Theatre. It has been an intrinsic part of the cultural life and ethos of India. Our vibrant folk traditions have reflected the changing social realities of this country as troupes ad-lib around structured story lines. Every state and therefore regional language has its own, specific and local theatre. The performing groups move from village to small town enacting their creations, often laced with song and dance. Before television invaded our lives, public communication was through theatre and film. As the small screen came to overwhelm us, theatre diminished and alas, our great tradition began to be diluted. Ordinary people, who were the true patrons, turned to TV and the state too emphasized this new medium. A burgeoning middle class was looking at new gizmos to attach itself to and a fading elite had neither the energy nor the inclination to conserve and nurture theatre. India has lost much with this neglect.

However, some stalwarts continued to strengthen the theatre tradition and are today responsible for triggering a revival. Prithvi Theatre is a leader in this endeavour and has become a catalyst for scores of national theatre companies. Theatre is beginning to demand space on the national stage. Last week, on the birth anniversary of Prithviraj Kapoor, Shashi Kapoor and his children, Sanjana and Kunal, inaugurated an annual festival, Theatre Mania at Prithvi. They imported Shakespeare?s Measure for Measure, a British production done by Complicite, a theatre company founded by Simon McBurney in 1983. First time in India, thanks to Prithvi, the ICCR and The British Council, supported by Orange, described by Peter Brook as having ?created their own tradition?, Complicite has shared its creative skill and theatrical success with us.

In full measure

But what is important in this exercise is the fact that institutions and companies have come together in a public/private enterprise, to endorse good theatre. India has been left behind on the world stage. Ancient playwrights have virtually been forgotten by Indians and our contemporary work is ignored except by a few committed groups who continue to celebrate theatre. If the ICCR and other international cultural institutions bring diverse performances to Indian cities and towns as well as take plays and concerts abroad, we shall be energized again in this realm. To do this we need many more ?Oranges?, who are enlightened enough to recognize the great contribution that they can make to the social and cultural space in India.

Our press too has failed us. It has not been able to generate any truly competent literary criticism. Instead, we have spawned endless page 3 writers who never elaborate on the event but rather on the people present. Who cares about who?s who? One just has to read the FT on the weekend to understand what leisure and life style are about. It?s not about congregations of people but about where and why people congregate. The uninitiated journalist, particularly in the literary and cultural space, has allowed those pages to deteriorate into mindless copy. The time has come to restructure the pages that deal with the celebration of life and living, of what makes for fine culture and gracious form, the celebration of active minds that communicate with the world. And theatre is a great bridge.

With the economic agenda on the move, it is appropriate for the cultural agenda to take off as well. Our museums desperately want to be lifted out of the mire they have descended into. Our archives, ostensibly protected by the state, are being eaten up by white ants. Our living traditions are reaching out, looking for patrons. Our skill is in trying to find a marketplace. We have to recognize and enhance all these special attributes that have made India a magical country.