The 19th edition of the Ranga Shankara Theatre Festival will kick off on October 27 evening with a talk titled ‘The Narrator’ by political writer and activist Aakar Patel at the theatre’s foyer.
Now, Aakar has a slightly complicated relationship with theatre. It is an art form that he considers familiar — even familial — because his father produced Gujarati plays in Bombay in the 1970s. He, however, finds it difficult to engage with it. “I tend to become anxious when there is tension on the stage, making it challenging for me to connect with the performance. However, I did watch a play last weekend, so it’s not that I don’t go for theatre,” he says, “I find the experience of watching a live play much more intense than watching a movie. It’s far more visceral. It speaks to me in a way that cinema doesn’t.”
Aakar also considers theatre in India offers more space for political dissent than cinema. He talks about this, his speech at Ranga Shankara, and more. Excerpts:-
What is your talk at Ranga Shankara about?
I don’t fully know because I’m writing my talk as we speak. The theme of the festival is about narratives. And, I should say something about the narrator. The narrator takes centre stage in the theatre. But metaphorically, the narrator also plays a crucial role in today’s media. Usually, there’s only one dominant voice that dictates the narrative, much like a sermon from a pulpit. Additionally, the narrator can set the political agenda, often being the primary or most influential voice heard. I plan to explore these ideas in my talk.
Do you think all art is political? Or can art exist for art’s sake?
I believe that all forms of art, be it literature, theatre, film, or photography, should carry a political element. Art should offer insight into the context in which the artist exists and should not be so abstract that it disconnects from the realities of the world. Whether you are in Israel, India, or the United States, the purpose of art should be to depict the material, emotions, struggles, and joys of those in the artist’s surroundings.
In our region, there is a tendency to engage in this less than in other democratic societies. For example, in Bollywood or the world of cricket, artists and players often adopt a submissive stance, perhaps out of necessity. The Indian state is known for its stern treatment of those who exhibit dissent or independence, regardless of the ruling government. Consequently, individuals often choose the easier path. However, this should not detract from the essential principle that art should reflect the artist’s perception of the world around them.
How do you see the role of theatre and other art forms in addressing social and political issues?
It’s very vital. I believe that given the narrow and often simplistic nature of political discourse in India, there’s a pressing need for an additional dimension, another perspective. This becomes evident in the government’s actions, such as arresting individuals for their artistic expression. Consider the case of those accused under the Unlawful Activities (Prevention) Act in the Bhima Koregaon case, which includes members of a musical and theatrical group. The reason behind this is that they provide an alternative viewpoint that the state wishes to suppress, precisely because there’s so little of it.
It’s absolutely crucial for art to delve into deeper and more challenging subjects like these. We are fortunate to have the space to express ourselves, even if it might be contentious to say or sing something. This is in stark contrast to places where such spaces are severely limited. We must make the most of the freedoms we have.
Do you think such spaces are reducing in India?
There’s no doubt they are. There’s a prevailing atmosphere where you can’t express opinions that challenge those in power. If you do, you can quickly find yourself in trouble. People have become more cautious about what they say, and that’s a fact. When I see my fellow writers, poets, or actors facing trouble, where their family members are unjustly jailed under stringent laws, even if the cases are eventually dismissed, I become afraid for my own family’s safety. This fear often leads to self-censorship.
The government has aggressively targeted the non-governmental sector. NGOs have faced challenges, be it regarding funding or the freedom to form associations for their work. I have personally experienced these restrictions. The right to freedom of assembly has also been constrained. Both the government and the courts have limited protests to specific areas like Freedom Park, denying permission for larger public demonstrations. This has effectively shrunk the space for mass protests. We’ve seen restrictions on protests such as the farmer protests, and these developments have led to a significant reduction in civic spaces over the past few months.
Does theatre offer more space for political dissent than cinema?
I’ve noticed that, for some reason, many writers and activists tend to gravitate toward theatre (compared to cinema), especially in times like these. It’s possible that theatre offers them more space for creative expression and engagement. Despite theatre not being as popular as cinema, it serves as a powerful medium for conveying messages and influencing people. It has a unique ability to proselytise and engage its audience in a way that cinema might not. It can encourage people to see certain issues from a different and often more direct perspective. I think this is why many activist groups use forms like street plays to convey their messages.