Eminent theatre personality ANANT MAHAPATRA, who was conferred with an honorary doctorate by Ravenshaw University last week, needs no introduction to the art lovers of the state. Active in theatre, films, radio and television in various capacities since the late 1950s, he believes that staging free theatrical shows is a bad tradition. Stalwarts like former Chief Minister Nandini Satpathy and former Union minister VK Krishna Menon preferred to buy tickets to watch his show in Cuttack, he says. In a tete-a-tete with BIJAY MANDAL, the veteran artiste, who is still optimistic of contributing to the state’s cultural scene in a big way, spoke on various aspects of his long journey.
On the present state of theatre
I haven’t seen too many good plays for a long time because theatre workers lack sincerity. Everyone is crying for government encouragement. But, in my opinion, the quality of production is deteriorating due to government funding. Every Tom, Dick and Harry is jumping onto the bandwagon to do theatre and that affects quality. The troupes are now busy in arranging funds and have turned into event managers.
On basics of theatre
I believe in silence as it speaks a lot. Often, I ruthlessly strike out dialogues from the script as I believe that an actor can communicate with the viewers through his acting. For me, literature is one dimensional, film is two dimensional, but theatre is three dimensional. Stage is not a part of the auditorium; the auditorium is a part of the stage. Every audience is part of the play and they also get involved in the process. Therefore, dialogues are not mandatory all the time. I ask my actors to establish eye contact with at least one member of the audience. It helps the audience to identify with the character. Most theatre directors in Odisha don’t discuss the script with the playwrights which has been an issue for a long time. Similarly, many actors here don’t understand that a character is an amalgamation of several personalities. They must understand that every human being changes his character according to the situation. I regret that the troupes these days don’t bother to rehearse properly before the show.
On Utkal Rangamanch Trust (URT)
Ahead of the launch of URT, an attempt by the state government to revive professional theatre, I had a talk with former Chief Minister JB Patnaik, and I sought remuneration for the artistes and a permanent auditorium to stage regular shows which was taken care of. URT set a model of running professional theatre from 1999 to 2005. Though URT is producing plays occasionally, I am surviving on hope. A time will come when the government will realise that theatre is a phenomenon and no other form of art can match it in enthralling the audience.
On calling a spade a spade before Sir Laurence Olivier
English actor and director Sir Laurence Olivier dominated the British stage in the mid-20th century and I had the opportunity to lead an Indian delegation and watch his play Macbeth in London. After the play, he sought the opinion of the viewers about the play. No one dared to say anything about the play’s flaws because of Olivier’s overpowering presence. However, a red gown used by one of the actors distracted me throughout the play and I spoke up about it. He noted my observation. I could point out the flaw as I was brave and true to myself as an audience.
On setting milestones in theatre
I get involved in light, stage and costume of my plays. In my first play Sagar Manthan, I was the first to use flat sets. Earlier, plays were staged with the help of backdrop screens. I displayed sequences like fire on the stage and a house catching fire. I also used a landline telephone using battery. I have also cinematised my play Manika Jodi.
On friendship with legendary Bengali actor Uttam Kumar and others
Uttam was a good friend of mine, like so many other actors and directors from Kolkata such as Shambu Mitra and Prabhat Mukherjee. Uttam even forced me to direct one of his films but I used my pen name in the credits for some reason. I still remember those days when I hosted Uttam and his wife Supriya at my home. Not only Uttam, I had the privilege to work with other legends like Gulzar, Shambu Mitra and others, and I learnt a lot from them.
On what makes him work so hard even now
I still work for 14 hours a day at the age of 82 as I derive pleasure from it. I don’t get tired because if you enjoy your work then every cell of your body starts to react. Every human being needs rest. We must practice to go blank for some hours in a day to get fresh energy. I value time and love to speak to people. So, when my wife asks me why so many people come to meet me even though I am not a top government official or a very rich man, I say I have a pair of ears that listens to all.
On the turning point of his career
My outlook towards life changed when I went from Cuttack to Allahabad to study. I was from a wealthy family, therefore, there was a need to see and feel life at the grassroots level. I got an opportunity to build up myself when I was in Allahabad. I was good at English but poor in Hindi. My stay in Allahabad not only made my Hindi good, I was introduced to the world of theatre.
On his inspirations
I have been inspired by many though it doesn’t happen in one meeting. I get inspired by watching them closely at work, observing their dedication and commitment towards work.
Fact file
Born June 15, 1936, Anant, son of late Justice Harihar Mohapatra, has acted, written and directed nearly 100 plays and staged them in Cuttack, Puri, Bhubaneswar, Kolkata, Mumbai and New Delhi. He has travelled to many countries including UK, Germany, Singapore, Bangladesh, and Nepal and to several states within India on assignments related to books, travel, theatre and other activities since 1958. He has been a jury member in several editions of the India International Film Festival and Indian Panorama and a member of state and Central Akademis for several years.
BIJAY MANDAL, OP
