Originally composed in the early 1980s, ‘Kimidam Yaksham’, which literally translates to “Who/what is Yaksha,” delves into fascinating ruminations on human life. The psychological drama delves into meanings that can emerge from or be made of it, the way sensuous and spiritual desires play out, and the idea of a rooted identity – all contained in the intrigue of mystery and anticipation. Staged by the well-reputed theatre group Saanjhbaati, the play will introduce a cast comprising both veteran and fresh talents, including actors Gul Mehra, Nishant Thakur, Komal Dhingra and Shantanu Dutta, among others.
Navigating flashback
Scripted by Nandakishore Acharya and directed by Nandini Banerjee, the play, while navigating flashbacks riddled with layers of mystery, traces the journey of an archaeologist who returns to his native village years after having fled, on an arduous search for his enigmatic biological father that leads him to encounter a deaf-and-mute sister, the lingering presence of the midwife (Dai Maa) and a mysterious sculpture protected by a snake, which appears to hold the truth he has been seeking.
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Director Nandini Banerjee speaks about the challenges that came with the absence of a grounded reference point or direct comparisons, for this is one of the first times the little-known play is being staged. The director and artists involved have sought to remain loyal to the original storyline, themes, setting and characterisation as far as possible. “Since the topic involves desire over senses, the relationships are not natural in the so-called framework of the society, and hence it required a great deal of sensitivity to put those scenes together,” states Banerjee.
She also talks about the challenges of fashioning a cohesive stage design with a narrative that intermeshes different time frames. The character of the Dai Maa, Banerjee says, is pivotal, for she bears witness to all the shifts in the time planes. “The story is not parallel but dynamic in its statement while travelling from the present to the past, then from the present to the future and finally from the past to the future, which was a challenge for stagecraft... to strike a balance and let the aesthetics of the play take the tide of time forward,” she adds.
Live medium
The play itself provides space for performative dynamism, she states, as they seek to transform it in the second staging by shifting the emphasis from stagecraft and performance to bringing out the thematic nuances and larger message of the play. The play embodies the role of “theatre as a live medium that ought to affect a living society,” Banerjee affirms. “[It] explores an unnatural relationship between a father and his daughter and then between siblings… it’s a shocking statement but true, as we read about such incidents in the media. But can we go little deeper and address the reasons behind this... what drives them? Is it only desire beyond the senses or if there’s something else at work,” she concludes.
(‘Kimidam Yaksham’ will be staged this evening at 7:30 p.m. in Stein Auditorium, India Habitat Centre)