Volunteers of Vishwapatha Kala Sangama (Vikasam) are split into several working groups -- one is taking down the registrations, the other is distributing water and energy drinks to the participating teams and the rest are rendering live commentary of the ongoing match and receiving visitors throughout the day. The scorching heat of summer does not seem to bother the 16 theatre troupes gathered at APS College grounds, N.R. Colony, Bengaluru, for a cricket tournament -- RPL (Rangabhoomi Premier League) -- organised for amateur Kannada theatre groups in the city.
Among the 200-odd theatre actors and technicians who had gathered there, most of them were young and recent entrants to the world of theatre. This left us thinking -- ‘has there been a large influx of hobbyists in the last few years into theatre in Bengaluru?’ In this background, The Hindu spoke to some of the young actors, directors and founders of amateur troupes in the city.
Overwhelming enthusiasm
All of them unequivocally agreed that there has been great enthusiasm for theatre in the recent past. The reason might differ from one case to another. Mainly, it is the ‘relaxation’ factor of theatre which is attracting so many youngsters, mostly from the IT sector. “Theatre is seen as a stress-buster after a tiring day at work. On the other hand, as people now are financially better off to invest in their creative pursuits, it is becoming a win-win situation for both -- the enthusiasts and the regional cultural space,” observes Shylesh Kumar M.M., Founder, Sidewing troupe.
In the observation of RPL organiser Ashok B. who earlier worked as a medical representative: “Nowadays, content in TV, cinema and other streaming services are nearly the same. People are in search of alternative modes of entertainment which is more everyday and relatable. It is this gap that theatre is bridging.” Hence, “we have never run short of audience. People pour in from all corners, provided the play is properly advertised,” observes Siddaramu K.S., a software engineer and member of Kalavilasi .
“The workforce that is coming to Bengaluru from all parts of the State is bringing with it unique talent which is unexplored due to various reasons such as lack of exposure, studies or financial responsibility. Theatre is providing them a chance to express their hidden talent again,” says Ashok. “Theatre directors constantly receive requests from volunteers who just wish to be with the troupe during its practice sessions and on show days. They either assist technicians and actors or help in setting up the stage or welcoming the audience. Some of these volunteers, after a while, have also become members of the team,” informs Basavaraj Emmiyavar, Kalavilasi .
For Vijay Kashyap, founder, Rangarasadhare , it is for the ‘recognition’ and ‘personal fulfilment’ that so many men and women are getting into theatre. A B.B.M. graduate from Sheshadripuram College, Kashyap felt just his academic identity was incomplete and that he needed to continue his theatre practice.
Whereas Rangasthe is a team mostly comprised of students. “Students see theatre as a medium to improve concentration, public speaking skills, group co-ordination and their overall personality,” says Rangasthe ’s Dhanush Narayan.
But why are these educated men and women passionate about theatre, coming in large numbers to Kannada theatre when they have ample chances to perform in English plays? Director Shylesh Kumar says: “Although plenty of English plays are being staged in Bengaluru, the audience base for English theatre is much less compared to that of Kannada. Also, they receive good response only in certain localities. Therefore, for beginners, English theatre is a risky proposition. Having said that, there is certainly a noticeable chunk within this flow which consciously wants to do Kannada theatre for the sake of language and culture.”
Concerns
Although theatre personalities welcome the trend, they all share a few apprehensions and concerns. ‘Youngsters using theatre as a springboard to fame and to get into cinema’ is the common worry. “Nobody is opposing the idea of entering cinema, but it is the absence of sincere and long term commitment from youngsters that troupes are worried of,” informs Siddaramu.
“With lot more actors and new teams, there is indeed more number of Kannada plays in the city. But I cannot say the same about quality,” observes Hanu Ramasanjeeva, Founder, Pravara Art Studio . “This is because the new crop is disinterested in literature. The consequences are enormous --wrong pronunciation of words, bad adaptations, diluted interpretation of author’s intent etc.,” he laments.
According to him, about 70-80 troupes are formed every year in Bengaluru out of which only about 10 survive. “Reasons can be lack of vision, experience, mentorship, consistency and attitude of members. Sometimes it so happens that even troupes that engage in serious works are compelled to shut down because their plays lack audience response. At the same time, troupes that keep doing comedies in order to attract audience in great numbers will also have a short-life as their primary aim is to make profit. Therefore, it is crucial for troupes to balance on both the financial and creative fronts,” he advises the young teams.
Despite the problem of temporariness of new actors, “troupes with clear vision have been able to survive mainly because theatre has this immense strength to train and keep generating new actors. That’s the strength of theatre . We appreciate if the young blood reveres the art form and gives back what is due to it,” says Suryakant Gunakinath, a senior theatre personality and Founder, Bangalore Asian Theatre .
