A Note from Team Thespo The second edition is here! This issue of the Thespo Ink is a mixed bag. We have Pemanthi from Stages Theatre Group, Sri Lanka recalling the group’s trip to Rwanda and their collaboration with young theatre practitioners there. (Their play ‘Walking Path’ was part of the Thespo 16 full-length plays line up) Akash Narendran introduces us to Playback Theatre in his article and the Quick 8 section brings to you the ever-enthusiastic Amatya Goradia’s two cents on his life in the theatre. Ramu Ramanathan, recommends three ‘must-read’ works. Speaking of mixed bags, this edition also introduces you to the Thespo 17 Festival in December... do check out the MADNESS and be a part of the Drama ka Dhamaaka! We hope you enjoy this issue. We would love to know what you thought about it, write to us at thespo17@thespo.org. Happy Reading!
BUDDING ARTISTS : Show me, don’t tell me QUICK 8 : Amatya Goradia
THEATRE ACROSS BORDERS : Dear Children, Sincerely... THESPO RECOMMENDS : Plays to Read
THESPO : WHAT’S ON
THESPO 17 FESTIVAL
ABOUT US
A Playback session in progress
BUDDING ARTISTS
Show me, don’t tell me What’s your Playback story? Playback theatre is an impromptu and improvisational form of ‘playing-back’ of stories shared by an audience. These ‘stories’ can range from personal experiences, feelings and emotions to individual/group perspectives on a particular idea/theme. The ‘playingback’ is through specific forms designed to serve a purpose that is constantly evolving through the practice of over 350 Playback ‘companies’(essentially groups) across 60 countries. Founded in 1975 by Jonathan Fox and Jo Salas, Playback was developed over time by the founders and other members of the original Playback Theatre Company, in New York. The founders were influenced by the psychodrama method of Moreno, as also by Boal’s TO (Theatre of the Oppressed). In time, Playback spread to many countries, notably Australia, Brazil, Germany and Japan. Playback companies now function on six continents! Centres of training and workshops cater to the sphere of training. I was lucky to have been trained on the basics of Playback as part of my B.A. course at Christ University under Mr. Rajesh P I, after which
The fun bunch
I joined his team of Playbackers who had diverse professions, ranging from students and teachers to counselors and software engineers. Over the last two years, we have had several rehearsal-meets, occasional training workshops, and performances. ‘Sharing’ is integral to the world of Playback, as is confidentiality (termed ‘container’) of the shared story. Fox felt that everybody has a story, and that everybody’s story is important. He also wanted an art-form that could be performed anywhere, anytime, ‘immediate’, but in a space of ‘safety’, empathy, mutual trust, honesty, and that of no judgment. Playback is meant to be based on gut-feeling and instinct, rather than on logic and planning. Ritualized movements, metaphors (visual and otherwise), live music, coloured
shawls/duppattas, and poetry are among the elementary yet vital essentials of the playback form. In a sense, Playback theatre is a dramatized and modern-ritual working on the ancient form of oral traditions. ‘Show me, don’t tell me’ is the key-phrase. Playback theatre creates an intent, personal channel of ‘listening’ between the actors’ performance and the audience. It brings about a range of deep responses in the ‘teller’ (the one who shares his/her story) – insight, breakthrough, resolution, or catharsis. It is thus often therapeutic, and gives ‘voice’ and creative expression to a personal tale, which can be very powerful and moving. It is also a sort of personal therapy for the actors, as many will attest. While ‘playing-back’ a story though, actors are conscious of not tampering with it such that it humiliates, traumatizes, offends, or otherwise hurts the teller – or the audience. Playback comprises of a set of performers
A rehearsal meeting in progress
Playback is a form that pulls people together even if they hardly know each other
usually between three to six in number, and a ‘conductor’ who orchestrates the performance, facilitating the sharing of stories by the audience as well as the clarity of the actors on having got the facts right before they dive into performance. To reiterate, there is no discussion or script whatsoever - often leading to a sense of wonder among the audience. Playback uses narrative ‘short-forms’, that are stylized modes of presentation of the shared stories. ‘Fluid sculptures’ uses metaphor to represent dramatically the feelings of the teller. ‘Pairs’ comprise of teams of two juggling a particular conflict. ‘Story’ is perhaps a more straight-forward playing-back of a personal incident in the teller’s life.
Fluid sculptures are used as metaphor to dramatically represent the feelings of the teller
The sense of belonging and togetherness in Playback is unparalleled, especially for the performers. I have always, as do fellowperformers felt that Playback is a form that pulls people together, even if they have hardly known each other, or have been away from its practice for a while. Also, it’s super fun! Rehearsals and performances have an addictive ‘high’ to them, and the energy and optimism is contagious!
Playback can be performed at social gatheringscommercial events as well as charitable ones. It however works best in intimate spaces. As informed on the IPTN (International Playback Theatre Network) website, “Playback Theatre is used in a range of contexts including public performances, community arts, social dialogue, peace building, conflict resolution, education, change management and celebrations.” Playback wasn’t necessarily designed to be therapeutic –
but it can be used so, and it is, for reasons greatly obvious to those who practice and experience it. It is also used in training for leadershipqualities and team building, usually in corporate companies. Playback is also performed for the ‘regular’ audiences that may attend a theatre performance out of curiosity, commitment or compulsion! It has been 40 years since Playback was first conceived, and though that could be considered as pretty young for an art-form, it presents us with the delicious challenge of taking this engrossing form to every space that it can affect positively- and that would be pretty much everywhere! In this urban-embracing, ‘rat-racy’ life, this form of positive energies and mind-boggling sub-conscious connections is a perfect reminder to slow down, to hold on to the humanesque values we hold dear to us and to affect affirmatively every human who needs his/ her story to be told. Thespo has had no prior Playback theatre training workshops or even a performance, and I really hope that fact becomes just a memory quickly. For, such a beautiful form that banks on the spontaneous fits right into the young energyscape of Thespo! I anticipate that it does soon! Having felt that I couldn’t act, Playback was something of a game-changer, and I found myself taking to it with ease. Today, it is very much another of the ‘social departments’ of my life,
like family, cinema, and friends; something that I intend to never let go of. The process has taken me whole-heartedly into its arms, and I want to return the favour in the best ways possible. Funnily, the form probably lends itself more easily to those new to the theatre field than seasoned theatre performers. Surrendering to the process, making oneself available, to listen – and beyond, to give in to that vague sense of vulnerability that improvisational performances can bring to the table- all these are palpable appendages of the Playback process. But we indulge it as we realize the vulnerability that the audience too has given into by sharing, and in Playback, that reverence is paramount, and is the foundation of all the joy and tears that follow. In this constant cycle of telling and re-telling of tales, a powerful universal connection is acknowledged.
Sharing is intergral to the world of Playback as is the confidentiality of the shared story Akash Narendran is a 21-year old member of the ‘Actor’s Collective’ theatre group, Bengaluru and an aspirant to the process of direction of and for Cinema.
Amatya Goradia’s
QUICK 8 Amatya is a budding writer and director who’s play, ‘The E.Q’ based on Albert Einstein, premiered at Thespo 15 (2013). 1) First play you ever watched? A Gujarati Play by my father called Karo Kankuna.
2) Best theatre adventure?
The Phantom of The Opera as an experience has been the best experience of my life
3) If you had the choice of meeting one theatre veteran (dead or alive) who would you choose?
5) Favorite stage to perform on? Has to be Prithvi theatre.
6) Favorite genre of theatre? Drama.
7) Biggest theatre dream you hope to achieve?
I want to come out of the normal conventional stage performance to a much more real and live performance area like a market or a street.
8) What sparked the drama in you? (A defining moment when you decided you wanted to do theatre)
The realisation point that I can’t really do anything in life but this, is when the Drama sparked!
Vijay Tendulkar
4) Funniest goof up on stage?
When I was in the 9th standard performing in the school annual day and my dhoti came off and I had to perform the whole act in a boxer
Interviewed by Revati Deshpande
Revati is a student of Psychology and was part of the Play ‘The EQ’ which premiered at Thespo 15
THEATRE ACROSS BORDERS
Dear Children, Sincerely... A conversation across generations through theatre
The cast and our Sri Lankan friends in Rwandan
Rarely does a full-length play happen in just 6 days. Or have its first performance overseas, at an international festival. However, what made “Dear Children, Sincerely…” a truly remarkable experience could be attributed to those who were a part of the play itself, the journey down the spotless Rwandan roads and the coming together of artists to one common stage. “Dear Children, Sincerely…” – a conversation across generations - is not only the name of the play, but also the wider ongoing project
that it is, now steadily growing international. Aptly named, this project garners and documents the thoughts and experiences of senior citizens born in the 1930’s, for the purpose of creating performance pieces as well as archiving this information for the generations of today. Although the roots of this project go back a few years, it received a fitting structure and concept only in April of this year, when the research of what was then called ‘the elder’s project’ began. We chose to converse with this particular generation because they grew up in the backdrop of British colonization and witnessed the organic changes and turning points of the country. Whilst the process of interviewing them could be described as challenging, it was rewarding to vicariously experience the nation’s dramatic break from its legacy of wars, insurrections and injustice. It would also have been a shame to let their stories of love, sex, marriage and religion fade, along with their earthly lives. It made us realize how difficult it must be, to cope with the changes in family structure: from times where
The cast - happy to be together
their extended family lived under one roof to their sons and daughters moving away. These situations are often exacerbated by the inability to keep up with or use modern technology that we have enforced upon them, as well as the barriers to feeling the emotion and personal presence of the person on a computer screen. Initialized and conceptualized by the Stages Theatre Group in Sri Lanka, the plan was to create a bank of stories that could be performed in schools and toured around the country. Stages Theatre Group, headed by Ruwanthie de Chickera – co-founder and renowned playwright and director - has a history of 15 years on stage, producing verywell received and critically acclaimed social theatre. Having taken its first few steps into the Rehearsals in Rwanda
Workshop with the staff of Sorwathe
research process, “Dear Children, Sincerely…” soon caught the attention of ARIADNE, an international theatre venture bringing together women of the theatre who are based in areas of conflict or post-conflict. Ruwanthie was invited to be a part of it, where she met Hope Azeda from Rwanda, who was immediately interested to have the play performed at the Ubumuntu Arts Festival in July this year. Soon after arriving in Rwanda, the first thing we noted about the locals was their relaxed, laid back nature. Having survived
conflict and violence, a sense of oneness and common humanity has permeated even the grass root levels of their society, and it was a privilege and joy to witness this. We also noticed that the country invests considerably in cleanliness: while there wasn’t a speck of dust on the streets, the young and old all make a conscious effort to keep their land and produce free of dirt, waste and pesticides. More significantly, we realized that the Rwandans listen. Listen to those before them and respond simply and profoundly. Their
kindness was inspiring. How our stories merged together into a 3-piece performance in this short time was phenomenal. Although we had read their research before, it was only there that we really saw how different yet so alike our lands, people and histories were. The cast truly worked as one through long and tiring rehearsals, determined to touch the hearts of the audience, which they did. There were many things that could’ve gone wrong with the technicalities of the performance, but we embarked on it with a sense of excitement and optimism, because, out of the many things that Rwanda taught us, I think the most important lesson was that we live for today, in this moment, rather than worry about the next. Special mention must be made of our gracious host, who turned his living room into a rehearsal space. He not only provided shelter and food, but also a home to our group that steadily became a family. All in all, it was a singular experience, and we left Rwanda changed and inspired to effect social change through theatre as well as our own personal endeavours. An indelible mark has been left on us by the hard work we put in, the lives that were renewed, the bonds that were forged and the family that remains. Pemanthi is a part of Stages Theatre Group, a young group from Sri Lanka whose play ‘Walking Path’ premiered at Thespo 16 (2014).
THESPO RECOMMENDS
Recommends Plays to Read - By Ramu Ramanathan Ramu Ramanathan is an Indian playwright-director with acclaimed plays like ‘Shanti, Shanti, It’s a War’ and ‘Collaborators’ to his credit. He has also penned youthful plays like ‘Curfew’, ‘Yaar, What’s the Capital of Manipur’, ‘Combat’, ‘Sanjivani Super Show’ and one act plays He has been a part of Thespo through the years as a mentor and workshop conductor.
TRUTYA RATNA by Jyotiba Phule
Trutya Ratna was the first modern Indian play which was penned in Marathi in 1853. It is a must read for anyone interested in theatre!
MAHANIRVAN & BEGUM BARVE by Satish Alekar
The plays are written by India’s greatest living playwright, Satish Alekar. Both plays in Marathi are rare gems. Best way to read Alekar for those who can’t read Marathi is request a friend to read the two plays in Marathi; and refer to the English/Hindi translation!
Roland Schimmelpfennig Plays written by the German playwright, Roland Schimmelpfennig are always a delight to read. He is an important voice in world theatre. Last year, Thespo dedicated an hour to his plays during the fest!
THESPO: WHAT’S ON
Thespo 17 has joined hands with Wishberry! We are running a crowd funding campaign on Wishberry - India’s largest online crowd funding platform for the Arts and Innovation. We are essentially raising funds for international collaborative projects that are lined up to be a part of Thespo this year. For the young theatre enthusiasts here, in India, this will not only provide exposure to new theatre forms, but also make them aware of theatre work happening worldwide! So join us on Wishberry to encourage exchange of theatre cultures across borders! Our target is to raise RS. 5 LAKHS BY 1ST DECEMBER 2015 (P.S. It’s all or nothing. So if we don’t reach our target, the money will be refunded.)
Screenings this year! With 159 productions to watch, our screening panel, Prerna Kaul and Sananda Mukhopadhyaya set out watching the plays starting with Bombay on the 2nd of October 2015! Their journey then continued through Pune, Bangalore, Hyderabad, Nagpur,Kolkata, Delhi, Aligarh, Jaipar, Ahmedabad and Baroda.
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THESPO 17 FESTIVAL
We are celebrating the 17th edition of the annual Youth Theatre Festival Thespo 17 - powered by Wishberry! The festival has an interesting line-up of 32 events which represent varied forms of theatre, not only from India, but also from Italy, Canada, UK and Australia. The events range from full length productions, short duration performances & live music performances to talks, panel discussions and an exciting line-up of engaging workshops for all young theatre enthusiasts! The events touch upon distinct art forms with opportunities to explore socio-political Urdu Literature, theatre works from ancient Indian literature, Commedia mask-making, theatre soundscapes, Hip Hop theatre, ensemble theatre making, story-telling through multi-media, transforming written work into theatre and learning to fund your own theatre projects through crowd funding! The festival thus looks to provide an experience that will in some way, Spark the Drama in you!
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CHITTHI is light hearted and poignant story of Manisha, an illiterate married woman trying to catch her husband having an affair. Her only clue is a handwritten letter from another woman. Could the power of the alphabet push Manisha to overcome her insecurities and go beyond her accustomed ways? 8th December 2015, 9pm, Prithvi Theatre, Mumbai Set in present day rural North India, LASSANWALA tells the tale of Kallu bahman, a sixty-year-old garlic seller. Being a staunch Brahmin, Kallu himself refuses to eat garlic, yet continues to farm and sell it. The play traces the tragic -comic events that occur in his life that shake his firm belief in the same caste system that has defined his existence. 9th December 2015, 9pm, Prithvi Theatre, Mumbai
HERO is a comic drama about a boy who is wooing a girl, but the girl wants to marry a man like Amitabh Bachchan. In order to win her love, he starts impersonating the ‘angry young man’ and becomes a star in his village. But soon he is faced with the dilemma about whether to be himself or follow his dreams. 10th December 2015, 9pm, Prithvi Theatre, Mumbai 12th December 2015, 7pm, Godrej Theatre,NCPA, Mumbai
Inspired by a short story by Nabarun Bhattacharya, TOY is a visually stunning play about a boy who creates a home for himself, in what he believes is the perfect world - an aquarium. His family and friends continually try to pull him into reality, but will Toy ever leave his real friends, the fish? 11th December 2015, 9pm, Prithvi Theatre, Mumbai
DASTAAN-E-BHOOKH is a dark comedy which explores the psyche of a suburban family. The hunger, ever present in the household, is a constant reminder of all that is missing in their lives. Devoid of any real understanding of what has pushed them into this malfunction, the members of this family attempt to pull themselves out, mindlessly grabbing at whatever their persecutors throw at them. Will their quest for a plate full of food pull them together, or break them further apart? 12th December 2015, 6pm&9pm, Prithvi Theatre, Mumbai
For tickets, click
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PS
RKSHO O W
DRA At THE HIVE, BAN
2-6 Dec
10am - mask atelier 1pm by shruti mishra
8-11 dec
10Am 1pm
HIP HOP THEATRE : WRITING & RAPPING BY SEBASTIEN HEINs & JAJUBE MANDIELA the hive 0F bCURRENT Studio
10-11 Dec
1pm 5pm
Method Acting : An Introduction by Sohrab Ardeshir
the hive
12 Dec
11am 1pm
go fund yourself! by anshulika dubey of wishberry
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ABOUT THESPO ABOUT THESPO
Thespo is a platform for any and every young person under 25 who is interested in any and all aspects of theatre. Except for the age limit, Thespo firmly believes in including youth from all parts of the world, all fields, all language groups and all art forms who share a love for theatre.Over the last sixteen years it has grown from a one-evening event to a year round movement comprising of an annual Festival, monthly shows at Prithvi Theatre, theatre training programmes, workshops, site-specific performances and much more for young theatre enthusiasts. Theatre Group Bombay - (Established in 1944) is one of India’s oldest English language theatre groups whose members (Alyque Padamsee, Sabira Merchant, Gerson Da Cunha, among others) have gone on to become legends in theatre, radio and television. QTP - (Established in 1999) is a dynamic young theatre group dedicated to promoting and facilitating theatre in the public consciousness through socially relevant plays, workshops, readings, news-letters and much more.
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Edited by : Prachi Bhagwat Designed by : Spriha Nakhare
Celebrate the Future of Theatre 2015