Theater Workshop - End of Begining

Slowly, with successful performance of Chalta Phirta Bamabai, I have approached what I call 'end of the beginning' of my theater journey. 

It was 20th November 2012 that I started my first serious attempt at understanding theater. The idea was to understand theater and the kind of hardwork, dedication and efforts that go into making a production. I started loving theater as an audience and therefore wanted to understand my this love a bit more by being part of it. I wrote my first theater related blog - around same time - to share my views on what can be done to make commercial theater a bit more viable and sustainable. 

Thereafter, last four months involved intense experience of understanding, exploring and experiencing various dimensions of theater. I started with lot of self-doubts and reservedness. Along the process, there were series of episodes of introspection, reflections and something close to self-realization. There were also phases of questioning, reasoning and decoding series of changes that were happening within and without. I, being the one who can express the best in writing,  have penned down those memories in my blogs here and here.

ZunZun - a play based on JLS by Pauravi Joshi

One of the important landmark was my sharing of Jonathan Livingston Seagull (JLS) story in form of 3 minute monologue, as a part of improvisation. That led to insider production of 6-7 plays based on JLS. For me, it was my first attempt at script writing - short 15-min one-act play based on Jonathan Livingston Seagull - directing and acting. It was for the first time, I shared my poems to less-known people and made them part of the script. This indeed enhanced my confidence in lyrics writing and finally I could contribute to the theme song of Chalta Phirta Bamabai. And not to forget, the talent of budding composers in the form of Micheal and Gopal. I was astonished to see they composed 'nishabd swasothi' in an hour or so. It was this point in time of the workshop that I started realizing my smallness in relation to other so very talented - yet so much rooted - batchmates of mine. The false ego started melting - albeit slowly - and my 'Jonathan-self', one who is a keen learner, started returning to the fore. I have started enjoying the workshop and its participants and myself. The transformation was palpable in my daily routines too; my productivity at work and relationships at home improved tremendously. 'Theater makes one alive' - was becoming true for me. 

The entire process of production of Chalta Phirta Bambai was another revealing experience that taught me what kind of energy goes into making what is called a professional performance.It started in the backdrop of Delhi rape case and reading of Manto's angle to women during partition and his writings depicting very different angle to sexuality in the times of unrest and torment. Three stories that were envisaged as a first thought were nangi avaze (naked voices), Thanda Gosht (Cold Meat) and Khol Do (Opet it). However, as the issues of rape and protests around it got settled, the sensibilities of Manto moved on a higher plane beyond rape and to understanding women beyond her sexuality. And that is how the idea of Bambai sank in. 



Reading of stories culminated into a script which began with Hatak only and then was the addition of Siraj. Finally as we had a innocent teen age girl, idea of incorporating Dus rupaye was also incorporated. The better Understanding of Manto brought in subtle and nuanced sensitivities in my understanding of women, society, and dimensions of human existence. 



While script was getting ready, reading and improvisations were on. Simultaneous process of casting was also happening that included listing out possible actors who can play a character. It was over a period of quite few days that final casting was locked in. This entire procedure of audition within the team and re-visiting casting time to time was also a lesson to learn. No actor is a perfect fit for any character and no character is small or big enough for anyone to accept or not accept it. Even without a single dialogue the dog in Hatak generates immense interest and accolades!!!



While actors were getting their training in building their character, production team got busy with chasing the vision being shared by the director. And let me tell you, as the days passed by, the vision started getting bigger, more intense and audacious. To my awkward astonishment, the production team was ever-ready with ever-expanding demand from the director. Finally, the production team was like 'thai jashe' even before what is expected is told to them!! And that passion resulted in things like, rain, scooter, car, cycle etc. on stage and slum with banners and hoardings as part of the stage!!



Although the 3-month workshop formally ended in February, entire March month went into preparation of the play. The second-half of the March was full of hard work. Let me remind you that none of us are full time into theater. All for us are preoccupied during day time with out respective studies, jobs and other professional and social commitments. Our Bambai work - like Bombay itself - starts after dusk, peaks by midnight and subsides by 2-3 in the morning. That remained routine for almost two weeks before the production. 



These intense preparation involved eating out and bringing costly snacks to begin with. However, soon we realized it is not going to workout and cheaper healthier options as well as homemade stuff were included in the menu. Many a times, our dinner included 3-4 pieces of Dalwada sandwiched between slices of bread butter and a cup of tea. However, there was indeed lot of fun spread as tangy sauces on it.  There were no hierarchy; everyone did everything and no one was small or big enough to do or not do something. While there was lot of scolding, throwing of chapals (at times mobiles too), and milder versions of abusive languages, it was all received in good spirit. The correct tone of 'main aaj bhi pheke huve paise nahi uthata' came after receiving 'free-flying' chappals some 30 plus time !!!



All is well that ends well. When I talk about this play, I am many times asked about what character do I play in the production. All I could answer was, 'there are many 'roles' one can play in theater production, even without playing a character'. I am extremely proud of the fact that I am now connected to theater, in general, and with this team, in particular. 



Even without playing any character in any play till now, I feel part of theater fraternity and can without hesitation proclaim it to be 'my' field. I have been playing important role as an honest audience till recently and thereafter, I have been sharing/writing reviews of plays on my blog. Since last four odd months, I have been a student of theater, and I started believing that learning theater is a life time process.



Theater is much more than acting, and theater
workshop is much more than theater itself!! This is indeed a very good
platform to explore oneself in relation to oneself and others too. It is extremely useful to those who are striving to explore newer
dimensions of oneself, who are keen on experimenting with different
things.   



Benefits of this workshop has been phenomenal to me. I am sure this kind of workshops would be useful to people like me who remain
clueless, hyperactive, stressed, anxious or at times, even indifferent!!