The repertoire of his thoroughly insightful plays has been one of the greatest contributions to the masterworks of Indian theatre. The self-effacing Marathi playwright, Satish Alekar�s iconoclastic writings include Micky ani Memsahib (1973), Mahanirvan (1974), Mahapoor (1975), Doosra Samana (1989), Begum Barve (1979), Shaniwar - Raviwar (1980). From the gamut, the production of Begum Barve, which is also directed by Alekar, has been running for over three-decades. The play was re-staged in January 2009 at Dadar�s Yaswant Natya Mandir and received an overwhelming response. Incidentally, the same month, Alekar retired from Pune�s Lalit Kala Kendra, after spearheading the institution for 13-long years. Nonetheless, the 60-year-old academician�s unbridled enthusiasm for the arts continues. In fact, he�s authoring a new play, which may be staged towards the year-end. Reema Gehi in conversation with the multi-faceted Alekar:
Reema Gehi
What kind of response did you receive when the production of Begum Barve was staged recently in Mumbai?
The response was tremendous. Although the play has been running for over three decades, because of the lack of funds, we�ve not even managed to complete 50 shows. However, over the years, the play has been staged in many different languages by several other groups across the country and has performed extremely well.
What defines a good playwright?
There is no codification. Art has to be inherent. It has to grow from within. A dancer must know his/her rhythm; a singer must know his/her notes. Likewise, a playwright must be aware of his /her mindscape. The craft has to be susceptible.
What is your primary concern while writing?
To write about "truth" as I see it in relationships, society and values. I don't write realistic plays. I adopt devices, which are realistic. To me, theatre is make-believe. Plays don't have to be preachy. I want the audience to take home with them something, the play must linger in their mind, otherwise there is no purpose� it's futile.
Which of the Indian playwrights would you view as essential?
Undoubtedly, Vijay Tendulkar, Girish Karnad, Mohan Rakesh and Badal Sircar. Their plays have deeply influenced the shape of my thinking. Tendulkar, for one, inspired me to take to the pen.
You were part of Tendulkar�s epic Ghashiram Kotwal. What are your views on the various controversies which enveloped the landmark production?
The controversy first sparked off because it was viewed as Vijay Tendulkar's comment on the rise of a �certain� political party, at that time. The play touched upon the socio-political ground realities. A section of the society also felt that it was an anti-Brahmin play. Later, remarks were passed that it was a comment on the Peshwa rule, which, incidentally, was a very touchy period because several social-movements were started at that time. Although, initially, Ghashiram faced its set of problems, it managed to run for over two decades. The production was an amalgamation of several performance art forms. It wasn�t restricted to only certain dynamics. Till date, it is regarded as a classic in the truest sense.
Why according to you, has the Pune theatre scene restricted itself to staging mainly Marathi language plays?
Well, performance art has always been cultural and language specific. Theatre in India is region and language specific. As a matter of fact, there is no specific �Indian� theatre. There�s only regional theatre. Each regional theatre has a different history, requirement and contemporary sensibility. The Pune theatre scene only mirrors the fact. I think it�s high time that the National School of Drama not only promote Hindi theatre, but encourage students to learn more about regional theatre. It's been on paper since long and I do feel it should materialise soon.
What�s your take on the present day theatre scene in India?
Creatively speaking, the theatre scene in India is mushrooming. In Maharashtra, the playwright is still at the centre. While in certain areas like Manipur (Ratan Thiyam and Kahailal), Assam (Baharul Islam) or in Kerala (K N Panikkar), the playwright, the director, and the designer merge to create total theatre. However, if we look at the larger perspective, then, the theatre scene today is a crisis.
Really?
The parallel theatre movement is definitely facing the brunt since the end of the Nehruvian economy in 1990s. It affected the cultural sector, immensely. Today, there are no fixed jobs for budding actors. So they are left with no option but to act in these tear jerker soap-operas.
On the other hand, although the commercial theatre is able to sustain itself, they are facing problems of another kind. They are struggling to retain their own identity. There's a certain sensibility involved. People want entertainment and the commercial theatre provides them with it. However, the audience seems to be changing. The middle class is moving from rural Maharashtra to a more urban setting. The audience have developed a new background and in turn, a renewed sensibility.
If I may ask, why did you refuse the post of the director at Delhi�s National School of Drama and chose to serve Pune�s Lalit Kala Kendra instead?
(Smiles) Well, the work at Lalit Kala Kendra was more challenging, primarily because, at that time, the arts faculty wasn't available in Maharashtra. In retrospect, I do believe that my job at the Pune institution allowed me to return something back to the State, which has given me so much. Now that I have retired from the institution, I have more time in hand. In fact, I am writing a new play called Monologues, but I am not sure when it will be completed.
Why didn�t you pursue writing scripts for more paying mediums like films and television, considering you even received a national award for the 1977-Marathi feature film Jait Re Jait and directed a television serial Dekho Magar Pyaar Se?
Although writing for films and television are well paying, somehow the experience wasn�t as fulfilling as theatre. They are not inevitable expressions of my thinking. I always think in terms of performance. My expression and background is theatre. I don't want to impose myself to any medium. It must come easy to me.
And does acting come easy to you?
(Laughs) In the past, my friends and colleagues have requested me to act. I did it for absolutely no money and yet enjoyed the experience. However, as far as, judging my acting is concerned, I would leave that to the audience, to decide.
*Reema Gehi is a theatre enthusiast, a student of Trinity College of Speech and Drama and a freelance journalist. This interview first appeared in Hindustan Times, HT Caf� on 24th January 2009.
