Synonymous with street theatre

CHENNAI KALAI Kuzhu and its founder Pralayan have come full circle with ``Upakathai''. The group that made its debut with a proscenium production, ``Naangal Varugirom'' moved on to street theatre. And now the troupe and Pralayan have become synonymous with this issue-based form.

``The play's subject matter sets its form,'' says Pralayan in an interview following the staging of ``Upakathai''. ``If it is a short and immediate debate, we present it as street theatre but if it is a detailed enquiry, the proscenium is the best forum. Since `Upakathai' is based on our epics, it has a massive sweep. Generally, gender and class are compartmentalised. But in the Indian context, caste and social outlook legitimise these inequalities which is why I chose caste to bring in all these issues. And I chose the epics because we obtain our values from them''.

Why was Anarkali included?

``Why take up only the Hindu tradition, I thought, why not the Muslim too?,'' he replies. ``I also wanted to bring in historical shades, not just the epic though the Anarkali tale is strictly not history but legend. I was asked the reason for Akbar's character not being dynamic. I whitewashed it deliberately and consciously since he is only a historical representation here.''

The music in the play has been sourced from the semi classical, Bengali and Chattisgarh tunes, says Pralayan. The main chorus theme is adapted from ``Dhole Dhole'', a Bengali folk song, which is a criticism of those seated in the palanquin being borne along by bearers.

Pralayan, a graduate in mathematics from Thiruvannamalai had dabbled in plays during his school and college days. He started a film society in Tiruvannamalai in 1979, and soon after he came to Madras.

``The Little Magazine published by serious literacy groups such as the Progressive Writers' Association was popular at that time and I would contribute poems to it periodically,'' he says. ``I was also associated with the making of a couple of films''.

The Progressive Writers Association decided to present a theatre festival in 1984 and Pralayan was asked to participate. This was when he formed his troupe. The first play on custodial violence was very well received. The next production on the theme of the Bhopal gas tragedy was a proscenium performance and so too was the play ``Satyagraham'' in 1990 and another on poet Bharatidasan in 1991. All the others were street plays. ``I don't claim to be a Marxist but I have an ideology and all street theatre is political - it has to be. The infrastructure needed is minimal and in this lies its charm. Body language and improvisation are vital elements for the success of this form.''

The idea of doing street theatre in Tamil first came to Pralayan when he saw a play by Samudaya, director Prasanna's group from Karnataka. The power and honesty of the performance impressed him greatly and Pralayan began writing and directing plays on a number of social themes - children's rights, environmental preservation, civic problems and women's issues. ``Penn'', ``Maanagar'', ``Uram'', ``Muttrupulli'', ``Valliyin Vazhkkai'' and ``James Fund or James Bond'' are among Pralayan's well known productions.

Elaborating on the subject, Pralayan says, ``We have travelled all over the country and participated in numerous festivals - the arresting images and body language demolish language barriers. Though it has links with our traditional theatre, street theatre, as presented today, is a modern urban language. It is conscious intervention and casual passers-by are organised into an audience through the performance. Chennai Kalai Kuzhu has been involved in promoting awareness about science and literacy through its plays. Though I initiate the script, each play owes its evolution to the collective contribution of the 25-member troupe.''

Pralayan has written 30 scripts in all. His talent is evident in ``Upakathai'' where he weaves his arguments so deftly into the text that it is difficult to sieve his interpolations from the epic element.

- K.S.

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