithvi Raj Kapoor watched the play NAL DAMYANTI in Peshawar, which was being performed by Parsi theatrewallahs. His notion of theatre rested on the element of realism as he believed that when an actor is performing on the stage and his heart is ripped open, it should echo the sentiments of the character. To transport the audience into the sanctified world of theatre and drama, performances in Prithvi theatre began at 9 in the morning and considerable time was devoted to evoke the ethos of Natyashashtra so that the actors forgot themselves and became the part that they were supposed to enact.

But none of the milestones of Indian theatre that Prithvi Theatre produced such as SHAKUNTALA, DEWAR, PATHAN, GHADDAAR, AHUTI, KALAKAARM, PAISA or KISAAN have been documented. A recurring lament in the memoir is the inability and lack of awareness to document the evolution of Indian theatre and productions such as these.

Alyque Padmasee who has otherwise been known for his English plays dabbled in Urdu plays with Shaukat Kaifi. Association with Alyque marked the third phase of Shaukat Kaifi''s life in the theatre. The plays directed by Alyque included SHEESHON KE KHILONE (based on Tennessee Williams play The Glass Menagerie), SARA SANSAR APNA PARIVAR (based on Arthur Miller''s All My Sons). When Shaukat could not act in the third play, Alyque simply gave up producing Urdu plays.

Shaukat Kaifi''s different phases of association with Theatre were significant such as when she joined the theatre group Triveni Rang Manch where she acted in PAGLI that won her the Best Actress Award in the All Maharashtra Drama Competition. When A.K. Hangal took over the management of IPTA she returned back to IPTA and acted in a play called DAMRU in which a twenty-three year old actor Harihar Jariwalla played the role of a sixty year old character. Such was his performance that the world of cinema lapped him up and he came to be renowned as Sanjeev Kumar.

The last phase of her career was unveiled in 1983 when Kaifi Azmi after becoming the President of IPTA invited Ranjit Kapoor to begin his theatre career with ENTER A FREEMAN, and Kapoor in turn could persuade her to return to drama and act before Satish Kaushik, who again like Sanjeev Kumar, played the role of her husband though he was young enough to be her son.

Even though Naseerudin Shah still has not lost hopes that she would one day return to the stage, Shaukat Kaifi has not conceded. But her contribution to Indian Theatre remains significant and her memoir is both testimony and an important document of the theatre that she has had first-hand experience of.