Theatre and the World: Essays on Performance and Politics of Culture

330 Pages·1990·104.821 MB·English

by  Rustom Bharucha

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THEATRE AND THE WORLD
Essays on Performance and Politics of Culture
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I take criticism so seriously as to believe that, even in
the very midst of a battle in which one is unmistakably
on· one side against another, there should be criticism,
because there must be critical consciousness if there
are to be issues, problems, values, even lives · to be
fought/or .
.
-Edward Said, The World, the Text and the Critic.
THEATRE AND-THE WORLD
Essays on Performance and Politics o/ Culture
\
Rustom ~arucha
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MANOHAR \
1990 ..
ISBN 81-85425-01-9
Fint Published 1990
©
Rustom Blwucha
Pwblislud l,y
Ramesh Jain
Manohar Publications
2/6 Ansari Road, Daryaganj
New Delhi-.110002
Lasertypuet l,y
Microtech Advance Printing Systems Pvt. Ltd.
H-13, Bali Nagar, New Dclhi-110015
Print«l at
P. L Printers
C 3/19 Rana Partap Bagh
Delhi 110009
Jacket design by Cllandralekha
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PJ..480-SA
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ACKNOWLEDGEMENTS
This collection of essays could be described as a theatrical journey.
It has involved much travel in different parts of the world. The earliest
e~ys were written between 1981-84 while I was teaching in New
Yorlc. The writing on Request Concert synchronized with productions
of the play staged in Calcutta, Bombay, Madras, Jakarta, and Tokyo
between 1986-87. The short secti_on on the production in W~ t
Gennany was written after the play was staged at the Norddeutsche
Dance Theatre Festival in May 1988. All the other essays were written
in India, where I am now pennanently based. The entire manuscript
was compiled and revised in Calcutta between January-May 1989.
Journeys in theatre are rarely smooth. The obstacles, accidents, and
detours that one encounters along the way can be circumvented only
through the support of one's fellow travellers. Looking back on my
numerous encounters in theatres and streets, hotels and homes, airports
and ttain stations, I realize how much of my writing has been shaped
by these seemingly tangential meetings with strangers, many-of whom
are now my associates and friends. Even those who passed on to
unknown destinations have inspired this book in various ways, and I
remember them as well.
More sp<.x.,ifically, I would like to thank Manuel Lutgenhorst, who
was my collaborator on the Request Concert Project along with Usha
Ganguly, Sulabha Deshpande, and Chandralekha, who acted in the -
Indian productions. Another close associate has been the inspired
actress, teacher, and correspondent, Alaknanda Samarth, whose
confrontation of the self has been at once disturbing and enlightening.
To Anuradha Kapur I owe my thanks for many hours of discussion on
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THEA1 RE AND THE WORLD
VI
"representation" and "voice." Her generous hospitality, along with
Bharat Shanna's in New Delhi, have provided me with many surrogate
homes and families.
Yet another "home" to which I have retreated for bouts of writing
been Dhvanyaloka, a writing centre administered by Professor
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C.D. Narasimhaifl}l, a most generous host. Equally wann has been my
association with Sri L.S. Rajagopalan, who guided my research on
Krishnattam. I am grateful to him for introducing me to Sri .P.C.C.
Elayath, the superintendent of the Krishnattam troupe, who in tum
looked after me in Guruvayur. Yet another supporter of my work has
been Sri K.V. Subbanna, the modest visionary (as I like to describe
him) of the grassroot cultural organi7.ation, Ninasam. It has been ~Y
privilege to teach and direct in this very special place.
Grants for some of my travel and research expenses were made
available through the Max Mueller Bhawan, the American Institute of
Indian Studies, and .t he Nordisk Teaterlaboratorium. Along with this
fmancial support which I gratefully acknowledge, I would like to th~
all the editors who· have publisbed my essays, particularly those who
have encouraged me to affum my position without compromising on
my voi• ce.
The opening essay of the book "Collision of Cultures: Some
Western Interpretations and Uses of the Indian Theatre" is a
substantially revised version of an essay that ori~ally appeared in
Asian Theatre Journal, Vol. 1, No. 1, Spring 1984. It was reprintoo in
the India International Centre Quarterly, Vol. 11, No. 3, September
1984, and the NCPA Quarterly Journal, Vol. XIV, No. 2, J~e 1985.
"Satyagraha: A World Outside of Time" appeared earlier in Theqter,
Vol. 13, No. 2, Spring 1982. "Peter Brook's Mahabharata: A View
from India" first appeared in Th,eater, Vol. XIX, No. 2, Spring 1988. It
was reprinted in Framework, Vol. 35, 1988. A shorter version of the
essay was also published in the Economic and Political Weekly, Vol.
XXIII, No. 32. All three essays on Request Concert in Calcutta,
Bomb~y, and Madras appeared in New Theatre Quarterly in three
consecutive issues---Vol. 11, August 1987; Vol. 12, November 1987;
Vol. 13, February 1988. The essay on the Calcutta production was
serialized in The Statesman Miscellany on July 3 and July 10, 1988 .
. "Letter to an Actress" appeared in Framework Vol. 35, 1988.
"Preparing for Krishna" was published by the Journal of Arts an4
Ideas, No. 16, January-March_ 1988. "Notes on the Invention of
Tradition" and "Ninasam: A · Cultural Alternative" will appear in
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ACKNOWIBDGEMENTS Vil
forthcoming issues of the Economic and Political Weekly.
To all these supporters of my writing, I reiterate my thanks. I am
particularly grateful Chandralekha and Sadanand Menon for
to
designing the jacket cover of my book and selecting s0111e of the
photographs. It now remains for me acknowledge the support that I
to
have received from my mother. Steeped in common sense and love, her
criticism has never failed to surprise me.
Calcutta
July 1989 RUSTOM BHARUCHA
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CONTENTS
Acknowledgements
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Introduction 1
PARTI
POINTS OF DEPAR1URE
1. Collision of Cultures: Some Weste111 Interpretations and
Uses of the Indian Theatre 15
2. Goodbye Grotowski 51
3. The Theatte of Migrants 67
4. Satyagraha: A World Outside of Time 85
5. Peter Brook's Mahabharala : A View from India 94
PART/I
1RANSffiON
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6. The "Request Concert" Project Foreword 123
7. Request Concert in Calcutta 127
8. Request Concert in Bombay 153
9. Request Concert in Madras 172
10. Retrospect 197
TIIEA1 RE AND TIIij WORLD
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PART/II
RETURNING
11. Preparing for Krishna 217
12. Notes on the Invention of Tradition 250
13. Letter to an Actress 273
14. Ninasam: A Cultural Alternative 284
Index 309