Jehan Manekshaw, the brain behind the Intensive Drama Program (IDP) and the director in-charge of Theatre Professionals, was also one of the workshop conductors at the IDP. Never appearing stressed during the gruelling 12-day programme, Jehan and his team successfully saw through one of the most intensive theatre workshops to be held in Mumbai in recent times. Jehan Manekshaw has done his Bachelors at the Wesleyan University, USA and his Masters in Theatre Directing at the Birbeck College, UK. The Advanced Programmes (AWPs) introduced by Theatre Professionals have involved many a committed actor. The company also organizes the Foundation Skills workshops that train non-professional actors, and those who hope to eventually pursue a career in performance. Jehan has created works like Kathe Kathe Karana, Animal Farm, All Mod Cons in association with theatre institutes around the globe.
Asmit Pathare
How was the Intensive Drama Program (IDP) conceived?
The structure of the IDP evolved through a year of workshops. We were trying to evolve a method wherein each actor received 18-25 hours of contact time with the instructors. It is very important to isolate ideas from real executables and tasks. So participants have something worthy to take back home.
Who have your mentors been?
My theatre directing teacher, William Francisco from the US, Rob Swayne and Peter Cheesman from the UK. Raghunandan and Sankar Venkateshwaran, known theatre people and instructors in their own right, helped me formulate the IDP course structure.
Are there any kind of specific exercises that you always do or are your training modules completely dependent on the program for the workshop?
I always conduct 2 to 3 kinds of warm-up games, no matter what. The first is for energy. The second is a series of simple tasks or goals that involve basic concepts of soft focus & 360 degree awareness, eye contact, etc. This structure remains the same for any kind of workshop with actors, because they have to carry the assembly of performance around them. Games are part of the cerebral work that the actors do. I build up in layers, starting with the fundamentals. A structure basically builds on complex entities. A complete performance is derived from simple building blocks. Layer by layer.
In a scenario where theatre is rarely practiced full-time and where most actors work from production to production, at times infrequently how is it possible to achieve the fine balance between training and practice?
Only through commitment. There has to be the desire to stay committed to the task. At the IDP, actors realised that it’s not only about doing the play. It’s about riyaaz, training and constantly staying updated on practice as well. They have to balance. We were providing the means to the participants. They had to provide the will.
Some characteristics that define your style of training...
Simple, straightforward…
Just as training helps an actor hone and develop his/her skills, is there ever the danger of 'being trapped' in a particular style or school of acting?
No. I have this notion that certain things in performance are universal. So no matter who is teaching, it’s the actor’s riyaz that takes him/her ahead. Elements like presence, immediacy and purpose have a universality. If you can answer the ‘why’, you have cracked it. There are universal truths and universal building blocks, common to every performance, and every performance style. For example- Why am I saying this line? Why am i doing this action? What is my motivation?
What are the key words that you'd like your participant-actors to particularly bear in mind after they have been through the process?
Practice, self-awareness, commitment to development through constant application, being professional and yes, having fun!
Click below to read the other interviews by the workshop conductors of the intensive drama programme.
