Thus far I have seen two productions directed by Vipul Vilas Mahagaonkar of Taleem Mumbai. The two plays- PAI PAISHACHI GOSHTA, and KHIDKI more recently, are striking. Both plays are adaptations. The former is based on the eponymous story by Dr Vijaya Rajadhyaksha, while the latter wonderfully captures the farcical comedy and impact of Dario Fo's play - ACCIDENTAL DEATH OF AN ANARCHIST. Both productions are reflective of Vipul's sensitivity towards the texts and of his mature understanding, which contribute to their very effective translation on stage. His plays have been regularly invited to be staged at the NCPA Pratibimb festival dedicated to Marathi theatre.
By Deepa Punjani
Deepa Punjani (DP): When and how did you get involved with directing plays?
Vipul Vilas Mahagaonkar (VVM): I started as a backstage artiste, working for several inter-collegiate plays. That gave me an opportunity to observe the directors. Simultaneously I started reading and writing. Initially I wasn't sure if I wanted to direct a play but gradually the process of rehearsals became interesting. The aspect of storytelling became important. When I was in my last year in college I directed a play called TE based on the subject of homosexuality. It was staged at the Indian National Theatre's inter-collegiate one-act play competition. I got the 2nd prize. The play was well received by the audience. That boosted my confidence. I am an introvert. Being an introvert there are very few opportunities to express myself. Writing, directing and theatre are a medium for expressing my emotions.
DP: PAI PAISHACHI GOSHTA has been received quite favourably. What sparked your interest in the story penned by Dr Vijaya Rajadhyaksha?
VVM: I had directed a play called SAMANTAR, which was an adaptation of a story written by Dr Vijaya Rajadhyaksha. That was my first encounter with Dr Rajadhyaksha. After watching that play she invited me to her place and gifted me a book comprising a collection of stories written by her. In that book was a story named ' Pai Paishachi Goshta'. She asked me to read it and tell her what I felt about it. It was her favourite story. I read, and re-read it. I read it seven times in two days. Then I called her and expressed my willingness to adapt it to a play.
In those two days, I realised my own feelings for my grandmother and my mother. I thought about how much they had suffered and sacrificed all through there lives but never ever failed to encourage me. They kept smiling all their lives whatever the situation. I think they smiled gracefully when they faced a situation and they gradually changed the bad situations. This was the connecting point. While reading the story, I visualised my grandmother sitting on the couch and narrating me her life experiences. That is why there is very little movement in the play. The play holds because there are two strong women behind it – the actress (Ila Bhatt) and the writer (Dr Vijaya Rajadhyaksha) who created her.
DP: You come across as a director who interprets the ethos of the work, conveys the same to his actors and lets them do the rest with minimum but significant intervention. How would you describe your process as a director?
VVM: I believe in thorough reading sessions before I go on floor. It gives me and my actors time to think, conceive, interpret and to explore each and every detail regarding the characters, their thought process, and the situations that they come across. We discuss a lot. I ask my actors to write down their experiences after they finish their rehearsals. When we are finished with the reading sessions and are ready for the blocking they can go through their notes. I too follow the same procedure. Also in the interim, I try and keep my set design, light design, basic properties, basic music structure and costumes ready after discussions with my team. I insist that the technical team also attend the reading sessions. While blocking, I provide the basic set properties and ask my actors to just roam around the performance space and imagine and feel the place in which the story is actually situated. In the case of PAI PAISHACHI GOSHTA, it is the character's room filled with wood furniture, some photo frames, a wood couch.
In the case of KHIDKI (adaptation of Dario Fo's ACCIDENTAL DEATH OF AN ANARCHIST) it is the office of the police officials, their property and 'Khidki' (the window). From day one of the rehearsals, the office table, property, costumes and the window were provided to the actors. Through the reading sessions, the actors knew their lines, emotions, scene flow and most importantly, the pauses. Actors are free to improvise as they have their own opinions and I respect that. Once the blocking process starts there are no more reading sessions. This is how it works for me.
DP: What is the single most essential quality you think you possess as a director?
VVM: I trust my actors.
DP: Whose productions have inspired you?
VVM: In every play that I have watched, there has always been something that has inspired me; it doesn't matter whether I liked the play or not. I have observed myself and I learn something from every play.
DP: Going ahead, which plays are you likely to direct?
VVM: For now, I am in the process of writing a play. If it works out well, I will direct it.
DP: Tell us a little about your theatre group.
VVM: We are a bunch of young people trying to explore every possible aspect of theatre.
DP: Have you been on the other side as an actor taking instructions? What was that experience like?
VVM: Yes. In my college days I acted in some plays. I observed that it took me enormous time to get to the essence of the character. I surrendered myself to the director and the play. That experience has helped me understand the actor's point of view.
DP: According to you, what's the best thing about Marathi theatre today and the worst?
VVM: The best thing is the rich culture and tradition of Marathi theatre. On the other hand, there is need to be more open towards new ideas.
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