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Following the performance of TE PUDHE GELE at the Mini Theatre of the PL Deshpande auditorium in January 2008, Playwright-Director Makarand Sathe was interviewed by Dr. Hemu Adhikari. Makrand Sathe’s efforts to catch contemporary reality have also been noted in his earlier plays like CHARSHE KOTI VISARBHOLE, GOLAYUG DOT COM, THOMBYA and CHOWK. Both TE PUDHE GELE and CHARSHE KOTI VISARBHOLE were also part of the recent ‘Nataknama’, a festival of Marathi plays, organized by Prithvi Theatre. The interview begins by Sathe expounding on the process of writing TE PUDHE GELE. This interview is not a word to word translation of the Marathi one and does not follow the usual question-answer format. It nevertheless is indicative of the key questions that were raised by Dr. Adhikari and of Makrand Sathe’s response to them. The interview has been translated by Asmit Pathare.*-
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MTG editorial
On TE PUDHE GELE
Every writer is in a process of confronting the reality around him in his own way; rather ways. Reality collapses on him from all sides. And it is not served on a platter to him, simplified. He has to make an effort to pull together the complicated diversity and the intricacies of life around him. While doing so, he has to go on and take a stand on it. Every playwright, in his process of writing reaches certain milestones. TE PUDHE GELE, for me is one such different and sharp milestone.
The thought process behind writing the play.
In spite of a poor, developing country like ours being on an ascent, the rich are becoming richer whereas the poor are lagging behind. The social differences between these classes disturbs me. To fuel the fire, this difference is continually expanding. I have attempted to portray this reality metaphorically in TE PUDHE GELE. I don’t take much time to write a play because I tend to think about the entire plot beforehand. I attack it from all possible fronts and test it. I am not a good director. So I needed actors who could understand what I wanted to convey. The process has been easy thanks to Gajanan Paranjape and Kiran Yadnyopavit (the two actors). The concept of including the actors in the process of production was initiated during CHOWK. This play too employs improvisational techniques. Though it appears surreal at a first glance, the acting techniques however have been devised by a mix of the real and the surreal.
The critique of Globalization in TE PUDHE GELE.
The play is a coloured painting of globalisation, painted with the brushes of people who could and could not participate in this cut throat competition. All philosophies have failed today. Individuals are becoming self-centered and merciless. Socialism is not something I have any authority on. But a writer should comment on the things happening around him and so I am. The changes that today’s society is witnessing and the pace at which they are occurring have never taken place in the history of mankind. Man doesn’t even have a moment to rest, mull over and take in the happenings in his own stride. Absurdity has taken its toll on the life of the common man too. The future has gone dark. It is unpredictable and man is lost. He has become stagnant, insensitive, and unconscious. He is left with no option but to enter this rat race. And he is bewildered. He is getting carried away in an anonymous current. He has become cynical. In spite of this, some have still managed to standardise there lives. But those who cannot afford it have taken to violence. The middle class, who used to be guilty of the uneven social structure now lives with blunted senses. It has gone numb. Writers now face the challenge of addressing this collectively. I have made an attempt from my side. Whether it works or not depends on the audience.
Reflections on Presenting Contemporary Reality in Plays
While portraying reality through plays, I am also worried about the existential issues confronting life. A play which presents politically contemporaneous and principally immortal thoughts is deathless. However what is more important to me is being contemporary, both politically and socially. They may say that I am an apolitical writer. But there is nothing more political than that. There is nothing such as a free economy today. Someone has a control over it directly or indirectly. In such a scenario those who usurp the benefits of the system should show certain social responsibility. Science and technology have exploded to the levels of controlling our lives. Technology is predictable, but life isn’t. Philosophies have died but ideologies still continue to thrive on the shores of man’s trust. Man is losing his habit of direct belief and is asking for reasons. We are going deeper and deeper. The convenient definitions of freedom and independence that we carry with us in such times have sadly gone awry.
*Asmit Pathare is a software engineer by profession and a young theatre enthusiast. His theatre experience dates back to his college days in Sangli. He has participated in theatre productions and has his own blog, which reveals his passion for poetry. His column ‘The Marathi Theatre Round-Up’ is now a regular feature in the Prithvi Theatre Newsletter (PT Notes).
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