June 2021 ®

ONON StageStagevolume 10 • issue 11

MODERN TIMES AT

PreparingTHE for a NCPAdigital revolution

JOHN LENNON THE LARK ASCENDING 50 years of ‘Imagine’ An enduring pastoral romance

Chairman’s Note

s you move from decade to decade, the saddest part is when you have to delete more from your address book than add to Ait. Natural causes are few and far between. The present terror has completely changed a large part of our mode of living. If it were not for great television, music, and our beloved books, life would have been a misery. In addition, all theatres are shut. Which is why we feel that to bring a little joy to millions of art and performing art enthusiasts, we need to move into the digital era. Our aim is to resurrect the treasures lying in our vaults, refresh them wherever possible and share the joy of reliving those great moments. This project will have an international set of technicians to aid our local staff. That’s not all. We are setting up a studio which will be used not only for editing and colour correction, but will also be fitted with professional equipment to capture both live and staged performances at a high level. The enforced absence from office has also identified the different characteristics of our colleagues, associates and all the people we deal with. Reorganisation of our office is essential. The situation allows us to reassess our artistic and management ability, and to examine our assets and liabilities, and properly conceptualise what the future should be. This is not an easy exercise and has to be done by people with vast experience, which is what we have done by strengthening our management and inducting people on our advisory committees who are experienced in these areas of operations, and bring expertise where it’s most required. Undoubtedly, it will disturb the domestic routine of many of our viewers and their families, but is there a better solution?

Khushroo N. Suntook NCPA Chairman Khushroo N. Suntook

Editorial Director Radhakrishnan Nair

Chief Executive - PR, Marketing & Events, NCPA Pallavi Sahney Sharma

Editor Snigdha Hasan Contents

Consulting Editor Vipasha Aloukik Pai 18

Editorial Co-ordinator Hilda Darukhanawalla

Art Director Tanvi Shah

Associate Art Director Hemali Limbachiya

Assistant Art Director Nandkishor Sawant

Graphic Designers Gautami Dave

Advertising Phiroze Shroff ([email protected]; 66223835) Anita Maria Pancras ([email protected]; 66223835) Tulsi Bavishi ([email protected]; 9833116584)

Production Manager Mangesh Salvi Senior Digital Manager Features Jayesh V. Salvi

Cover Credit Glasshouse Images / Alamy Stock Photo 06 12 Produced by The Digital Blueprint Requiem for a Dreamer Early on in the lockdown, the This year will mark 50 years since John Lennon’s Chairman and senior management ‘Imagine’ was released. We take a look at Editorial Office at the NCPA recognised the need what inspired him and the cyclonic drifts that 4th Floor, Todi Building, for a digital platform to take its surrounded him before and after he wrote what Mathuradas Mills Compound, vast archival treasures and newly would become a universal anthem for peace. Senapati Bapat Marg, Lower Parel, Mumbai - 400013 recorded productions to members, By Vipasha Aloukik Pai patrons and a worldwide audience. Printer As the mammoth undertaking Spenta Multimedia, Peninsula Spenta, moves towards its realisation, a 16 Mathuradas Mill Compound, look at how the closed gates of the A Maestro Bows Out N. M. Joshi Marg, Lower Parel, organisation are no indicator of the With the passing of composer Vanraj Bhatia, Mumbai – 400013 hub of activity that it has been. we have lost a distinguished composer and a Materials in ON Stage®cannot be reproduced strapping personality. in part or whole without the written permission By Vipasha Aloukik Pai of the publisher. Views and opinions expressed 11 in this magazine are not necessarily those of the A Music Connoisseur Departs publisher. All rights reserved. Alan Bilgora leaves an aching 18 black void in the world of record On the Record NCPA Booking Office 2282 4567/6654 8135/6622 3724 collecting. Chairman Mr. Khushroo From records to digital audio—the journey www.ncpamumbai.com N. Suntook remembers a dear of sound from the 1920s to date has been friend and excellent host whose a fascinating one. But no matter what the record-laden home was always change in technology, music will go on and on.

filled with music. By Shayonnita Mallik SHUTTERSTOCK 34

and responding to history. Its an unsurpassed literary 22 response to the horrors of the 34 archive that ran from 1972 to Birdsong for the Soul Second World War, however, Decisive Moments 1988, and featured authoritative A composition inspired by nature and was not a miscellany of plays Head of Piramal Gallery, and wide-ranging articles. This aspiring to the impulse of liberation but a movement which, Mukesh Parpiani, looks back on month, Arvind Kumar reviews the that a bird in flight represents, Ralph among other things, some of the finest exhibitions life, work and the written word Vaughan Williams’s The Lark Ascending questioned the existence of organised between 2010 and of actor Balraj Sahni. is also a gentle love letter to the rolling God. This perspective not 2020 at the NCPA. English countryside. only lingers in modern theatre By Jehangir Batiwala but has also played a part in 42 shaping the contemporary 40 Kaleidoscope paradigm. Archives: More than a star Your window to the latest in the 25 By Kusumita Das ON Stage brings you excerpts performing arts across India and News from the SOI from the NCPA Quarterly Journal, the world. From an introductory music education programme and an all-India Western classical music 30 Follow us on: competition to students of the Performative Artistry Devotional in nature and SOI Music Academy making it to facebook.com/NCPAMumbai international conservatoires, a lot originally performed by is happening at the Symphony celibate monks, Sattriya @NCPAMumbai Orchestra of India. has evolved into a vibrant representation of the bhakti @NCPAMumbai rasa entailing an elaborate youtube.com/user/TheNCPAMumbai1 26 tradition of aharya that Absurd by Design includes costumes, jewellery Theatre has been one of the and make-up. We look forward to your feedback and suggestions. Please do drop us an earliest ways of recording By Anwesa Mahanta email at [email protected]. COVER STORY THE DIGITAL BLUEPRINT Early on in the lockdown, the Chairman and senior management at the NCPA recognised the need for a digital platform to take its vast archival treasures and newly recorded productions to members, patrons and a worldwide audience. As the mammoth undertaking moves towards its realisation, a look at how the closed gates of the organisation are no indicator of the hub of activity that it has been.

or a performing arts centre that hosts more than 700 events every year, the pandemic cast a pall over its theatres, performances and seasons that had been scheduled much in advance, the curatorial planning for the future, the educational programmesF undertaken by the genres, the finances— the very energy that gurgles through a house of culture. The lockdown and its severe impact on the oft-neglected performing arts scene in the country could have been a crippling setback. Yet the NCPA, under Chairman Mr. Khushroo N. Suntook, has been both, a haven of tranquility—in the best Tata tradition, the safety and employment of its executives and staff has been protected—and a hub of activity, wherein in the absence of live performances, the organisation has displayed agility to meet challenges. In addition to moving its operations, and educational and outreach work online, the need to create a digital platform for opening up its fine offerings in music, dance and theatre to its regular audiences and those the world over was soon recognised. “The pandemic may not bring back audiences to our theatres soon, but we needed to find a way to continue bringing our performances to them. The lockdown also further affirmed our belief that many of our shows deserved a wider audience than the SANKALPMESHRAM

6 • June 2021 NCPA NCPA June 2021 • 7 capacity of our theatres. We felt that a new path to While work is underway at full steam to create augment our visibility and income would be through a solid body of content for the digital platform, concentrating on starting a digital division as early as meticulous communication plans are being developed possible which would not only examine the treasures in simultaneously to ensure that when the platform our archives to present them online, but also organise is ready to be rolled out, the NCPA’s offerings reach new recordings of performances by great artistes on potential audiences the world over. the stages of our theatres. This means a comprehensive An obvious physical manifestation of development on review of our archive material, and where necessary, to the digital front has been the construction of an editing technically upgrade it, add introductions, and as for studio, a colour-correction studio, a sound mixing room the new recordings, a professional group well versed and a master viewing room. This post-production hub in modern techniques is now being put in place. with state-of-the-art computers and equipment will By the time things settle down in a few months, the be manned by trained editors and colour correctors. NCPA hopes to be ready to offer you an unparalleled “It is in the very final stages of being ready despite variety of performances in all its genres. This is not as the challenges of getting builders, designers and simple a shift as one thought. The transition has to be equipment on site. With the lockdown in place, we are delicately and sensitively handled since it’s a whole waiting to get back on site in order to commission the new methodology for the NCPA,” says Mr. Suntook. He studios that have been built,” Nowell informs. led the organisation with the vision that even though income from the output that the theatres contributed An arduous mission to the NCPA’s sustenance had dried up, the creation With an archive spanning five decades and the of a digital platform was a necessary investment. curveballs thrown by the pandemic, the digital project ‘Going digital’ has been high on the agenda in many is not without its share of challenges. “Part of the nature areas of endeavour in the world of the performing of the pandemic has been a stop-start problem—we arts and tapping the reach of the medium is one more were able to reopen the campus and then we had to step forward in widening the reach of the NCPA. The gathering of top international experts in this area will “BY THE TIME THINGS SETTLE aid the process. DOWN IN A FEW MONTHS, THE NCPA Building blocks HOPES TO BE READY TO OFFER YOU The digital project commenced with the remit that AN UNPARALLELED VARIETY OF guides the NCPA. The content to be made available on the platform is to be of the same quality that art lovers PERFORMANCES IN ALL ITS GENRES. associate with performances presented at the NCPA. THIS IS NOT AS SIMPLE A SHIFT AS The key idea goes back to the NCPA’s visionary founder ONE THOUGHT. THE TRANSITION Dr. Jamshed Bhabha whose mission was to present great works of art from all genres. The heads of Indian HAS TO BE DELICATELY AND Music, Western Classical Music, International Music, SENSITIVELY HANDLED SINCE IT’S Dance and Theatre have been working tirelessly to A WHOLE NEW METHODOLOGY FOR curate fine new performances while working within the limitations of the lockdown, and create a bank of works THE ORGANISATION” from their respective genres from the organisation’s rich archive. close again. These things are out of our hands. So, there “One of the things Covid has taught us is that we is a balance to be struck between spending money on, can’t always rely on people being able to come to a for instance, planning to film new work and not taking physical theatre. The driving force is two-fold: to be too much risk should it be necessary for the authorities able to present works online that would normally be to shut the city down again,” elaborates Nowell. presented in a theatre and so we regard the online The NCPA archives, built painstakingly over the space as another theatre space or concert hall; and that years, were for the purpose of documentation. for a long time, we have been aware that we have got Wherever possible, the performers concerned and an archive that is second to none. Wherever possible, all other stakeholders are being approached by the we would like to share that and the online medium gives five genres and the legal department to make sure us the ability to reach a worldwide audience; people permissions are in place, which is a huge undertaking. who could not possibly hope to visit our campus,” says Work in the background also involves investigating the Richard Nowell, technical consultant to the NCPA and archives, to convert the various formats in which they other international organisations. were recorded. “You can imagine that over the years, From the National Theatre in London and the technology has moved from videotapes to CDs, DVDs. Metropolitan Opera in New York to international digital There are even some reel-to-reel audio tapes. There has platforms like the Berlin Philharmonic Digital Concert been a steady programme at the NCPA, even before Hall, Mezzo, Idagio and Medici TV as well as domestic Covid, of converting these to the digital medium but platforms have been observed closely by those involved that process has been intensified with a focus on things in creating a suitable design for the NCPA’s project. that might appear on our digital platform,” says Nowell.

8 • June 2021 NCPA NCPA June 2021 • 9 At the recording of the digital production of Sea Wall

The possibilities A parallel medium With the SOI’s recording of a few concerts for the When the audience returns to the theatres, how would digital platform, the Indian music genre having the digital project coexist with live performances? “It is done the same and the Theatre department’s online universally accepted that there is no substitute for a live premiere of the digital production of Sea Wall, the performance; the experience of being in the presence presentation of the performances, besides the fact of artistes and cognoscenti is unlike any. However, it is they were shot in the absence of a live audience, is dependent upon the cooperation of all concerned and markedly different from the NCPA’s earlier recordings especially the audiences that they maintain discipline of live events. and proper social distancing if they want to return to “It’s all about emphasis, actually,” explains Nowell. the theatre as fast as possible. The advantage of digital “The emphasis while shooting a live performance dissemination, however, is that it opens up world-class is that it should not interfere with the audience or events to those who cannot attend them in person affect that live event.” When there is no audience, the for geographical or financial reasons. Viewing these cameras can be put where the requirements of the programmes, especially when aesthetically filmed, is performance demand, the lighting could be different infinitely more desirable than not attending them at all,” and retakes are possible too. A concert by the SOI says Mr. Suntook. He also believes that the possibility Chamber Orchestra, for instance, was shot in the of greater exposure could also be an ego boost for all magnificent Jamshed Bhabha Theatre foyer before those involved in a performance. the recent lockdown was imposed in Mumbai. Nowell Nowell concurs. “There is no question that we would be less enthusiastic about putting a theatre do and should regard the digital space as another piece on the foyer’s marble staircase but believes a space and therefore, it would run parallel [to live play in the Open-Air Plaza (OAP) would be fantastic performances]. The online presence is here to stay “particularly with the possibility of being able to and we will find ways of integrating it with our move people in time and space. A performance could campus activities. The campus activities, in the view start in the OAP and appear to continue on the roof of the senior management and mine, are absolutely of the Tata Theatre, for instance, because we can edit crucial to the existence of the NCPA. The campus it together.” provides a focus for communication, the sharing of Behind-the-scenes stories, artiste interviews, ideas across genres and cultures which I don’t think dinner conversations after a performance could you get online. It sounds a bit counter-intuitive but we offer an online audience fascinating insights into have all experienced the oh-no-not-another-Zoom- how performers feel and how it all comes call syndrome. We are all tired of looking at a screen. together. “The possibilities are huge. There are pros It’s a very good second place but no one can argue and cons, of course. This is very much a time of that it is anything but a second place. I feel strongly exploration and information gathering. Our hope is that because there is so much available online, the that we will learn a great deal about what works for thing that the NCPA has to offer is a breadth of us rather than simply trying to copy somebody else,” knowledge and a breadth of art forms and we should

ROSHAN M DUTT he adds. play to that strength.”

10 • June 2021 NCPA IN MEMORIAM

A music connoisseur departs Alan Bilgora leaves an aching black void in the world of record collecting. Chairman Mr. Khushroo N. Suntook remembers a dear friend and excellent host whose record-laden home was always filled with music.

The loss of friends and artists and play them to a knowledgeable argumentative companions continues unabated. The world of audience with an extremely erudite every summer—sharpening my record collecting once again lost moderator. Alan was often among knowledge, listening to unbelievably a stalwart who was not only an them. And his presence there will rare and great records and generally outstanding singer with a lovely tenor be greatly missed. having a jolly good chinwag with voice but also had vast knowledge of Apart from holding a leading great collectors at his record-laden vocal art. position at these talks, nothing charming home. What days they Alan was a mentor to many senior gave Alan more pleasure than were! We should replicate them here and junior collectors, young singers, inviting collectors to his home with the wonderful library we have and was the moving spirit behind to play his splendid records with from Vivian Liff. the Vocal Record Collectors’ insightful criticism or the details Alan was an excellent host, Society which functioned every we never noticed. Indeed, my music connoisseur and gave freely alternate Tuesday at Bloomsbury visits to London will have a huge of his expertise in the area of Church in London, where collectors gap, by not spending a day record collecting. would bring their own records with him and his jolly Rest in peace.

HARMONY

And anarchistic. And revolutionary. According to anthropologist Desmond Morris: the lyrics attack The words of ‘Imagine’ have nationalism (‘Imagine there’s no countries’), caused many an emotional patriotism (‘Nothing to kill or die for’), capitalism (‘Imagine no possessions’), social inequality (‘no need upheaval in listeners, but they REQUIEM FOR A for greed or hunger’), religion (‘Imagine there’s no heaven’) and the concept of the afterlife (‘Imagine all are actually completely devoid of the people living for today’). Lennon himself has said sentimentality, and are distinctly that the song pretty much references The Communist Manifesto and admitted that it is accepted because it political and anarchistic is, to use his word, ‘sugarcoated’.

DREAMERThis year will mark 50 years since John Lennon’s ‘Imagine’ was released. We take a look at what inspired him and the cyclonic drifts that surrounded him before and after he wrote what would become a universal anthem for peace. By Vipasha Aloukik Pai

ith only twenty-six lines, and not a single word over three syllables, with a free-flowing melody and minimalist W sound production, it is, by all means, a simple song. And yet, ‘Imagine’ by John Lennon, a song he once claimed is for children, continues to profoundly tug at the heartstrings even 50 years after it was first bestowed on us. ‘Imagine’ has been called a ‘humanistic paean for the people’. It has been described as ‘an enduring hymn of solace and promise that has carried us through extreme grief’. It has repeatedly been chosen by critics and voted by audiences as one of the great songs of the seventies, of the century, of all time. Bono has said he would not be a musician if he had not heard this song. Stevie Wonder broke down while performing it on stage. It has been covered hundreds of times by a plethora of artistes, from Neil Young to Joan Baez, from Coldplay to Lady Gaga. It is one of Lennon’s more enduring legacies, perhaps even surpassing what he gave to the world as one of the founding members of The Beatles. But what has been considered for decades to be an anthem of peace, is in fact, a radical call for revolution. And nothing about it is actually simple. Far from twee David Fricke, senior editor at Rolling Stone magazine, has pointed out the marked absence of the word ‘love’ in ‘Imagine’. A song that has caused many an emotional upheaval in listeners is actually The back cover completely devoid of sentimentality. The words in of John Lennon's

it are not only unambiguous but distinctly political. album Imagine CBW / ALAMY STOCK PHOTO

12 • June 2021 NCPA This version of Lennon seems he never credited her for them. But in spite of this completely at odds with his personality chequered history, there was also an intense evolution. Before Meghan Markle, as a Beatle. But the fact is, Lennon was Years later, he would admit that had a man inspired him there was Yoko Ono, always an agitator. Born and raised in to write the song, he would have been duly credited. Liverpool, England, he was convinced As a direct result of this statement, in 2017, more than a Japanese-American he was an unwanted child—a belief four decades after the song was released, the National that would shape his personality in Music Publishers’ Association in New York gave Ono conceptual artist, who found more ways than one. His father was songwriting credit for ‘Imagine’. herself to be the object of a merchant seaman who would be After his marriage to Ono, Lennon also became an away for long periods while his mother exceptional feminist. He officially changed his middle universal hatred when she surrendered, or some say was forced name to Ono. When their son Sean was born, he to, the custody of Lennon to her became a homemaker for years, spending his days fell in love with Lennon sister. He was raised by his aunt and raising the baby, changing his diapers, baking bread her husband, and through his own and making the family meals while Ono worked to were constant requests from the who’s who of the admission, he was the troublemaker expand their business investments. And to his credit, entertainment world to reunite with The Beatles for this that other kids were warned to stay he chose this life in the New York of the 1970s, when or that benefit concert. There was the constant fight to away from. ‘I did my best to disrupt gritty machismo was rampant and the world was justify his choices to a world that wanted him on stage every friend’s home...partly out of watching their every move. or in the studio. Klaus Voorman, musician and friend, envy,’ he once said. who played the bass on ‘Imagine’ remembers Lennon When he was part of The Beatles, Lennon and Yoko Ono at their second week-long bed-in for peace in Montreal, Their eyes were watching John taking a call from Leonard Bernstein and saying to the manager Brian Epstein tightly conducted on their honeymoon to protest the ongoing Vietnam War While the world watched, so did the FBI. Spurred composer: ‘The Beatles are not getting together...I have controlled the narrative the band by requests from what was called a paranoid no obligation towards anybody. I’m a free individual...If presented. To ensure popularity, band members and control a global superstar. They made him a non- administration, Lennon’s friendships with anti-war I change the nappies of my baby, I do it because I want were forbidden to get involved in politics. Through entity who could have no motivations of his own. And revolutionaries during the Vietnam War and Nixon’s to do it.’ Then there was the obsessive insanity that led their music and personalities, they were supposed everything the couple did was tainted by the fiction of re-election campaign were deemed to be suspicious. to his murder outside his apartment building by a man to only be purveyors of happiness, a job they did who the world thought they were. Gimme Some Truth: The John Lennon FBI Files—by who was angered by his public statements. John Ono brilliantly. But the moment Lennon decided he wanted Sometimes we think we have peeped into the journalist Jon Wiener, who painstakingly uncovered Lennon was only 40 years old. to part ways with his bandmates, the innate rebel in soul of an artiste because the art they painstakingly FBI files over many years after Lennon’s death— It is fair to say that once Lennon-the-artiste was him came to the fore. And with the new love of his life created touches us. We worship them or burn their discusses aggressive efforts to combat Lennon and born from the ashes of Lennon-the-Beatle, someone by his side, he found ways to dissent on a scale he had effigies. But no one really knows them. And separated get him ‘arrested if at all possible on possession of somewhere was always trying to control him. But he never done before. by the wall of time, space and celebrity, no one can narcotics charge’ which would make him ‘immediately lived his truth, made powerful choices, expressed his truly say whether Lennon and Ono were saints or deportable’. In an interview with NPR, Wiener said, ‘for art and tried his best not to apologise for his success. Counterculture couple savvy marketing geniuses. Who can say with perfect much of 1972 and ’73, Lennon was under an order to When Morris asked Lennon what drove him to work, Before Meghan Markle, there was Yoko Ono. A confidence whether those famous weeks-long bed-ins leave the country within 60 days...it wasn’t until after he said, ‘It’s like throwing a stone in the water and the Japanese-American conceptual artist, who was for world peace in Amsterdam and Montreal were or Watergate, after Nixon left office, that the Gerald initial splash is very exciting, but when the ripples come pathbreaking before it was fashionable to be so, Ono were not brilliant PR moves? Ford administration immigration service finally agreed it’s great.’ Lennon would perhaps be profoundly happy found herself to be the object of universal hatred when But there are things we do know for sure. Lennon, to grant Lennon his green card on very narrow legal with the tsunami-like ripples ‘Imagine’ has created she fell in love with Lennon, who was, by all means, with all his songs of peace and love, has admitted to grounds. So for two years, he was under a 60-day and continues to do. As for us, what we are left with, British pop royalty. Everything Lennon did once being dangerously possessive with, cheating on and order to leave the country, almost continuously.’ at the end of it all, is something quite spectacular. An he was with Ono, was deemed to be her doing. The hitting his women. The lyrics to his most famous song, The pressures Lennon faced were enormous introspective man, his quest for the greater good, his Beatles broke up because of her, they said. They made ‘Imagine’, were inspired from sections of Grapefruit, and omnipresent. There was hate from fans of The luminous lyricism and those songs he created that her into an all-powerful being who could brainwash a collection of poetry published by Ono in 1964, but Beatles. There was government surveillance. There continue to hold us in good times and bad.

A Timeline of Events 1940 1957 1958 1960 1962 1963 1964 1966 1968 1969 1970 1971 1975 1980 1984 John Lennon Lennon George The The Beatles’ The group’s Lennon’s Lennon Lennon and Lennon and Ono get The Beatles’ Lennon’s Lennon and Lennon and The sixth and is born in meets Paul Harrison Quarrymen Decca first album book of verse, meets Yoko Powell get married last album second Ono’s son Ono release final album Liverpool, McCartney joins The become The audition Please prose and Ono officially The couple spends (recorded solo album Sean Lennon their fifth by Lennon England McCartney Quarrymen Beatles Ringo Starr Please Me is drawings, divorced their honeymoon before Abbey Imagine is is born album Double and Ono, Milk joins Lennon's joins The released In His Own conducting two bed- Road) Let It released Fantasy and Honey, band The Beatles Lennon and Write, is ins for peace Be is released Lennon is recorded published, at the end Quarrymen Lennon and Powell’s Lennon officially The albums murdered by marking the of 1980, is Cynthia son Julian changes his middle John Lennon/ Mark David first solo released Powell get Lennon is name to Ono Plastic Ono Chapman born project of Band and outside his married The Beatles’ last any of The Yoko Ono/ apartment recorded album Abbey Beatles in any Plastic Ono building, The Road is released medium Band are Dakota, in Lennon leaves The released New York City Beatles Lennon and Ono form

PICTORIAL PRESS / ALAMY LTD STOCK PHOTO The Plastic Ono Band

14 • June 2021 NCPA NCPA June 2021 • 15 opened with London-based with London-based opened concert The ofBhatia. achievement lifetime the to honour scale agratifying on concert a timely organised Hussain, Zakir with along NCPA, the at Chairman Suntook, 2017, In N. Mr.though. Khushroo by NCPA, the Not musicians. celebrity ofmedia-savvy day crush modern- the in forgotten often was he time, of our composers greatest ofthe one as insiders by industry that. for god thank and measure, teller, equal in Cordelia, music-maker and truth- and Orpheus was He style. his never was polite being box and the inside Staying life. in grain the against going perpetually was he work, at Stage. a during me told once he always fighting,” “I’m in. believed he what for a fight up outspoken and unafraid to put irreverent, was he hand, other the on aperson, As dexterity. in were they as genre in wide-ranging as were life— in later composed he operas or of the Benegal Shyam of films the to soundtracks ofthe or man young V 16 •June 2021 NCPA IN MEMORIAM IN While Bhatia was considered considered was Bhatia While A prolific harmoniser while while harmoniser Aprolific jingles he created as a a as created he jingles ofad thousands of the they compositions—be delightful anomaly. His a was Bhatia anraj 2017 interview for for ON ON style and knowledge silenced. knowledge and style ofhis gentleman more one again, And oflife. things love good of the many. were there which of scores, film fine rather his on rests largely fame His heard. hardly airing, occasional the from apart but, art his commercially. to him offered was whatever with do making wilderness, the in artiste alonely was he home, Back appreciated. been and have developed could he where U.S.A. the or Europe in somewhere a musician-in-residence been have might he Perhaps scores. well-crafted to his justice do could who musicians or of set by a financially either supported, not was to shine, wanted he which in area an music, classical Western where India, to an back came He subject. pet his became India in treated being was he which in manner the at anger and frustration constant came rather late. opera opus—his amagnum to was write Beethoven, like quest eternal His talent. undoubted ofhis worthy truly not exceptions) to subjects (with accompaniments often or jingles, oflittle hundreds writing his in culminated world, ofthe capitals musical the in years with background, musical rich His due. his was that recognition true the received yet never composer, versatile and gifted incredibly an was “Vanraj cultivated palate cultivated a composer with remembers agifted N. Suntook Khushroo Chairman RIP, Vanraj.” a and palate acultivated with man civilised athoroughly was He of by amaster crafted lyrical, are scores his Yet, adoubt, without His years. many for aweek twice least at We phone over the spoke A Maestro Maestro A Bows Out Bows Vanraj Bhatia, we have lost a distinguished Vanraj lost adistinguished have we Bhatia, composer and astrapping personality. and composer With of the composer passing By Vipasha Aloukik Pai By Vipasha Aloukik

PHOTO COURTESY: ZUBIN BALAPORIA the time.” With his father’s support, support, father’s his With time.” the all Idrink everything, Ieat Bhatia. atypical not “I’m said. he clothes,” white their in ‘pure’ very, very was “Everybody words. mincing without own family his described He about. opinion astrong had and often met had he aman Gandhi, Mahatma with ties close had that family business and composer Zubin Balaporia. Kumar, flautist Rakesh Chaurasia Niladri sitarist by Hussain, presented 36 Chowringhee film Lane Sen’s Aparna from compositions, Bhatia’s of one in culminated concert The Karnad. by aplay Girish on based Varsha Agni by excerpt from an followed was Bhatia’s to perform Orchestra Chamber SOI the leading Ames Robert conductor Bhatia was born in a Kutchi aKutchi in born was Bhatia Sinfonia Concertante , an opera he composed, composed, he opera , an . This , the three performances at the tribute concert, Zakir Hussain and Mr. Khushroo N. Suntook N. Mr. Khushroo and Hussain Zakir concert, tribute the at performances three the Vanraj Bhatia (seated) with (from left) musician Tushar Bhatia whose group was one of of one was group whose Bhatia Tushar musician left) (from with (seated) Bhatia Vanraj Best Music and the Sangeet Natak Natak Sangeet the and Music Best Award for National the him earned Tamas show television the for music Duniya Wagle Ki including shows, televesion for and others Ankur Manthan including films, of Benegal’s craft. his over mastery exceptional with composer formed afully to India, back came He show,” any said. he see or out eat to anywhere, go achance got a day. never “I hours 13 for practised he Here, century. 20th of the composition ofmusical teachers influential most ofthe one to be touted often Boulanger, Nadia with later, Paris and in London, in music classical Western to went study he albeit conditional and time-bound, He composed music for almost all all almost for music composed He , Sardari Begum Yatra , , among others. His His others. , among Bharat Ek Khoj Ek Bharat , among , among , ,

He was 94 years old. old. years 94 was He 2021. May 7th on Mumbai in Road Sea Nepean on away home his at passed He to shine. opportunities more many and acclaim more much love, more have received should He him. neglected often world the exception, odd the from apart but compositions of stellar a lifetime Agni Varsha Agni opera his composing life of his years last the spent He 2012. in Shri Padma the honour, civilian highest fourth- India’s awarded was he to music, contribution his For music. instrumental and of meditational albums released and to music, Gita Bhagvad the and Upanishads Vedas, the set also he solos, piano chamber music compositions and to addition In Award. Akademi Vanraj Bhatia’s gift to us was to was us gift Bhatia’s Vanraj . NCPA June 2021 • 17 June

MELODY

ONONONON THETHETHETHE RECORDRECORDRECORDRECORD From records to digital audio—the journey of sound from the 1920s to date has been a fascinating one. But no matter what the change in technology, music will go on and on. By Shayonnita Mallik

“My first indelible memory of recorded sound dates back last, she wants to hear it one last time. Can you help?’” to when I was eight or nine years old; from the time of LP And so from Mumbai to the U.S. to Sangli went an mp3 records,” says singer and sound designer Gaurav Chopra. copy of a song that has survived nearly 80 years, carried “I had suffered a life-threatening injury and was in and in mothers’ voices, on the radio, in records and now as out of hospital for almost a year. That is one year where digital copies. my mother says all I listened to was ‘Musafir Hoon Yaron’ That is the power of music and music technology. by Gulzar saab and R.D. Burman from the filmParichay . Non-stop. I must have worn out A long note’s journey that record.” To young Chopra, “In the 1980s, the NCPA From the phonograph and recuperating in bed, the record shellac to vinyl, radio to was more precious than anything used to have a performing cassette, CD to mobile—music membership for a nominal fee. This granted patrons And these were not recordings of live performances. else. The song was his bible, and has travelled a long way. “In access to their LP library. I used to go and sit in this Musicians were specially invited—informed what to continues to be even now. artist membership that the 1950s and 60s, the average library, from right after school at 3 pm till they closed. sing alongside which accompaniments. The Executive For the 70-year-young record granted patrons access to monthly income of a middle- For hours on end, every day. From Jagjitji’s first LP album Director Dr. V.K. Narayana Menon would himself collector, Suresh Chandvankar, class salaried person was R50 to The Unforgettables to Jasrajji’s rendition of Raga Darbari supervise the performance and the recording, curating the memory of sound is their LP library, where I 60,” says Chandvankar. “Within and Raga Jog to Shiv Kumarji’s performance of Raga every bit. The result? “5000 hours of precious, heritage intertwined with history. “I that, he would run a family of Kaunsi Kanada—it is thanks to the NCPA that I heard audio recording,” says Kale. The best voices of India remember when I was three or used to listen to records four or six. Go back in time and and studied them all. The listening sessions inspired me singing their best pieces. four years old, my mother would for hours on end every from the 1920s to the 40s, the to learn ghazal, Indian classical as well as the santoor.” The NCPA’s endeavour to remain a repository of sing a particular lullaby to me. salary was even less, around R6 And this unfettered access to vast treasures of music diverse music in rich sound has continued. In 2009, About four years ago, I got a day after school” to 10. But right from the 1910s was perhaps what NCPA’s founder and first chairman, the organisation found itself the beneficiary of an record. A minute into playing it, to the 60s, the average cost of Dr. Jamshed Bhabha, had hoped for. astounding gift—a donation of 11,000 LPs and 6,000 I realised, ‘Ah! This is the same song my mother used a single record was between R3 and 6. And the record “In 1975, we built the first theatre at the NCPA,” books from the Stuart-Liff Collection, one of the most to sing!’ From the 1943 filmRam Rajya—incidentally the player?” Chandvankar pauses, enjoying my anticipation, says Nayan Kale, General Manager of the Technical prized and comprehensive aggregations of operatic only Indian film Mahatma Gandhi would ever see in a “That was between R100 and 150.” division at the NCPA. “What was this called? A works in the world. The Stuart-Liff library came to the theatre—that song is sung as a lullaby by the actress to In 1955, the radio came in. Available at a year-long recording auditorium, which means the acoustics of NCPA through Chairman Khushroo N. Suntook’s long baby Luv and Kush in vanvas in the movie.” EMI of R5 a month, the problem with the radio was its the theatre were such that it could be used not just association with collectors Vivian Liff and George Stuart, “Then just last week,” Chandvankar continues, complete lack of user control. You could only listen to for live performances, but also as a recording studio. renowned experts on vocal music and its history. Now, “a query came on email from a friend in the U.S. ‘My what they played, not what you wanted. For Chopra, a The purpose of this was to create a bank of archival as a legacy to the NCPA—Stuart passed away in 2007 93-year-old mother in Sangli is very sick. She used to solution to this was the NCPA’s LP library. “In those days recordings which would document the sound of an era, and Liff in 2020—thousands of CDs and memorabilia

sing this lullaby to me. Now, before she breathes her (the 1980s), the NCPA used to have a performing artist and be exclusively available to the NCPA.” from their collection will be added to the library. ROBERT ST-PIERRE / ALAMY STOCK PHOTO

18 • June 2021 NCPA In taal with tech Since the era of magnetic tape, sound has travelled by leaps and bounds. “When I started out as a sound engineer, I recorded and mixed sound usually for television, ” says Chopra. “That was basically a mono— or single-track sound. Then we moved to stereo, or two-track. Then Dolby 5.1, surround 7.1 and then Atmos. Ironically, though, owing to the proliferation of mobile phones, we are back to primarily mixing in mono and stereo again. Which also puts me in a strange place. I am mixing this video—people will watch it on TV, on their laptops or phones, and maybe even on a home theatre system. What medium do I mix it for? How do I make my mix translate across all media?” Similarly, the theatres at the NCPA were not initially built as multipurpose theatres. “One theatre is designed for Indian classical dance and music, another is for drama, and another for opera and concerts. But what is common,” says Kale, “is that all the theatres are designed to not require any electronic amplification. No gadget, no public address system. Why? Because we wanted to give that experience to the audience to listen to the original tone of a musical instrument or a singer.” But with time, this too had to be changed. “Earlier musicians were confident that the sound they produced on stage was the sound projected to the audience,” says Kale. “But today’s artistes are used to performing in other theatres with amplification. So they are not able to project their voice as much. They are also used to listening to what their audience is listening to using monitoring systems and signal processing systems. So we decided to allow musicians to bring their own sound system.” But this too created a problem. Musicians would get systems according to budget. Some of these malfunctioned, and even though they hadn’t hired a The Stuart-Liff Library at the particular system for a particular performance, the NCPA houses over 11,000 NCPA was held responsible for interruptions by the LPs and 6,000 books audience. And so the NCPA upgraded, adding sound systems that fit the build of their theatres. Meanwhile, since those early recordings were for Difficult notes But even as artistes adapt, and OTT show? Just as Chandvankar archival and documentation purposes, even the Technology continues to evolve, but not all are able to grudgingly learn the language of said that even though the magnetic track Nagra mono spool recorder had to be keep pace with it. While today’s artistes are definitely online self-promotion, being online While today’s artistes technology to preserve records or swapped with digital recording equipment. “This gave a lot more knowledgeable about the technology part makes for a melee of comical are definitely more digitise them has got better, those more control to the recording process, along with involved in recording and performances, some remain situations. “I once went live with handling the equipment may have reduced equipment size,” says Kale. This size reduction reluctant to go digital. There is also the peril of half- Durga Jasraj when she was doing knowledgeable about lost sight of the purpose of these and portability allowed the NCPA to take their recorder baked information, says Chopra: “For example, you her show Utsaah,” says Chopra. “I old records. to folk singers and traditional musicians in places such have read on the internet that a particular brand of mic had so many people online, some the technology involved Even so, technology remains as remote villages of Rajasthan inaccessible to city is a great mic to use. But then, have you explored what listening, some commenting. in recording and the great benefactor and audiences. Then, in 2009, they upgraded their systems kind of voice or instrument it is good for? Is it good for Comments on my singing, disruptor that forces people to once again. “What we did was to connect a central the stage? Is it good for the studio? If it is good for the comments on the sound. People performances, some change, adapt and migrate. As recording studio to all our theatres. That means you can stage, then what kind of stage or auditorium?” saying hello to each other on chat. Chandvankar and Chopra finish sit in that studio and record sound from any theatre.” Thus, it is important to constantly learn, says People arguing on chat—so angrily remain reluctant to go their interviews with me, I feel a The next major shift came last year, during the Chopra, whose workshop on digital sound at the that I almost forgot where I was in digital while others have certain nostalgia in their voice. A pandemic. “People can no longer come to us,” said NCPA helped several artistes understand the ABC the song!” he laughs. nostalgia perhaps strengthened Kale, “And so, we must go to them.” And thus started of home-recording and digital live music production. What is also complicated is the half-baked information by the strange circumstances the NCPA’s journey of repackaging and converting their And with the pandemic raging on for a second year, technical setup. What mic is to be we seem to be living in today— archival material to digitally consumable streams. “We these skills are now even more relevant and necessary. used for the phone? What editing should be done before unable to visit theatres and the stage, siloed in our have created a state-of-the-art studio hub for audio “Just recently, I saw that Ajoy Chakrabarty has done uploading on Instagram? How to fine-tune singing and own homes. But back at the NCPA, Kale has lost no editing, video editing and color correction. We will now an online show,” says Kale, referring to the technical technology and still attract audience attention? Will hope. We will adapt. Theatres will reopen. Whether be able to produce new videos in 5.1 dolby and even 7.1. wherewithal to sing to a computer screen and not a people wait and listen instead of finishing a game of from scratchy records or buffering videos, the music Upgrading is, after all, a constant process,” says Kale. mehfil that comes with this shift. Candy Crush Saga? How can an artiste compete with an will go on. And on.

20 • June 2021 NCPA NCPA June 2021 • 21 MELODY FOR SOUL THE FOR SOUL THE with Gustav Holst, collecting folk songs and hymns and songs folk collecting Holst, Gustav with often countryside, English the through travelled Ravel Paris. in Maurice and Berlin in Bruch Max with later and Parry Hubert Stanford, Charles with studied He London. Trinity College and Music of College Royal the School, Charterhouse at educated subsequently was and death, father’s his to Surrey, following brought was he boy ofthree, ayoung As Cotswolds. picturesque the in village aGloucestershire in born was Williams Vaughan itself. life than truer statement this makes that ofabird song the or landscape a pastoral ofleaves, rustling the ofreptiles, behaviour the of insects, colour the it is composers, and poets artists, for But awe nature. for great feel us make now, experiencing we are one the like pandemics, N is also a gentle love agentle also is Ascending Lark The Williams’s Ralph Vaughan represents, flight in A composition inspired by nature and aspiring to the impulse of liberation that abird of that liberation to impulse the by aspiring and inspired nature A composition As an ethnomusicologist, Vaughan Williams Ralph Darwin, ofCharles grandnephew The eruptions, floods, tornadoes or tornadoes floods, eruptions, destructive. Earthquakes, volcanic most its at is nature when apparent becomes normally statement of this truth The nature. ever underestimate BIRDSONG BIRDSONG BIRDSONG BIRDSONG letter to the rolling English countryside. to English letter rolling the By Jehangir Batiwala Jehangir By To lift us with him as he goes… To he as with him us lift overflows which wine the he And cup, golden his is valley Our up, and up winging ever And instils, that he love earth of ’Tis fills, heaven his till singing For shake… and slur whistle, chirrup, In abreak, without links many Of sound, of chain silver the drops He to round, begins and rises He name. same of the poem 1881 Meredith’s George from lines with score the prefaced he when 1914, in Williams Vaughan by conceived it was orchestra, and violin solo for Ascending Lark The was which amongst compositions, ofhis many inspired love ofnature His generations. future for them notating and of others, Vaughan Williams’s loyalty to his country country to his loyalty Williams’s Vaughan of others, World War, First ofthe thousands like outbreak At the Soaring strains landscape painter David Cox in 1849 in Cox David painter landscape ‘The Skylark’ painted by English English by painted Skylark’ ‘The

. A Romance . ARomance

peter barritt / alamy stock photo some noteworthy ones. In the early days, the piece piece the days, early the In ones. noteworthy some distance. away fly in the then and shake, and slur whistle, chirrup, instrument his to make has violinist The notes. right the playing just beyond far Yet, goes skill the pure. and exposed so are lines the as one, for intonation more. once cadenza violin by solo the depicted fainter, all and fainter gets song its higher, till and higher soaring off, itflies then again, sings abranch, on itsits returns, lark the When meadows. and woods brooks, with life pastoral English depicts section middle The higher. flies and around hovers then It sky. into the soaring and off taking then singing, abranch, on sits lark scene—the the set by acadenza followed strings accompanying with violin for passages opening The violin. solo for only scored sections many with improvisatory ofbeing impression an itgives work, achallenging musically and Technically Pastoral inspiration music. choral and songs operas, chamber music, ballet and film music, five tuba, and oboe piano, violin, for concertos music, orchestral other symphonies, nine composed he though ofmusic, piece famous most To composer’s the day, this itremains Hall. from assistance with Williams Vaughan by composed was work this masterpiece, Atrue faint. becomes song its till higher and higher soars, and itsings as a lark Boult. Adrian under Orchestra Symphony by British the accompanied was she where 1921, June 14th on London in Hall Queens The at subsequently and Mendham, Geoffrey pianist with 1920, December 15th on Bristol in Hall Public Shirehampton in her by performed first itwas Hall, Marie violinist British to the Dedicated Somerset. in house in acountry score the finished and Ascending Lark to The returned George Butterworth. composer friend, dear ofhis loss the including saw, he destruction and by death the pained he was officer, artillery an as later and driver ambulance bearer, war. the a stretcher in As serve to to France off he went and first, came 24 •June 2021 NCPA There are innumerable recordings of the piece, and and piece, ofthe recordings innumerable are There perfect violinist, the from skill much requires piece The depicts to say, violin solo the Needless he 1919, in war ofthe end the After was composedwas by Ralph Vaughan Williams with with Vaughan Williams assistance from violinist fromassistance violinist Marie Hall, to whom to it Hall, Marie The Lark Ascending Ascending Lark The A true masterpiece, masterpiece, true A was also dedicated also was English countryside. countryside. English the in ascending alark like just years, coming the in even more soar will piece ofthis popularity the that predicts writer This repertoires. in place celebrated aconsistent, found has Ascending Lark The others stormed the catalogue. and Benedetti Nicola Fischer, Julian Hahn, Hilary Chang, Nigel Kennedy, James Ehnes, Janine Jansen, Sarah Orchestra, Chamber English withThe Zukerman of Pinchas that like recordings remarkable when is this and virtuoso, violin great a befitting awork as respect due its earned piece the years, later in But, Orchestra. Philharmonia The with Bean Hugh and Sinfonietta Cleveland The with Druian by Rafael those as such ofnote renditions other have been There Orchestra. Philharmonic London the led who Pougnet Jean or Orchestra String Boyd Neel ofThe Grinke Frederick like orchestra, ofthe by leader the recorded and (not alark serious), so for considered generally was A century from its first orchestral performance, performance, orchestral first its from A century

GRANGER HISTORICAL PICTURE ARCHIVE / ALAMY STOCK PHOTO INITIATIVE

News from the SOI From an introductory music education programme and an all-India Western classical music competition to students of the SOI Music Academy making it to international conservatoires, a lot is happening at the Symphony Orchestra of India.

Since the beginning of the lockdown in March last year, the NCPA, under the leadership of Chairman Mr. Khushroo N. Suntook, has been successful in swiftly moving its various programmes and activities online while also being on a steady path to expanding its digital presence. Concerts by the Symphony Orchestra of India have been recorded for a release on the digital platform, and all lessons of the SOI Music Academy have continued online over video conferencing, for both one-on-one instrument lessons and group A hunt for talent viewing. Apart from a monetary award, the lessons such as solfeggio. Just like concerts, music competitions have winner will get to perform with the SOI Imaginative use of technology moved online too. The SOI Music Academy Chamber Orchestra when the situation continues in new realms while graduates is no stranger to them with its students permits. All semi-finalists and finalists will of the academy are going places, literally having won numerous awards in the recent receive certificates from the NCPA. and figuratively. Newport Virtuosi International Online “The prize money and the performance Music Competition. This time, though, opportunity are serious incentives for First note it is the SOI that has taken the lead in budding musicians,” says Bisengaliev. “It is From Mozart to Chopin, child prodigies organising an all-India music competition indeed a very good start for young talent.” down the centuries have shown that it is of orchestral instruments. never too young to start learning music. The competition will be open to Indian Flying high The SOI is all set to launch Prelude, participants below 18 years of age who must Graduates of the SOI Music Academy have an introductory music education play an instrument in one of these categories: regularly made it to music schools abroad for programme designed for children aged strings, woodwinds, brass, percussion. Each their higher studies. Yohan Pastala-Gupte, five to seven years. It aims to build category will comprise two age groups: up who learned to play the trumpet at the strong foundational knowledge through to 14 years old (Juniors) and 15 to 18 years academy for seven years and graduated this structured lessons spanning 10 weeks, old (Seniors). There will be three rounds— year, became the first wind player from the with sessions conducted thrice a week for elimination, semi-finals and finals. The academy to have chosen this path. Pastala- 30 minutes each. repertoire for the elimination round Gupte, who applied to the Academy of Music The programme is a blend of practical must include two contrasting pieces from and Performing Arts (AMPA) in Tilburg, lessons and theory. Children will learn to different eras (baroque, classical, romantic, Holland, and the Hochschule Osnabrück play the recorder, with two lessons a week contemporary) performed with a live or pre- University of Applied Sciences in Germany, on the pipe-shaped musical instrument. recorded accompaniment, or solo. has been selected by both and will continue The third session will focus on music “The idea behind the competition is to his further studies in the latter. theory and history, and music appreciation discover talent across India and we are “I am excited to embark on this journey in order to foster a deeper understanding expecting quite a lot of interest. With no and I’m extremely thankful for the support of music among children. Easy to learn scope for travel or live performance, this Maestro Bisengaliev and the SOI Music and readily available, the recorder does would give budding musicians something Academy have given me. I hope to make not call for a big financial investment. to look forward to and an opportunity them proud,” says the young trumpeter. “The SOI has regularly worked with to prepare diverse pieces of music. The “I am very pleased at this development. children in educational institutions and only technical requirement is a cell Several musicians are looking East, and NGOs. The idea is to continue taking phone,” says SOI Music Director Marat India is an exciting place to be a musician music to a large number of kids. While Bisengaliev. The video submissions in the Western classical tradition. Many we aim to conduct the programme in must be unedited and recorded in the of our students who are pursuing their person, given the circumstances, it has horizontal frame in one take, ensuring studies in international schools are quite been designed for the online medium that the participant’s entire body, face, keen on coming back and joining us. When comprising multiple batches with no hands and instrument are visible. that happens, it would all come full circle,” more than four students per batch,” Conductors and musicians of Bisengaliev concludes. informs Xerxes F. Unvala, General international stature will judge the videos. Manager – SOI & Western Classical The shortlisted videos from the semi-final For more details, please visit www.soimumbai. Music, NCPA. round will be made available for public com or write to [email protected]

NCPA June 2021 • 25 STAGECRAFT

Eugène Ionesco’s play Rhinoceros explores the always been one of the earliest ways of recording strange and sudden multiplication of the titular and responding to history. The avant-garde “absurd” creatures across town stage was an extension of this new sense of emptiness, uncertainty and pessimism that people were feeling in a post-war world. Suddenly, “tragedy” (in the theatrical sense of the term) seemed too small a word to contain the scars that remained. This was no story of doomed lovers or warring gods and kings. What the war showed was that we, humans, have it in us, to do this to fellow human beings. Thinkers began to reflect on this world that seemed to have gone mad, thereby ushering in the In absurdist theatre, time and place became incomprehensible and beginnings and endings were arbitrary philosophy of existentialism, whose central claim was, in the words of French philosopher Jean-Paul Sartre, “existence precedes essence”. According to this world view, human identity is neither defined by nature or culture, but merely by the act of existing itself. The absurdists took a page from the book of existential philosophy, believing that life was bereft of rationality and without an essential preordained purpose as stated by the Aristotelian philosophy of essentialism. And thus they brought about a revolution in post- WWII theatre that went against the grain of realism, stripping all the old conventions of drama. Of gods and men In a way, the absurdists questioned the existence of God, which until then was the accepted, unchallenged truth. The new question was: how can there be a divine power that can allow so much killing? They did not say that God does not exist; but that man will continue to ask these questions and be met with an eternal silence. This perspective still lingers in modern theatre, even outside the confines of the Theatre of the Absurd. In Simon Stephens’s play Sea Wall, which ow absurd is the theatre of the absurd? audiences of the NCPA will be familiar with, we see a Two tramps waiting for someone who glimpse of this when the protagonist Alex wonders (spoiler alert) never arrives; an elderly if God is a bearded old man who exists in the space couple sets up chairs for invisible between numbers. He too is met with silence. Absurd by Design guests and then commits suicide; In his essay ‘The Myth of Sisyphus’, French Theatre has been one of the earliest ways of recording and responding to inhabitantsH of a small town turn into rhinoceroses. philosopher Albert Camus purported the thought These could well be among the landmark examples that man can only think like man; even if he is thinking history. Its response to the horrors of the Second World War, however, was of what unfolded on stage as part of the avant-garde about God, it is the man’s thought. “What can a theatre movement that started in the 1950s in Paris, meaning outside my condition mean to me?” he not a miscellany of plays but a movement which, among other things, in response to the horrors of WWII in the 1940s. This writes. In the 1950s, a group of playwrights in France questioned the existence of God. This perspective not only lingers in modern was a world still reeling from the traumatic events of started writing plays hinged on this philosophy that the war which showed just how demonic man can the audience did not quite understand but found theatre but has also played a part in shaping the contemporary paradigm. be and how meaningless killing can reduce the value it hard to reject at the same time. Eugène Ionesco, of human life to nothing. Under the looming threat Samuel Beckett, Jean Genet, and later on, American By Kusumita Das THEATREPIX / ALAMY STOCK PHOTO of nuclear annihilation post 1945, human existence and British playwrights Edward Albee and Harold itself seemed precarious and arbitrary. Theatre has Pinter, launched a revolution against popular realist

26 • June 2021 NCPA NCPA June 2021 • 27 theatre. However, it is important to note that this was to befuddle audiences in a similar way, making them This rendition of Samuel Beckett’s never an organised movement—in fact, the term “the immortal names in the absurdist hall of fame. tragicomedy Waiting for Godot, deemed to Theatre of the Absurd” would only be coined in 1960 be the Theatre of the Absurd’s first by British dramatist Martin Esslin in his book by the commercial success, featured Roger Rees, Rethinking conventions Matthew Kelly and Sir Ian McKellen same name. A lesser-known absurdist playwright was Václav Havel These plays, especially ones by Ionesco and Beckett, who went on to become the President of Czechoslovakia. provoked and unsettled an audience who came in Also influenced by Ionesco and Beckett, whose works expecting well-formed characters and plots. Instead, were banned in his country, Havel shot to fame with what they got was hardly recognisable characters two full-length plays in the early 1960s, when he was in in an unrealistic universe of their own creation, his 20s. The Garden Party (1963), about a young officer mouthing disjointed dialogues that sometimes even rising up the ranks by eliminating every department he bordered on gibberish. A traditional play followed the Greek structure of a clear beginning, middle Edward Albee and ending. In absurdist theatre, time and place became incomprehensible and beginnings and endings were arbitrary. Thus they were called “anti- plays”. Beckett’s Waiting For Godot remains one of the finest examples of absurdist theatre. There is no explanation, no solution offered. The audience is left to watch, experience and draw their own conclusion. By subverting logic in their plays and opening up the infinite, absurd dramatists continued to present a stark, disillusioned picture of a post-war world exploring themes of isolation, loss of self, and the uncertainty of existence. Critics didn’t take kindly to them; often some of these plays were called “pranks” played upon the audience. But for the audience, it was an entirely new experience, and thus the Theatre of the Absurd continued to grow. In later decades, the By subverting logic in their plays and opening up works of Beckett heavily influenced playwrights such as Albee, Pinter and Tom Stoppard who continued the infinite, absurd dramatists continued to present

Eugène a stark, disillusioned picture of a post-war world Ionesco exploring themes of isolation, loss of self, and the uncertainty of existence

worked for, was loved by the audience. They did not saying the word. Even in realist tradition, the depiction see it as absurd, but as the then Czech political system of the once bloodthirsty Jewish moneylender, Shylock, for what it was—a totalitarian regime. Two years later, in Shakespeare’s Merchant of Venice changed. The in what is said to be Havel’s most memorable play, The shadow of the Holocaust loomed over the original anti- Memorandum (1965), an incomprehensible language is Semetic script and Shylock began to be treated as a imposed on a large bureaucratic empire causing the martyr in post-war versions of the play. entire system to fall apart. In 1968, after the Soviet There is no separating the stage from history. The clampdown on Czechoslovakia, his plays were banned two World Wars brought about irreversible changes to and his passport was confiscated. theatre in both Europe and America. Certain absurdist The absurdists were not the only change that had techniques retained a place in modern theatre; come about in post-war theatre. After Auschwitz, however, the Theatre of the Absurd as a movement, nothing quite remained the same in theatre. An began to decline in the mid-60s. It was perhaps the adaptation of The Diary of Anne Frank was first staged bravest the stage had ever been, daring to attack, in in 1955 and eventually went on to win the Tony Award. Esslin’s words, “the comfortable certainties of religious The atrocities of the Holocaust became both direct and political orthodoxy”. But it was not meant to evoke and indirect subjects in the works of Polish playwrights despair. As he writes in his book, “The shedding of Jerzy Grotowski in Akropolis (1962) and Tadeusz easy solutions, of comforting illusions may be painful, Kantor in Dead Class (1976). Akropolis was a poetic but it leaves behind a sense of freedom and relief. And paraphrase of life in camp Auschwitz, with costumes as that is why, in the last resort, the Theatre of the Absurd bags full of holes covering naked bodies and the holes does not provoke tears of despair but the laughter lined with material suggesting torn flesh.Dead Class, of liberation”. a play about the impossibility of returning to one’s childhood, uses mannequins to signify what’s dead, Special thanks to Divya Bhatia, Ananda Lal and Samuel Beckett

STEVE MACK / ALAMY STOCK PHOTO (ALBEE); GL ARCHIVE / ALAMYSUEDDEUTSCHE STOCK PHOTO (BECKETT); ZEITUNG PHOTO / ALAMY STOCK PHOTO (IONESCO) and addresses the horrors of the Holocaust without Rahul Da Cunha. WENN RIGHTS / ALAMY LTD STOCK PHOTO

28 • June 2021 NCPA NCPA June 2021 • 29 EXPRESSION arts and aesthetics, clearly indicates expressions The male costume and make-up (here) comprise the dhoti, cola, paguri (turban) and a U-shaped forehead mark while the in four fundamental ways—angika, vachika, aharya female representation (below) comprises the ghuri, blouse, and satvika. And a performance tradition leaves an oorna, kanchi (waist cloth) and a red forehead mark imprint on the minds of the rasikas when the four unite to express a narrative that carries its individual identity. When we witness a Sattriya dancer in silky threads woven in cotton fabric with exquisite design, a performing body adorned with fine jewellery of the region enhanced with the sweat of labour reflecting in the texture of the skin outlined in PERFORMATIVE shades of paints—we get drawn to the exhilarating presence of the dancing body. As a child, my introduction to the world of performance was through these majestic appearances of characters in ARTISTRY bhaona (Sattriya dance-theatre), adorned with bright costumes and make-up, that allowed me to partake Devotional in nature and originally performed by celibate monks, in a journey to a world of unmapped imaginations, Sattriya has evolved into a vibrant representation of the bhakti innovation and realisations. rasa entailing an elaborate tradition of aharya that includes Historical references costumes, jewellery and make-up. Finding its roots in the Bhakti movement of Assam in the 15th and 16th centuries led by the saint poet By Anwesa Mahanta Srimanta Sankaradeva and his principal apostle Sri Sri Madhavadeva, Sattriya has a living legacy of six centuries, intertwined with memories and contributions of the practitioners. The Bhakti Sundara sarata kala basantatodhika Our literature is abundant with references of movement embraced a polyphony of artistic Bhoila anandaita deve dekhi tara shreeka picturesque images of nature or prakriti adorned with expressions where human skills of crafts, weaving, Jalachara pakhi tejoi sulalita nada the colours of its uncountable variants of animate wood-carving, writing, recitation, singing, dancing, Sugandha batase mone milawoi aahlada and inanimate elements. Be it the changing colours painting and enactment were woven together for • Sankaradeva (Book X, Bhagavata) of the trees with the seasons or the innumerable a holistic understanding of bhakti in its integrated (The season of Sharada outshines the shades of rocks, the melodious notes of birds sharing and communication of thoughts and ideas, brilliance of Vasanta/ or the magnificent presence of water creatures, centering around the treatise of the Bhagavata Seeing the grandeur of nature, the gods also rejoice/ the allusions are unending. When characters are Purana. The movement celebrated the idealistic The riverine creatures and birds sing expressed in their fullest adornment, how could we principle of nirakar and allowed human imagination melodiously in joy/ not imagine the role nature played in inspiring their and creativity to shape an aakar manifested in an Everybody’s mind is filled with the fragrance forms with its cosmic energy? The Natyashastra, one array of expressive dimensions of artistic brilliance. of the wind) of the principal treatises of performance in Indian The saint poet, in his first-ever presentation of the lyrico-dramatic spectacle, the Chihna Yatra, was, Vaishnavite monks from Natun Kamalabari according to biographical chronicles, a marvel of Sattra presenting Gayan Bayan on stage sheer visual and performative artistry. The painted scenography and props along with the use of masks left unparalleled imprints of colours which, in later periods, were represented in manifold shades and tones. The elaborate usage of aharya finds its reference in the same biographical narratives where the saint poet and his followers interlaced different shades of blue threads to prepare the costume, or used shades of red, white and black as facial paints during performance, and Sri Sri Madhavadeva used puroi leaves to represent blood during the presentation of Nrisimha Yatra. These references provide ample suggestions of the ingenious methods used for a presentation.

Understanding aharya In its presentation, Sattriya shares an interesting dual space of ritual and proscenium-level theatrics with a symbiotic bond flowing from the devotional fervour of the Sattra institutions. As we discuss the aharya domain of the tradition, we must consider

KALPA the costume and its preparations as seen in both PASRICHA AVINASH

24 • June 2021 NCPA NCPA June 2021 • 31 are also part of the spatial significance of the dance narrative. While the ritual presentation sees singhasan (sanctum sanctorum), candratap (large canopy in the performance space), gaca-caki (lamps) and aarkapor (a white screen held by two persons at the entry gate of the performance space), the proscenium space mostly sees a gaca-caki or a replica of simhasan as a source of energy. A narrative of multiple bodies The concept of yatra is deeply rooted in Indian aesthetics. In the context of performance, the movements of the dance form expressed in the form of angika (body movements), vachika (voiced words), aharya (adornment) and communicated with deep meditative involvement of satvika, become an entry point to the experience of a performance. Moreover, in each of the four segments which demand many decades of preparatory levels for execution, the representation becomes an embodiment of an integrated self, embracing the flavour and performative identities of multiple bodies. While each of these visual forms with symbolic designs lead one to a journey of its own on the path of socio-cultural experience, the power of dancing bodies adorned in their distinctive Group of young Vaishnavite monks from Badala aharya becomes a signal marker of the uniqueness Padma Ata Sattra presenting Behar Nach of a particular tradition. Though there are gender specifications in the field ofSattriya aharya with the ceremonial offerings of the Sattras and on blouse, blue cola (upper body garment), tongali on the designs manifested in the aura of purusha stage. Traditionally, each dance number adds an the waist and an oorna veil covering the hair. In each This page: In preparation for Sattriya performances (male) and prakriti (female), the basic philosophy of embellished, distinctive costume of its own. The of these presentations, ornaments like mota moni bodily existence with these energies gets preliminary ritual with an orchestral presentation (red and golden beads), oonti (earrings) in case of Sattriya started sharing a proscenium stage, a panel celebrated by the same dancing body, be it a male of khol (percussion) and taal (cymbals), commonly male presentation, and jonbiri, bena and lokaparo of scholars and cultural practitioners sat together or a female. Seen apart from the dancing body and known as Gayan Bayan, include a capkon (white shirt), (earrings) in female presentations are worn. and worked towards aharya. The contemporary the narrative of the dance form, these adornments, muga (a kind of silk) dhoti and sometimes cotton The dramatic unit of the dance tradition too includes Sattriya costume gets defined outside the ritual whether they are jewellery, costume or accessories, dhoti and celeng chadar (cotton fabric around the exquisite costumes created for an array of character context, primarily in two ways, keeping in view its are cultural artefacts born out of social ecology, but body) by the bayan and a similar attire with a slight portrayals. The sutradhar, or the narrator, is known nature, philosophy and technique of the male and the dancer interweaves these multiple streams of variation comprising a coukon, muga dhoti, celeng for their illustrative dance sequence and gorgeous female repertoire. culture all the while upholding the organicity of the chadar and white paguri (turban) in the pattern of attire. The sutradhar is mostly seen in white robes The male costume is garnished with a dhoti (pure tangible and intangible. khekerupatiya and bhatouthutiya (beak of a parrot) with borders (pari) laid out in skirt ghuri and a blouse silk or muga silk), cola (upper garment) or aachal decorated by a garland of bakul (Spanish cherry) (caapkon cola or aaskon cola) and wears a sutradhari (chest garment), blouse or buku cola (in case of Anwesa Mahanta is a Sattriya dancer and scholar flower. Thepaguris are tied in various ways by skilful pag or koshapatiya pag (vessel-shaped turban), a male performers) and kanchi (belt made of cloth). based in Guwahati. She is a national awardee of practitioners. Dance numbers like form of headgear supported by a The head is covered with a paguri and the feet the Sangeet Natak Akademi Yuva Puraskar, a Jhumura include a white lohonga veil at the back and cotton tongali are adorned with nupur (anklets). The female former CWIT Fellow, British Council at Queen’s (skirt), buku cola (blouse), tongali In its presentation, on the waist. The characters too, costume, on the other hand, is embellished with University Belfast, and Artistic Director of Kalpa - A (waist band) with a bhatouthutiya depending on their role in the silk ghuri (skirt), aachal, blouse, kanchi and oorna Society for Promotion of Literature, Art, Culture and paguri as the head adornment, Sattriya shares an dramatic core, are given shades of (veil). The ornaments used are indigenous Assamese Social Harmony. while presentations like Behar Nach, interesting dual colours which are enlivened by a adornments like kundala, lokapara, thuriya, keru, dug Nadu bhangi and Krishna Nach khanikar with his skills. Khanikars dugi, silikha, dhol biri, jon biri, gal-pata (close fitting Works Cited include a costume representing space of ritual and are traditional craftsmen who excel neck wear with various traditional jewellery designs), Dehejia, H. (2010). Akriti to Sanskriti. The Journey of the avatar of Krishna—with yellow proscenium-level in make-up, ornament preparation kapali (ornament for the forehead) and nupur. Indian Forms. Delhi. Niyogi Books. dhoti, blue blouse (buku cola) and costume designing. The The phot (forehead mark) symbolises an important Mahanta, A. (2018). Text, Context and Interpreter: and kiriti or natuwa tupi (head theatrics with a biographical narratives, in their difference. The male representation sees a U-shaped Understanding the Paradigms of Sattriya Dance and adornment) and kanchi (belt). The symbiotic bond allusions to the presentation of design indicating the urdhapunda, while females the Dancer in the Changing Space. In P. Chakraborty popular Chali Nach, or the female the saint poet, refer to this wear ranga phot or a red mark. The wrist ornaments and N. Gupta (ed). Dance Matters Too. London and dance number, finds a different flowing from the proficiency of cultural labour in are seen in the form of gam kharu (narrowed wrist New York. Routledge. representation where the male devotional fervour acknowledging the significant role wear) for the males and muthi kharu for the females Mahanta, P. J (2007). The Sankardeva Movement: Its dancers adorn themselves in of the khanikars as they prepare (broad-sized wrist wear).The finger ornaments can Cultural Horizons. Guwahati. Purbanchal Prakash. female attire, with a white cotton of the Sattra a performing body with costume, be seen in multiple jewellery designs in the form Thakur, R. (ed). (1994) Guru Charit (7th ed). Guwahati. skirt, a coloured (blue/black) institutions hair and make-up. However, as KALPA of senchowa, japi sajiya and so on. Accessories Jyoti Narayan Duttabarua. KALPA (TOP)

32 • June 2021 NCPA NCPA June 2021 • 33 PHOTO ESSAY A travel photo exhibition organised by the Government of Mexico in September 2015

The June 2015 edition of the annual exhibition of the Symbiosis School of Photography, Pune, held at the gallery

NCPA Chairman Mr. Khushroo N. Suntook at the inauguration DECISIVE of The Bicycle Diaries, a photo exhibition by noted journalists MOMENTS Anoop Babani and Savie Viegas, held in May 2019 Head of Piramal Gallery, Mukesh Parpiani, looks back on some of the finest exhibitions organised between 2010 and 2020 at the NCPA.

hen I joined the NCPA in June 2009 as full- Published photographs in reputed magazines like time head of the Centre for Photography as Better Photography, Smart Photography, Sanctuary Asia an Art Form, Piramal Gallery, I took it up as and Asian Photography have adorned the walls of the an assignment different from my earlier job gallery from time to time. This attracted many consulates as W a photojournalist. The gallery—and the NCPA—were in Mumbai to showcase the culture of their respective not new to me. I had covered the inauguration of the Tata countries through photo exhibitions. Theatre by Indira Gandhi in 1982 and prior to joining the In the 33-year-old history of the gallery, hundreds organisation, had already exhibited my work thrice at the of photographers have displayed their work here and gallery since its inception in 1987. thousands of art-loving people, including stalwarts of In my twelve years at the gallery and until March photography from across the country, have regularly 2020, when the lockdown was imposed, nearly 200 visited it. It is to the NCPA’s credit that the city has a exhibitions, talks and workshops have been organised. wonderful place that celebrates photography as an art Besides continuing with the tradition of solo photo form. exhibitions, I have invited photographic institutions like Through these pages of ON Stage, let me take you on Rachana Sansad, National Institute of Photography, a visual tour of some of the finest exhibitions that have Photo Division of the Government of India and Symbiosis taken place between 2010 and 2020. In this difficult time School of Photography to showcase their collections in when photojournalists are risking their lives to document the Piramal Gallery. the crisis, I dedicate this feature to them.

34 • June 2021 NCPA NCPA June 2021 • 35 Filmmakers Amol Palekar and Sai Paranjpye take a close Julio Ribeiro, former Commissioner of Police of Mumbai, Asian Photography magazine’s national photo exhibition Year after year, entrepreneur and avid photographer Mukesh look at a photograph during an exhibition on Marathi visits the gallery during the travel photo exhibition on inaugurated by noted wildlife photographer and Batra, seen here from the March 2020 edition, brings a new theatre's journey organised by the NCPA in August 2011 Machu Picchu in November 2011 businessman Kakubhai Kothari exhibition of his photographs to the gallery

The late legend of Indian photography K.G. Maheshwari with Noted photojournalist Dilip Banerjee’s photo exhibition being his two portraits, as part of an exhibition organised by the Legendary photographer Raghu Rai inaugurates Chandu A regular visitor to the gallery observes photographs displayed viewed by the then RBI Governor D. Subbarao in May 2010 Photo Division of the Government of India in February 2012 Mhatre’s exhibition titled Bombay in March 2013 by a group of photographers from DCP Expeditions in May 2019

Panoramic view of the Piramal Gallery with a display of antique photo equipment in an exhibition organised by the Indian Art Studio

36 • June 2021 NCPA NCPA June 2021 • 37 Zakir Hussain beholds a photograph of his father Allarakha which Italian photographer Fiorenzo Senese with his work was part of the Tribute to Abbaji exhibition in April 2019 in the gallery at an exhibition in November 2015

Renowned photographer the late Shreekant Malushte signs the visitors’ book of Nitin Pawar after inaugurating his landscape photo exhibition in May 2016

Schoolchildren with environmental activist and writer Bittu Sahgal during Sanctuary Asia magazine’s exhibition in October 2019

Nearly 100 cartoonists organised an exhibition on Charlie Chaplin in June 2015, which was inaugurated by actress Eminent Delhi-based photographer and author of several books Vidya Balan on the Himalayas, Ashok Dilwali, at a talk in the gallery during the golden jubilee celebrations of the NCPA in November 2019

Actor Anupam Kher inaugurates an exhibition of works by veteran photojournalist the late Kulwant Roy, curated by Aditya Arya of A wide shot of the Piramal Gallery during a photo Museo Camera exhibition by Richa Arora in February 2011 Museum of The Mumbai Press Club at its annual photo calendar award function at the NCPA in Gurgaon in June 2019 where chief guest Shahidul Alam, noted photographer from Bangladesh, is April 2010 seen with Mumbai photojournalists

38 • June 2021 NCPA NCPA June 2021 •39 ARCHIVES

Balraj Sahni (left) in Bimal Roy’s It turns out to be a collection of eleven Do Bigha Zamin, the first Indian stray articles which Sahni wrote from time film to win the International Prize to time and is, on the whole, extremely at the Cannes Film Festival More than a star disappointing. None of the pieces deals ON Stage brings you excerpts from the NCPA Quarterly Journal, an unsurpassed literary rigorously with the stage or the cinema. One deals with the problems of radio archive that ran from 1972 to 1988, and featured authoritative and wide-ranging articles. This artistes and their grades. Then there are month, Arvind Kumar reviews the life, work and the written word of actor Balraj Sahni. memoirs about people, a setting down of certain experiences. The article entitled ‘Cinema Aur Stage’ touches on the subject rather cursorily, as if the close-up were the MERI FILMI ATMAKATHA by Balraj his youthful dreams of sex were coloured meeting in Bombay with his old friend only major difference between the two Sahni, Rajpal & Sons, Delhi, 1974, by these film sequences which he says he Chetan Anand resulted in the couple media. Most of the pieces are exactly what Rs. 10.00 (In Hindi). saw much before he could understand being offered leading roles inNeecha they were meant to be—magazine articles CINEMA AUR STAGE by Balraj Sahni, anything about sex. Would he have been Nagar. The film project did not materialise written for the casual reader. They did not Atmaram & Sons, Delhi, 1974, Rs. 9 .00 (In spared such dreams had he not been for both of them, though. Another chance deserve to be collected and reproduced Hindi). exposed to those films at the age of eight? meeting with a total stranger, V.P. Sathe, in book form. The only article of some KYA YEH SACH HAl BAPU? by Balraj Thus Sahni has a way of oversimplifying brought him into the fold of the Indian permanent value is the one on Prithviraj Sahni, National Publishing House, Delhi, things. A new cinema house in his People’s Theatre Association (IPTA). Kapoor. Unfortunately, the editors have 1974, Rs. 5.00 (In Hindi). hometown (Rawalpindi) advertised in its Here K.A. Abbas entrusted him with the also overlooked the problem of dates and Balraj Sahni was one of those rare Hindi opening bill a film which happened to be direction of his own play. Sahni became scattered in many directions. My house two. And before the camera now stood a the articles have not been arranged in any cinema personalities endowed with a wide based on a novel prescribed in the course an IPTA activist and soon joined the of cards was demolished.” Some time new Sahni. Hum Log was a success and it chronological order. The reader is not sense of social awareness. Our image of books. Sahni quotes this as an example Communist Party. later, Sahni was scheduled to play a jailor came to be called a communist film. But allowed a glimpse into the development of him is that of the intellectual on the Indian of the wiles of capitalists. He mentions His first role in films was a minor one in K. Asif’s Hulchul (1951) but before the by then Sahni had drifted away from the the political and social outlook of the man. film scene. These three books by him have (with understandable pride) those who in Phani Majumdar’s 1946 filmJustice shooting could start, he and his second Communist Party. been published for the first time in Hindi migrated from Punjab (and particularly (lnsaaf). He found his first shot before a wife Santosh Chandhok were arrested for After Hum Log, Sahni again went into • • • exactly a year after his death. The first of from Rawalpindi) to the world of films. He movie camera satisfying, but he thought of participating in a communist procession. oblivion. Fortunately, Roy cast him in these books is, as the title itself suggests, an attributes this to the policies of the British himself as inadequate for a close-up shot. Special permission was obtained for him to Do Bigha Zamin—a film which Sahni Kya Yeh Sach Hai Bapu? is an insignificant autobiography of Sahni, the film man. In this particular shot, the hero participate from jail in the shooting of the remained proud of to his last days. and didactic play by Sahni. Its subject Thus it leaves quite a lot of the human had to utter the word ‘Lenin’ film. After his release from jail, Sahni had to Though in comparison, Raj Kapoor’s is communal harmony. The souls of element in him out. He emerges in the Balraj Sahni seems like a and his friend (played by Sahni) face enormous hardships. He did not have Awara (1951) could reach much wider Mahatma Gandhi, Pandit Nehru, Subash book as a writer of eminently readable well-meaning, suave and self- had to ridicule Lenin. Sahni felt much work and was forced to look for child audiences both here and abroad, and Chandra Bose and Bhagat Singh come prose, but not as one who shares his that Majumdar had deliberately roles for his son, Parikshit. Anand asked especially in the Soviet Union. According down to earth to discuss the current intimate thoughts and feelings with conscious host whose hospitality sought to use an IPTA activist him to write the script of Baazi (1951), to Sahni, Do Bigha Zamin was inspired situation with a dying social worker. The the reader. Whatever he allows us to make fun of Lenin. He says he Guru Dutt’s maiden directorial venture. and influenced by foreign values of art whole problem is presented in a very drab to see of him seems to be the result might appear restrictive and should have walked out, but he The film was a great success and Sahni (the 1948 Italian filmBicycle Thieves, for and boring manner. The play lacks depth of a discreet kind of frankness and at times, even unrewarding to did not. ”On no condition should I wrote another script for Anand. instance), while Awara was a reflection of and is full of platitudes. It was staged under self-imposed humility. He seems have agreed to utter a word which During the writing of Baazi, Sahni met robust Indianness. Roy won recognition the title of Sukshma Roop (with Sahni in like a well-meaning, suave and self- an enthusiastic, inquisitive and derided such a great man. It was Zia Sarhadi, who gave him that famous and honours with Do Bigha Zamin and the main role) and it flopped. Sahni thinks conscious host whose hospitality an act of moral cowardice on my role in the filmHum Log (1951) and that, later, with Parineeta (1953). When he tried the title was perhaps too high-sounding for might appear restrictive and, at times, friendly guest part.” Then came the IPTA film too, against the wishes of Chandulal Shah, to monopolise all the credit for himself, audiences. It is hard to say if that was so... even unrewarding to an enthusiastic, Dharti Ke Lal (1946). But soon, the producer of the film. Sahni was afraid many of his real well-wishers and some One wonders why there is no mention inquisitive and friendly guest. who taught educated Punjabis to look down the hopes of IPTA members were quashed, of facing the camera and also his costar of his talented associates started leaving of the name or names of the translators There are passages in the book which upon their own culture and folk forms. This There were quarrels among the leaders, and Anwar Hussain. Sahni felt he was a failure him. AfterDo Bigha Zamin, Sahni was from the original Punjabi. Sahni, in his later tend to reveal elements of human frailty, again seems to be an oversimplification of their inexperience showed. The film was a in his own eyes. He tells us how one day he again left out in the cold. He had to grab years, wrote only in Punjabi. Why should but then the pen stops as if to say: only thus the cultural education obtained during sort of collective effort. By the time it was reached home and broke down: “I cannot any assignment that came his way and he an impression be created that these books far and no further. Sahni the man, yields, those days. Sahni was swayed by the released, communal riots had broken out become an actor—never!” But Nagrath, never forgave Roy for making a sarcastic were originally written in Hindi? most of the time, to Sahni, the self-image. teachings of some of his professors in and it lost heavily at the box office. Sahni a nineteen-year-old assistant of Sarhadi, comment about his working in cheap Most educated Hindu Punjabis of Sahni’s Lahore and drawn to literature and the once said, “Bimal Roy in Do Bigha Zamin exploded, “Coward! You call yourself a films. Sahni wanted to return to Punjab Arvind Kumar was an eminent lexicographer generation, and particularly those from stage. So after he had completed his MA, he and Satyajit Ray in Pather Panchali took the communist?...You cannot act? No, not as and start some exciting and purposeful and former Editor of Madhuri, a Hindi a rather rich background, were brought went to Calcutta, hoping to make a career same path which was pioneered by Dharti long as you watch their cars, or get cowed cultural activity there, but success brought film magazine that became the foremost up under the strict discipline of the Arya on the stage. He was dissuaded from taking Ke Lal. But alas, Abbas himself renounced down by their fame and wealth...Jealousy is him only weaknesses and compromises. publication in the genre under him, and Samaj. Sahni was no exception to this rule. such a step by Pandit Sudarshan. that path. Later on, Abbas made many corroding you from within, and you claim Producers came to him with currency Sarvottam, the Hindi edition of the Reader’s photo This discipline, with its Victorian code of Sahni married his first wife Damayanti films, but none could compare with it.” to be an artiste! The fact is you only look at notes which never gave him time to think. Digest. Kumar compiled the first-ever Hindi

conduct, often gave birth to torn and rigid and became a teacher at Shantiniketan. Soon Damayanti became more popular wealth and not at talent or art!” Nagrath’s thesaurus, Samanantar Kosh. His work in stock personalities. Sahni’s first contact with Later he joined the Gandhi Sevagram than Sahni and this roused his jealousy. words had their effect. The next day he • • • the field of lexicography earned him several alamy

cinema was when he was eight; in a village, Ashram. But soon after, he left for London He says he behaved boorishly at times did not go to the studio with Sarhadi, but literary awards. He passed away at the age of / he saw some cheap European films in a to become an announcer on the BBC. while Damayanti pined away, “Dammo instead, went alone. He did not allow the The title of the second book,Cinema Aur 91 in April 2021. photos make-shift, open-air cinema house. In such In London, he came to be influenced by died on 27th April 1947. Punjab was make-up man to beautify his face. On his Stage, suggests that what we are being This article first appeared in the NCPA films, women would undress quite often Soviet cinema, the ideas of Marxism and partitioned on 15th August 1947. Our way from the make-up room to the studio offered is a comparative study of the two Quarterly Journal in January 1974 (Vol during the love sequences. Sahni feels that The People’s Theatre. Back home, a chance family was uprooted from Rawalpindi and floor, he saw many shining cars. He spat on media by an artiste who was active in both. III, No. 3). dinodia

40 • June 2021 NCPA NCPA June 2021 • 41 Culture Digest Kaleidoscope Your window to the latest in the performing arts across India and the world.

online events that include workshops, and ancient philosophies, has always masterclasses, readings and cocktail been in a league of its own, not enough sessions with actors, directors, has been said about contemporary designers and a host of creative people. sculpture by young artists that seeks to For a quick introduction to their experiment, inspire and provoke. Within / unique brand of theatrics, visit their Between / Beneath / Upon, an ongoing YouTube channel to check out the exhibition—of sculptural works by Speedy Shakespeare series and while artists Thảo Nguyên Phan, Richard you’re there do take a peek at the full Streitmatter-Trần, Lê Hiền Minh at The Factory Contemporary Arts Centre in Ho Chi Minh City—examines the influence of personal histories and collective legacies. Exploring form and material by using techniques from different art periods and cultures, the exhibition explores femininity and For hope and comfort strength, form and meaning, while While India reels from a pandemic that keeping the essence of modern Vietnam refuses to die down amid politics that at its heart. For more information, visit refuses to step up, while beleaguered https://factoryartscentre.com/en/ citizens across the country are doing event/within-between-beneath-upon everything they can to save lives and organise resources, we also find ourselves Screening solidarity at the receiving end of a titanic wave of Giving children time-bound access love and support from around the world. to a screen can be a wonderful thing Among the many messages of hope is if monitored and curated to suit their Yo-Yo Ma’s dedication of the Sarabande needs according to age. The Takorama from Bach’s Suite for Solo Cello No. International Film Festival, an annual 4 to India. The work, emotionally event organised by NPO Films under resonant and indeed a song of comfort productions of Twelfth Night and A the patronage of UNESCO, is aimed as Ma calls it, has been received with Midsummer Night’s Dream, both filmed at children aged three and above much gratitude online. This month, in 2019 at Ranga Shankara Theatre in around the world, especially those in the renowned cellist will also release Bengaluru. For more information, visit developing countries. Presenting films Hope Amid Tears in collaboration with www.handlebards.com in 20 languages, categorised by age his long-time musical partner Emanuel Ax. The album, featuring Beethoven’s Shaping Vietnam complete works for cello and piano, While traditional Vietnamese promises to be uplifting in more ways sculpture, inspired by religious motifs than one. For more information, visit www.yo-yoma.com or follow him on www.twitter.com/YoYo_Ma and www.facebook.com/YoYoMa

Bikers on the Bard A cycling Shakespeare troupe—the phrase makes little sense if you haven’t and exploring themes of humanism, heard of The HandleBards. Cheeky, ecology and solidarity, the event is funny and armed with an abiding love free and devoid of advertising. The of literature, the actors have cycled festival will run online till 25th June. around the world—carrying their sets, To gain access to its offerings, teachers props and costumes with them—to can register their class while parents present the greatest of Shakespeare’s can register their children directly at plays. Currently, the UK-based www.takorama.org troupe has been busy hosting free - Vipasha Aloukik Pai B. O’KANE / ALAMY STOCK PHOTO (MA); OANA LACROIX (TAKORAMA INTERNATIONAL FILM FESTIVAL); RAH PETHERBRIDGE (THE HANDLEBARDS) 42 • June 2021 NCPA