He believes this shift or provocation can be done by merging the reality with an artistic or theatrical language and by the philosophy of Theatre of Cruelty by Antonin Artaud, where “cruelty” in Artaud’s thesis is sensory and it exists in the work capacity to shock and confront the audience to go beyond words and connect with emotions: to wake up the nerves and the heart. During this period, he delved more into the form and understanding why society needs theatre in the era of biased media houses.Īccording to him, theatre should tap the political and the human consciousness of the people in order to bring a behavioural shift in society, even in a minuscule way. Anumaan, was unfortunately never performed. Later, with the same company, he participated in Anumaan, an adaptation of a Yakshagana piece, Lankini Moksha. Upon practicing this for a year, he participated in BeTaal’s adaptation of Akira Kurosawa’s Rashomon, stylizing it in Yakshagana and rooting it to Indian context with the language of delivery being Hindi, without compromising on the grammar of the form.
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