Looking at Alternate Spaces for Performance in Delhi – NCR

Putting up any production can be most daunting for most theatre practitioners in India. It is customary for most Indian directors who many times, run small amateur theatre groups to not only foot all bills but also look after the needs of the artists involved. The most challenging of this cost is that of the auditoriums. Most proscenium auditoriums in Delhi and Gurgaon can cost anywhere between 15,000 ( around $220) to 1,00,000 ( around $950) depending on its size and capacity. Furthermore, there is a long waiting list to get the required dates, most weekends getting booked almost a year ahead! Hence, the supply versus the demand is either beyond one’s means or it requires tremendous patience for the group to perform.

The need for finding alternate spaces for performances hence is rapidly growing which is being met to some extent by a few in India. There are several around Mumbai but here the article will focus on two spaces created. The first one in that of the group, Rang Parivartan, in the growing rich cosmopolitan Gurgaon created by Mahesh Vasistha and the second one , the Teesri Manjil, of Ruchika Theatre group, created by Feisal Alkazi in South Delhi. It is important to focus on these two spaces, as the city of Delhi besides being the capital of India, is the Mecca of theatre training, while Mumbai largely focuses on film production and the thriving industry of Bollywood.

Delhi, has been timelessly known for its intense theatre training that is both affordable and also provides the correct knowledge to the aspiring actors. The prestigious National School of Drama is situated here, along with Sri Ram Centre, the school of Arts and Aesthetics at Jawaharlal Nehru University that offers not only the masters course in performance studies but also a Ph.D in theatre and also the newly formed Ambedkar University that offers bachelors and masters in Performance studies are also located here. Besides this we also have an a diploma course offered in theatre by Indira Gandhi Open University, that is lesser than $25 for six months, as an distance program.

As training in theatre is of high value in Delhi, there is a need for students to experience the stage as much as possible. It becomes impossible for students to do theatre without the experience of a stage,lights or sets. Both Mahesh Vashistha and Feisal Alkazi have found the answers and that too within their own homes! Both these thespians have created beautiful auditoriums within the upper floors of their homes. Both these spaces are intimate and are not open for the public, which in other words means is not for commercial gains but rather for training and also for holding small intimate shows for a discerning audience.

Feisal is of the opinion that one must allow theatre to enter homes and allow the audience to become a part of his large family. He says, ‘ Most actors have been with me for as much as 25 years and above and they have been an integral part of my life, hence I see new audiences as the same. I am just extending the Teesri Manjil,or my third floor to my family who should not be taken as some disconnected people.’ Radhika Alkazi echoes much the same as she receives each one of her guests with warmth and enthusiasm and both she and her son Arman take immense joy in serving each guests fresh home made kebab rolls, biryani and wine.

Mahesh Vashistha whose students have painstakingly made the auditorium with him extends his performance space free of charge to theatre practitioners not only across Delhi and Gurgaon but anyone who wishes to perform there. Both these auditoriums might seem like one as small steps but careful attention has been given both by Feisal and Mahesh regarding the technicals of an auditorium. Feisal has painstakingly thought of the lighting ( having over 20 set lights including pars and LEDS and a dimmer) and the correct sound proofing of the stage. Mahesh has not only kept the lights and stage setting in mind but has also kept the make up rooms in mind of the actors, and also has carefully insulated the place.

It is heartening to see such magic being created and to be lucky even to have open access to these performance spaces. Such free flowing needs based training venues are going to bring more thespians to do the same with their homes. This will make as Feisal wishes and does, a family of theatre and not mere disconnected spectators who come and do not feel the intimacy of theatre due to the daunting presence of the mighty auditoriums.

The informal performance spaces have come up because theater is becoming un-affordable because of lack of revenue and astronomical cost of auditorium spaces in Delhi. Leaving you images of some of these spaces which offer hope for survival of Amateur theatre in Delhi. More about it in the next piece by Gouri Nilakantan




Playwriting for Children

Children Performing

Its 2017, a time to retrospect in the new year and yet bask in the old. I was rummaging through my old files on the internet and came across a few plays I had written for children. It was both enlightening and amazing to see the play across the screen, I re read them renewed interest…yes they spoke…I could see the language across the stage, the actors and the magical sets with the green yellow hues across the stage and the twinkling lights. Each one of the childrens’ plays that had been written by me made sense to me and the actors. It made me wonder if they were worth publishing and whether it would be liked by others. I was just not sure, since such few plays are actually published and find their way into the market.

So essentially what makes a good play script for children? What makes it “tick”? What will create an market for the scripts to be published. This reminds me an incident that made me realize what “ not to do “ in a children’s play.

In my early years of my career as a theatre person I was teaching drama for children between the kids of 8-14 in a prestigious school in Gurgaon. The principal, a very uptight and proper person requested me to write a script on Mother’s day. I was excited since I really had not written much before it would be challenging to write something that was interesting enough to watch. I decided to write a script set in contemporary Urban India, a place like Gurgaon and then use an ancient time period as the main episode in a flashback. So I decided to show the changes in time by changes in the way we speak English. After much deliberation I decided to use slang and words like “ cool” “ dude” “ yaar” etc in my script. I thought I had created a masterpiece. Actually I was quite delighted.

I was surprised that the principal called me to her room, I was confident that she had liked the script so much she wanted to congratulate me in person. As soon as I walked in, she seemed a trifle upset and set the script before me. I was shocked to see my entire script covered in huge red circles. Cuts and cross marks all across the page. It looked like my the results of class tenth maths exam paper. Each of my contemporary words had been circled and crossed out. I was indignant..all I could say was “ why…”. She sternly told me how improper my English was and how I could no use such words. She insistent that I choose not to use any colloquial language in my script since “ it would spoil the vocabulary of the children.” I tried to reason out with her that since the play was set in urban Gurgaon the actors had to use such words. But my protests was put down by her adamant refusal to see reason.

That incident made me realize that something was wrong in the way people understood children’s scripts. They read it through the spectacles of an adult and forget that they are first and foremost plays meant for young actors. Hence plays written for children need not follow rules of grammar and conventional usage of speech. Neither they need to make sense, for example, in the musical Wizard of Oz, the girl is thrown a tornado and her whole house is lifted in it. Charlie and the Chocolate factory we see Agustus Gloop being thrown into the rubbish bin by squirrels. All they need to be is appealing to the child and the adult viewer. They need to interesting! In all my plays that I have written for kids, I have only kept the child in mind and shall continue doing so

I would like to end this by only giving the 10 golden pointers to be kept in mind while writing children’s plays.

1) Do not be afraid of using contemporary language and one can even throw in few phrases in Hindi, if the need be. Make it Hinglish if you want.

2) Children love comedy. They might not have the same taste as adults and might find things like “ farting” “ throwing up” comic. Add them to the script, they just add to the flavour. Please do not become prudish.

3) Another thing that fascinates children is the idea of mystery and surprise, you can use them too.

4) One should avoid, small sentences. We sometimes like to say a lot when we try and explain things. For eg. If a child has to say, “ ma I will back soon.” He can say, “ ma I will be back soon…please don’t die worrying don’t go out me and ringing up all the neighbours and searching for me all over the block. I will be back by 7 and that’s a promise!”

5) Do not worry about repeating yourself. For eg. Son says, “fine”. It can be; son says, “ fine ma…ma fine…are you listening FINE!”

6) Do keep it in mind that adults will also watch your show, so you can throw punches at them which might make them laugh. For eg. Son: Ma, why do all mothers have to say that you must eat dal, roti chawal…why can’t they say we will make healthy home made pizzas for dinner tonite! OK I DONT MIND EATING A DOUBLE CHEESE PIZZA WITH BROCOLLI TOPPING!!!

7) Don’t be eager to finish the script in 3 pages, any good script should be at least 10 pages long, 12 font roman single spaced.

8) Dont forget minor characters…please don’t make children into trees and make them wave their hands in the air doing nothing, make it interesting like a “ old white haired talking tree” or a “ saucy sarcastic cactus”.

9) Do add a song or a jungle or some silly rhymes they make the script more readable and watchable.

10) Last but not the least, enjoy the task…and forget daunting principals…goodluck!!!