A group of theatre enthusiasts sits in a circle listening attentively as Terry Converse explains the nuances of performing with masks. He then slowly takes them through a choreographed routine that culminates in the performers donning the masks and adopting new personas. A professor emeritus of theatre at Washington State University (WSU), Terry had spent the better part of last year in India collaborating with Lokadharmi Theatre in Kochi before returning to the country to work with EBONG AMRA theatre group in Bengal. He was in the city to teach mask acting techniques at a theatre workshop.
The 68-year-old is all praise for the theatre scene in India, and fascinated by how different it is to theatre in the United States. “Indian actors are very adept at physical theatre and stylising while American actors are more realistically oriented. Indian theatre comes from a long tradition of interesting stylised works, particularly when it comes to masks,” he says, describing performances at temple festivals that left him enthralled.
Being an academic has allowed Terry the opportunity to interact with many a student of theatre, and he admits that both in India and the United States (U.S.), most students have films in mind when they take up theatre. “Many students come into college without having seen a live theatre performance and focus on films, because that’s what they see. In both these countries, most people do not go to see theatre as it is not considered a mainstream medium. But once they see live performances they become hooked. Theatre does that.”
Terry admits that theatre could still do with more support from the avenues that matter, recalling how his own department at WSU was very nearly shut down a few years ago. “Most people do not understand the value of live theatre, even educated people who should. But everyone attends football and basketball games, because that’s routine. From that standpoint, things are better in India.”
He is of the opinion that the Indian theatre scene has great potential. “There is some very promising talent here, and a lot of theatre festivals happening, with entry often being free. And at these festivals, people from all classes of society attend and there is genuine interest. This is the case wherever I have gone in India, so that’s a very good sign.”
In his efforts to take his teachings to a wider audience, Terry has written a book titled Directing For The Stage: A Workshop Guide Of Creative Exercises And Projects . He is now planning to write his second book, incorporating some of his new findings on mask acting that he picked up in India. And according to him, India is an experience he would always recommend.
“My daughter and brother have already visited and there is so much to experience here. The U.S. is still such a new country while India is so much older with lots of ancient history. I definitely plan to come back.”
After having spent much time understanding the intricacies of performing on stage, Terry believes that all its different forms are important. From the method acting of the United States to the stylised physicality of India, they are all part of a noble craft that rarely gets its due.
