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drama n Arundhati Nag talks to Society about her unfaltering love for the stage and how she achieved her All the dream of revamping Bengaluru’s stage is cultural scenario by giving its theatre an independent identity Her

By Divya J Shekhar World he auditorium is packed to the brim. The stage is set and the lights are Tdimmed. For the next hour, only one voice resounds, tearing through the pin-drop silence. As Arundhati Nag delivers a powerful performance in ’s Bikhre Bimb at Ranga Shankara, Bengaluru, the crowd remains spell-bound. The mono-act, Arundhati claims, has been the toughest role of her life, given the challenge of conversing with her television image that is treated as another character. The first thing to strike you in a chat over a cup of coffee at the Ranga Shankara café is the diametrically opposite personality she is, on and off stage. And, you are all ears when the ever- smiling, soft-spoken artiste warmly guides you through her three decade-long tryst with theatre and her efforts to revive, support and encourage the art—with memories, anecdotes, et al.

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drama drama n n “Arundhati believes in maintaining high standards for children’s theatre as well. “We do not encourage any kind of slapstick humour, and certainly not fairy tales.”

“Theatre comes naturally to me, even though I’ve had no formal training. TV makes everything small while cinema magnifies people and places. It is just theatre that presents a person as she or he is—with all the blood, sweat and tears.” Arundhati’s fascination with theatre began when she saw the Ramleela in Delhi as a child. “I saw a male, a sardar, play the role of Sita. Since then, this whole fascination of impersonating got to me, the thrill of being who you are not.” And, when she was made to play the role of a boy in the cultural events of her school, the romance of being another person infatuated her. “I still remember being a Rajasthani boy for a dance performance, twirling my fake moustache. Theatre gives the freedom to lie through your teeth, with the sanction of society,” she smiles. “And, that’s what I love the most.” Going down the memory lane, she remembers how she shifted base from Delhi to at the age of 10 and a few years later, was just one step short of enrolling into the JJ School of Arts to become a painter. “But, my mother was not too keen AD on that, so I went to NM College to learn commerce instead. There, I bagged a play, Aur Rangmanch Rota Raha, because of my good Hindi, and even got an award for it. I have never looked back since. My friends tease that the rangmanch is still crying because I refuse to leave it.” A chance encounter with artiste Shama Zaidi kick-started her journey with Indian People’s Theatre Association (IPTA), where she was cast in a prominent role in the play Ek Chaadar Maili Si. “The IPTA was the training ground that introduced me to stalwarts like Farooque Shaikh, AK Hangal, Manmohan Kishan, Sulabha Arya and others. There was a time when I used to do as many as 42 plays a month in Hindi, Marathi, English and Gujarati, being all of just 17 years old.” Learning came through observation and constant encouragement. “Of course,” she adds, “Being a Maharashtrian and knowing many languages helped.” She smiles nostalgically as she recalls her first brush with professional theatre and how she was astounded when she knew she’ll be paid for acting. “Directors Kamlakar Sarang and Anand Sarang approached me for a Marathi play, Sahaz Jinki Mana, and

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drama drama n n “Theatre comes naturally to “The IPTA was the training me, even though I’ve had no ground that introduced me to formal training. TV makes stalwarts like Farooque Shaikh, everything small while cinema AK Hangal, Manmohan Kishan, magnifies people and places. Sulabha Arya and others.” It is just theatre that presents a y u s h Singh Photogra p h: Prat why a woman wanted to build a theatre, when all over, theatres person as she or he is.” were being pulled down to pave the way for multiplexes. “There were many questions raised about how I would asked me how much money I expected. I was shocked. I never manage funds and whether the cost burden of the extravagant got paid at the IPTA, and kept asking them, ‘Will you really pay theatre would be transferred to the people in the form of high me for my work?’ till they gave me ` 100 for my contribution. It ticket prices, etc. I was not a politician, a rich businesswoman was a king’s ransom. I was the richest girl in college.” or a shrewd industrialist to find my way out easily. But, I was a That’s when an opportunity to be a part of the Indian National woman who loved the stage and had the strength of purpose. I Theatre (INT) knocked at her door. “The INT absorbed the best used to carry the theatre model in the boot of my car, and show actors from different universities for their plays,” she explains. it to everyone who I thought could contribute.” Today, as the Little did Arundhati know that her selection would change her life result of her efforts, her dream stands tall; spread across 10,000 forever, and introduce her to the man she would later marry—the sq ft, in the heart of South Bengaluru—the Ranga Shankara. late actor-director Shankar Nag. “Shankar and I were rivals from “I was fortunate to have the support of many people, right different universities. The fact that we both bagged the ‘Best Actor’ from S Surendranath and Girish Karnad to labourers working award in our respective plays brought us together at the INT.” on daily wages. I remember how a woman contributed ` 5 She fondly reminisces how Shankar would be quiet and shy, towards Ranga Shankara’s construction. It might seem small to while she was a ‘wild cat’. “He would just sit by himself in a us, but I knew that for her, it meant half her day’s wage.” Sure corner, always reading books or solving crossword puzzles. But, enough, all contributors, big or small, share a wall space at the AD we hit it off instantly as we were the only non-Gujaratis in the entrance of Ranga Shankara, as a small tribute. team. It was he who introduced me to the works of great writers Formed on the lines of Prithvi Theatre in Mumbai, Ranga like Albert Camus and Dostoevsky.” When Shankar moved to Shankara does not discriminate on the basis of language. “I to work in films, they kept in touch. “Those were the noticed that in Mumbai, theatre is mostly bound by language. days of letters. Shankar was busy with films, but realised that Like, the Shivaji Mandir in Dadar hosts only Marathi plays. At he could not live without theatre.” So, when he asked her to Ranga Shankara, we have a healthy mix of plays in Indian and be a part of his theatre group in the garden city, she grabbed even international languages offered to people at prices below the offer. “We formed the Sanket theatre group and did a lot ` 250. We operate on the philosophy of ‘A Play a Day’, which of plays in . I did not know Kannada except for bad means that we make it a point to host more than 300 performances words my father jokingly used with his friends,” she says with ...in Harlesden High Street of different genres every year. Apart from hosting, we also a playful grin. “Shankar’s mother, who would go on to be my produce our own plays. Also, the fact that Ranga Shankara has future mother-in-law, would translate the script in Devnagri.” but not without severe injuries. It took Arundhati 10 years to no doors at the entrance is testimony of our belief that theatre Eventually, Shankar proposed to her on November 7, 1979, gather herself and realise her dream of an independent theatre should embrace anyone and everyone as its own.” and they were happily married two days later. Yes, in two days. space in Bengaluru, a tribute to the memory of her husband. She admits that it is the selfless passion for theatre in the “Well, I insisted that if we didn’t marry on November 9, that is “There were plays happening at many cultural venues, but hearts of the people associated with Ranga Shankara that Shankar’s birth-date, we will have to wait till mine, which is in nothing solely dedicated to theatre and its development. Shankar keeps it going. “We are eight people who manage everything, July. He didn’t have the patience, and lo! Two days later, we and I both dreamt to create a space where theatre could thrive and no one charges anything. Ranga Shankara is a blessed were married.” without inhibitions or compulsions.” But, detractors dismissed it as baby and the people here make one rupee run a mile. Shankar’s untimely death in a brutal road accident in 1990 an impossible dream, one which required investment to the tune Otherwise, how do you expect daily expenditures to the tune changed her life forever. Arundhati, who was in the car, escaped of crores, but offered minimal returns. Nobody could understand of ` 10,000 to be met when we charge the production houses

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drama drama n n “At Ranga Shankara, we have a healthy mix of plays in Indian and even international languages offered to people at

Photogra p h: V irginia R odrigue s prices below ` 250.”

winning role in R Balki’s Paa. Not many know that she was also a part of one of the first shows on Indian television, a Gujarati TV series called Haji Aavti Kaal Che. “These roles came my way, so I took them. Films and TV are not on my radar at all. There have been no interesting offers so far but if I come across one, I’ll take it. Otherwise, my focus has been, and will always be, theatre.” But, after three decades of being the toast of theatre, Arundhati now wants to take it slow, which is why she has handed over the post of Ranga Shankara’s Artistic Director to colleague and friend S Surendranath. “The baby was mine for more than 19 years. I have seen it grow up brick by brick, and have nurtured it to health. Now, I feel that it is time to step back, retire and enjoy the realisation of my dream in its entirety.” Before you can ask, she quickly adds, “But, that does not mean I have taken a total back seat. I am now concentrating

...in Afterlife of Birds on the growth of the institution, not its administration. In the future, I want to take Ranga Shankara to such heights that the only ` 2500/day to stage their plays? It is the sheer love for Arundhati is also a crusader of theatre for children. ‘Aha!’, post of Artistic Director will be a coveted one.” AD theatre. And, there are the annual workshops and sponsors Ranga Shankara’s ambitious programme, supported by Talking of coveted posts, Arundhati was one of the front- that are a source of funds.” She is happy and proud that her the biscuit major Britannia, aims to bring quality theatre to runners for the post of the Director of National School of Drama. efforts have borne results and the theatre scene in Bengaluru children. “We woefully lack meaningful theatre for children. So, does she feel a sense of loss as Waman Kendre takes over? is flourishing in full steam. “Bengaluru has seen cutting-edge In this age of digitisation, how do we ensure that children “It is an apt choice, no doubt. And, why should I feel any loss? theatre in the past and boasts of great playwrights. With a are not robbed off the magic of performing arts and story- It was not at the top of my priority list. It would have been a whole breed of youngsters jumping off the IT bandwagon telling?” questions Arundhati. Ranga Shankara associates itself value-addition, certainly, but if it’s not happening, no issues.” and showing interest in mastering the craft, I am happy that with various schools and brings together children from diverse She looks at her watch and is surprised at how quickly time a platform like Ranga Shankara galvanises them and lends backgrounds. “We make sure that we have a 50-50 intake from flew during the two-hour long conversation. But before she them all the required assistance to dedicatedly pursue theatre government and private schools. The aim is to not only let leaves, she is sporting enough to get into the model of a Maruti with a vision.” them experience the magic of theatre, but also to help them 800 car that is halved, with the boot converted into a stage understand friendship, team work, importance of being a good that hosts puppet shows for children below the age of 10, for She fondly reminisces how listener and equality.” Arundhati believes in maintaining high a photo-shoot. She’s the photographer’s delight as she talks to standards for children’s theatre as well. “We do not encourage the small puppets in hand, so that the photos don’t seem like Shankar would be quiet and any kind of slapstick humour, and certainly not fairy tales. a string of forced poses. Her interest and excitement level is Through our Theatre for Children, we want to help children palpable. Ask her just then if she can describe in one word shy, while she was a ‘wild cat’. grow in a realistic atmosphere and learn valuable lessons in the what theatre means to her and with lightning-like immediacy, “He would just sit by himself in process. ‘Aha!’ has been associated with various international she says, “Everything. Theatre is food for my soul, one thing theatre groups in order to facilitate cultural exchanges.” I’ve never cheated on. It helps me understand people, gives a corner, always reading books Theatre apart, Arundhati has also had a considerable presence me the courage to believe in myself and the heart to sense the or solving crossword puzzles.” on TV and films, most well-known for her National-award goodness of others. So, for me, theatre is everything.” <<

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