Cultural Storytellers: Rahul Gandhi

In this week’s Cultural Storytellers interview, Renee Liang talks to Rahul Gandhi about Indian street theatre and being humble witness to the human condition.

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Last year, I talked to Sananda Chatterjee about a funky new Indian theatre initiative, Prayas.  This week, I talk to Rahul Gandhi from the same group about their new production which brings Indian street theatre to NZ audiences.  Beyond the Land of Hattamala, with its large cast including dancers and musicians, promises to unveil an ancient form of storytelling and political commentary. 

Apart from being an actor and newly minted director, Rahul also works as a doctor – a fact which is particularly fascinating for me as I also juggle similar passions.  I like what he says about both acting and doctoring – that it is about observing and honouring the human condition.  It’s easy to forget that, amidst the hubris that often goes along with writing, making and marketing our work.  To have the humility to acknowledge that we are all infants, when it comes to understanding ourselves, seems to me to be a very good strategy.

Rahul also talks about the inclusive nature of their group.  In my experience (and I do talk enough to be invited to a lot of theatre!), one of the great things about theatre serving any kind of minority group – be it emerging artists, Pasifika or Maori – is their inclusiveness and openness.  It’s like we have a common language and a common desire to be heard.  Let’s face it, theatre is hardly going to make anyone rich, so we might as invest in the richness of each other’s stories instead.  Personally, I’m really excited whenever I see a crossover in theatre traditions – in Prayas for example mixing Indian high culture with western theatre expectations.  But enough of my rant.  On with the interview!

Renee: What led you to become a theatremaker?

Rahul: Serendipity and a general interest in wanting to communicate through stories. It’s the best form of teaching anybody about the human condition, in my opinion.  My father took me to see some live theatre in Mumbai when I was 15. I fell in love with the art. It has become a tradition in my family now. Every time Dad and I are in India together - we spend many evenings at Prithvi Theatre. I attended a few theatre workshops based on Indian theatre and here i am - trying to contribute to the Prayas movement!

Renee: How did you become part of Prayas?

Rahul: One lazy April morning in 2007, I was dragged out of bed to support my friend for her audition in this play. I went, found this organisation, and it appealed greatly to me. I auditioned too and they picked me to be their protagonist for a play called The Terrace! Thus I rediscovered theatre and my love affair with it has continued.

Moreover, Prayas' mission resonates with my goals. Its aim is to integrate cultures by sharing. We attempt to share our world through the telling of stories in English, conditions that are set in India but could be anywhere. Already, people who are Kiwi Indian but have lost access to their culture over generations have responded strongly after watching our shows and expressed interest in joining our group.  As have Pakeha who are wanting to be part of a fun group! I am inspired and want to contribute more.

Renee: You were the lead actor in Prayas' last piece, and now you're directing. What prompted you to make the move?

Rahul: It was fortuitous really. A key member of Prayas, Sananda Chatterjee had to move countries and left a gaping hole in our production plans for 2010. The directors suggested that I should take up that role. Reluctantly, and with a lot of support, I have enjoyed the transition.

A strong desire to showcase the philosophies of the eastern oriental cultures has also been a factor and we have done it through this play by exhibiting the poems of Kabir, Sufi mystics and a particular form of music called Tarana and Qaul.

Renee: How has the piece changed for you since you started directing?

Rahul: Chalk and Cheese. It has surprised me greatly. I have been able to derive new paradigms, interpretations and a completely different context. That’s the fun when you are toying with the script to meet the demands of a contemporary society. The questions I was asking were how to make this more relevant to today - because our script was set in 1975 India during a political crisis.

Renee: How have you found being a director?
 
Rahul: Stressful. But a lot of fun. As an actor - you think about your contribution to the play and your relationship with the actors you interact with on stage.

But the director is a constant observer – everyone’s problems are suddenly his/hers. I am lucky to have experienced directors such as Amit Ohdedar and Laurel Devenie to guide me and the cast through what have been a crazy 4-5 months.

Renee: "Beyond the Land of Hattamala" references street theatre, but is written for the stage.  What is the influence of street theatre in India?

Rahul: Street theatre is the rawest, and possibly the most effective form of theatre in India and it has been for centuries. Every village in the old days would have festivals where in there would be tales of great heroes from the epics, retold through theatre in an open street corner. People would gather round and disperse spontaneously. Even join in the performance as extra props or in song! This evolved and it quickly became a vehicle to communicate strong social messages - such as ending the dowry practice and the cast system.

This particular piece : "Beyond the Land of Hattamala" was performed in the street corners of Calcutta in Bengali in the year 1975. India was in political turmoil. Originally this was a dig at the capitalistic intent of the government and how a socialist society would prosper.

Since street theatre relies on repetition of ideas to allow audiences to flit in and out of performances - it was very difficult to adapt it to a stage theatre form. For instance - in the original play pages 2, 7 and13 conveyed the same message in different scene, often with the same dialogue. That would work in street theatre because busy civilians are going about their business and would arrive in the middle of the show and still be able to get the gist of the play.

But we couldn’t put a stage show with a repetitive script and had to adapt to the times and the format.
But we have tried our best to stick with minimalistic props - as is the tradition of street theatre.

Renee: What's the status and use of theatre in India compared with theatre in NZ?

Rahul: In India - as I’ve mentioned above - it still retains a presence in the villages and tales told are often part of tradition. The stories of the Ramayana (Indian epic) are enacted yearly in all cities and villages throughout India. The flavors and the music are different in each state, and the interpretations are fascinating.

It has been used as a vehicle to promote socially relevant messages, like drinking pure water to prevent disease, and recently as an AIDS awareness programme. It remains a very important aspect of getting the message quickly to the common citizen, the uneducated and poor included.

I have yet to see street theatre being used in NZ - but I’m sure it’s just my ignorance - it has to be out there somewhere.

 Renee: How do the worlds of medicine and arts fit together for you?

Rahul: Acting for me is not pretence. It is a processed response to a situation. It is a great responsibility because it is my acknowledgement of the stimuli the world has offered me. I have to honour the totality of the moment.  It is a near impossible task - and I am only beginning to learn. It has made me a student of the human condition - in its subtle forms.

In medicine, I have been witness as a doctor, standing on the periphery of someone else's joy, sorrow, frustration... Through acting I have become more sensitive, thereby adding another dimension in what can sometimes be a sterile hospital environment. Again I have become a student of the human condition - in its physical form.
They are very complementary arts and I am beginning to realise that I am an infant in both these subjects.

Renee: What's next for Prayas?

Rahul: We are thinking of several things and this project has opened doors for us. We want to showcase works of some great poets, philosophies and music. I would love to collaborate with any group that can take our community theatre to a higher level of acting. Acting is a great pleasure - to be able to identify with human situations is an immensely therapeutic exercise!

And Prayas as a movement - is universal and not exclusive to the Indian community! Contact us if you would like to contribute.

Beyond the Land of Hattamala plays at TAPAC, 100 Motions Rd, May 28 – 30.  They are sold out but to go on Prayas’ mailing list for future productions or to contact them about participating go to http://prayas.co.nz/.

Cultural Storytellers: Sananda Chatterjee