Headlines       Vol. 1 Issue 42-43

Mar 22- Apr 6,   1999

Ratan Thiyam: A man with a peace mission As a theatre personality, Ratan Thiyam does not need any introduction. Even before joining the National School of Drama (NSD), he joined the theatre movement in the country. Success came instantly. Ovenight he became quite a big name in Manipur. But to further sharpen and refining his skills, Ratan joined NSD in 1971. He was also the director of the same organisation from 1986 to 1988. After going back to Manipur, he established his professional Chorus Repertory Theatre in Imphal . His productions, Urubhangam and Chakravyuh have been presented in almost all the major cities in the country. He has made valuable contribution to the development of contemporary theatre and has evolved a distinctive idiom of his own. Some other of his major productions are, Shingel Indu, The Leader, Man Does Not Die By Bread Alone, Chakra, Ashad Ka Ek Din, Imphal Imphal, Andha Yug, Hiroshima and Uttar Priyadarshi. Mr. Thiyam has participated in a number of national and international theatre festivals and is a recipient of Sangeet Natak Akademi award. But Ratan Thiyam is much more than a director or a performer. He is a trained artiste in Manipuri dance. He is a noted painter too. His knowledge on Hindustani musis is enviable. This muti-faceted man recently came to Delhi with his latest production Uttar Priyadarshi to participate in NSD's first National Theatre Festival. Though the play had earlier been staged in the Capital on a number of occasions, yet the theatre lovers thronged in large numbers at Abhimanch and virtually forced the authorities to arrange two shows of the play. Ratan Thiyam spoke to North East News Agency in between the shows about the state of theatre in the North-East. Excerpts from the interview: North East News Agency: Notwithstanding the fact that Manipur as well as the entire North-East region is passing through a troubled time, you are still being able to contribute to the theatre movement in the country. How far you are affected by this ongoing unrest? Is the situation in the North-East really conducive to creative works? Ratan Thiyam: If anyone is really sincere to his works, I think nothing in the world can stop him from pursuing his goals. That is why without being bothered about the situation we try to continue our work. Because I feel that if we stop our works, then the State or the region will be further in the grip of unrest. Because theatre is one of the most powerful medium to fight against unrest, violence. If you have watched my productions, all the time through my plays I have advocated for peace as violence will lead us to nowhere. Even in Uttar Priyadarshi I tried to say that the world is changing. We exist in a world where questions are often raised ---- what is this world? How should humankind and society be shaped? The more we advance, the more we lose our mental and spiritual balance. Both good and evil spirits exist in the conscience of modern man. But seems to be dominated more by evil. As a result, human beings are no longer in control of their minds. We need to gain lasting mental strength and contentment ---- the source of real peace and equanimity of mind. In this play, Priyadarshi is a confused man who reaches the path of human kindness and peace by eliminating the evil desire growing within him. Uttar Priyadarshi is one of my war plays with a message of non-violence and peace. It was created during an experimental period in search of a language of expression in the theatre. I chose this play because, frankly speaking I am fed-up with violence. I can't take any more. Look at the outside world. They are all being geared up to welcome the next millennium. But where are we standing now? Are we preparing to welcome the next millennium with enthusiasm like the western countries? Can we confidently predict a better future for ourselves? Are we trying to imagine that if the present situation continues where will we be in the next century? As a small theatre worker, thus, it is my endeavour to caution the people from the impending danger. If I stop midway, everything will be lost. That is why without being bothered about the situation too much, I am continuing my work. NENA: Was it your ambition to join theatre? Ratan Thiyam: To be honest, no. Actually, I was born in a family of dancers. So I had spent the best part of my childhood by travelling with my parents and in the make-up rooms. But after some time I got tired of travelling and told my parents that I wanted to settle down. They were taken aback first. But when they realised that I was firm on my decision, they agreed. So I stayed in Imphal, while they continue to travel. In the beginning, I thought of not going for any career which require a lot of travelling. So I concentrated on drawing and painting. I used to write also. I used to write a lot about art and culture. I used to be a drama critic too. I used to review modern dramas. But in those days, there were very few takers of modern drama as traditional plays used to be the main attraction and source of entertainment till then. At that time, one of my friends decided to stage a modern play. He sought my service to which I readily agreed just for the sake of fun. My friend made me the assistant director of the play. After some time, I realised that he had entrusted every responsibility upon me and I was virtually working as the director of the play. Then, prior to the play, one of our main artistes expressed his inability to perform. So again my friend requested me to do the role as it was very difficult to try someone new at that stage.That is why I came to theatre. And once I entered the scene, I could not escape from it. NENA: In our country, theatre as a profession is not very lucrative. Besides, most of the parents intend to make their children either doctor or engineer. Theatre has no place in their priority list. Did you face any hurdle when you decided to take theatre as your career? Ratan Thiyam: From my parents, there was no such objections. But let me tell you one interesting story. After graduating from NSD, when I was regularly directing or appearing in plays, one of my father's friends one day asked me about my profession. I told him that I am associated with theatre. But he was not satisfied with my answer. He advised me to look for a more lucrative profession as it is very difficult for a person associated with theatre to earn two square meals. NENA: You said that you decided to stay away from your parents as you were fed up with travelling. But these days you are travelling more than what you used to do in those days. If I am not mistaken, you came to the Capital after spending few days in Bangladesh and again only tomorrow morning you are leaving Delhi. Isn't it very hectic and exactly what you tried to avoid during your childhood? Ratan Thiyam: You are right. These days I have to travel more than what I used to travel with my parents. But is there any way out? As long as I will remain associated with theatre, I will have to follow this hectic schedule. I am helpless. NENA: What was the response of the Bangladeshi audience? Ratan Thiyam: The response was good. The people appreciated our performance very much. As a matter of fact, this was my second visit to Bangladesh. I will be going there in November again. From the number of invitations we are getting from Bangladesh it seems we have been able to satisfy them. NENA: Despite having a rich culture, why is Manipuri theatre not so powerful? Ratan Thiyam: Who says? Manipuri theatre is very powerful. The theatre workers there are producing good plays. There is no dearth of talents. If anyone thinks that Manipur theatre is not powerful, he is mistaken. NENA: But it is not as popular as the Marathi or the Bengali theatre? Ratan Thiyam: Again you are mistaken. The places where according to you these theatres are powerful, are big cities. It is easy for them to get sponsors. Even their flop shows attract more crowds than our very successful plays. Whether the play is good or bad, the theatre groups in those cities can always recover the production cost. In our case, it is very difficult to recover the production cost even with a popular play. Moreover, they can advertise their play very well, which is again a constraint for us. NENA: Don't you think that the big cities will invite more and more theatre groups from the smaller places to make the theatre movement more powerful in the country? Ratan Thiyam: I do not believe in doles or sops. If your product is good, you will easily be able to create a niche for yourself. Then fame, sponsors will come automatically. But if your product is not good, you will not get anything. I strongly believe that only good theatre can make the theatre movement in the country strong. Not the sops or doles. NENA: These days a lot of talented theatre artistes are switching from stage to film or television. Don't you think that their deperture is a great loss to the theatre? Ratan Thiyam: I don't think so. Because even if these talented artistes are doing films and television serials, they have not quit the stage forever. Whenever they get a good role, they appear on stage too. So I don't think that it's a loss. Rather it will further strengthen the stage as working in film or television will make them more experienced. NENA: Money is playing an important role in this exodus. What is your opinion? Ratan Thiyam: Yes, this is true. Unfortunately, theatre economics in our country was never worked properly. But let me tell you one thing, theatre is so powerful that it will never be robbed of dedicated workers. It will remain strong come what may. NENA: Tell us something about your group. Ratan Thiyam: The Chorus Repertory Theatre was established in Manipur in April, 1976. I am happy that within such a short span of time, theatre loving people of the country have started appreciating the group. Our motto is --- only the bread if not butter from theatre. The Repertory apart from staging plays also provides training to young artistes in direction, acting, stagecraft, etc. It encourages theatre workers to experiment on original Indian traditional styles in juxtaposition with modern technique to give a new dimension to contemporary Indian theatre movement. The repertory has bagged various prestigious awards like Fringe Firsts award in 1987 from Edinburgh International Theatre Festival and Diploma of Cervantino (Mexico) International Theatre Festival in 1990. It has also participated in a number of international festivals including Dublin Theatre Festival, 1987, Telstra Adelaide Festival, 1998 and the recent 7th international Festival of Scenic Arts in Sao Paulo, Brazil. NENA: One last question. What do you have to say to those who aspire to be Ratan Thiyam in future? Ratan Thiyam: I must first advice to them is not to try to become another Ratan Thiyam. Try to be better than Ratan Thiyam. For you sky is the limit. Do not lower your target to the level of Ratan Thiyam. Apart from this I have nothing to say. Because I am not a politician and it is not my hobby to advise or sermonise the people.

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