Looking tyranny in the face

Films about theatre and plays, which, in turn, probed politics, marked a stimulating weekend cultural festival in Delhi

Nasrin Sultana Delhi

Plays, film festivals, cold nights and warm coffee are some of the things that Dellhiites seem to enjoy. No matter what the box office-verdict, be it the latest James Bond flick, Casino Royale, or the much-talked-about Dhoom2, it’s still art and culture that they love. So, here was a date with high culture once again: Prithvi Theatre Festival 2006. The festival provided two weekends of art and culture on 25-26 November and 2-3 December. The 2006 festival brought together a collection of plays and films on theatre that spoke about the social condition of the country.

Chosen from the collection of Delhi Film Archives and Films for Freedom, nine films were screened at Max Mueller Bhavan. They included My Name Is Bertolt Brecht, Some Roots Grow Upwards, Nee Engey and Natak Jaari Hai, which were the best of the lot.

Some Roots Grow Upwards,directed by Kavita Joshi and Malati Rao, is a tribute to Manipuri theatre and the political turmoil afflicting Manipur. Kavita Joshi says, “I wanted to show real Manipur through the theatre art form in my film. However, the research, shooting and editing took me more than a year, I blew off my budget, but I am happy the film has been received well all over.”

The film explores the work of former National School of Drama (NSD) director and famous Manipuri, Ratan Thiyam, against the backdrop of violence in the state. It starts with the trapped conditions of Abhimanyu’s Chakravyuh. The film blends well with the theatre of Ratan Thiyam and the atmosphere of political turmoil serves as the poignant stage.

While Thiyam’s plays reflect upon the socio-political crisis, youth unrest and violence, they also dwell on the larger question of human condition. The film examines the art of Thiyam, and seeks to delineate the influences and the imagination that give form to his theatre. He lends a contemporary edge to traditions. With its minimal dialogue, the film is dominated by powerful images.

Lalit Vachani’s Natak Jari Hai is a documentary about JANAM (The People's Theatre Front), the theatre group that never stopped performing in the face of brutal political repression and personal tragedy. The film explores the motivations and ideals of the JANAM actors and their vision of resistance and change as they perform their ‘People’s Theatre’ in diverse parts of India. It brings to life the world of socialist theatre through the words of JANAM’s members, and through a reflective portrayal of the group’s greatest tragedy—the assassination of its convenor, Safdar Hashmi, in 1989.

The following weekend was a real treat for the theatre lovers of Delhi. The stage of Kamani auditorium was set ablaze with six productions, free platform performances as well as an exhibition on Prithviraj and Prithvi Theatre. The bookshop, food, adda were the attractive add-ons of the event.

Arpana’s Cotton 56, Polyster 84 (Hindi) directed by Sunil Shanbhag and Kharaashein written by Gulzar and directed by Salim Arif, were the major attractions. Cotton 56, Polyster 84 is about the history of the mills workers of Girangaon, Maharasthra. It closed on a touching and sentimental note when Zohra Sehgal and Salim Arif recited some heart-rending poems. Salim Arif says, “Theatre is an instrument for social change. Social change cannot be brought in a day or two. What theatre does is to create mass awareness. States like Gujarat and Maharashtra have done lots for carrying forward the legacy of theatre and art. It is missing in Delhi.”