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| Rajorshi Dey and Anjan Dutt at rehearsal. Picture by Chanchal Ghosh |
What is Abani Opera all about?
This is a play I have written myself. We had started off thinking that we would do Samuel Beckett’s Waiting For Godot, which is all about two people waiting. While reading and translating, I felt it would be interesting if Vladimir and Estragon started questioning each other, knowing that it would lead nowhere. On this thought I reworked a play I had written in the ’90s. It’s about two people — Abani who is a singer-songwriter, and Anirban who is into politics.
They meet over time, can’t do without each other yet there’s a constant battle of views and beliefs between them. It is set in Calcutta but isn’t just about the city. We see them first in 1974, then in ’84, again in ’94, and then for the last time in 2004 with a twist in the end.
At the same time, theatre shouldn’t be verbose. It should be exciting and enjoyable, so we decided to keep a live band on stage that will sing songs, create the opera and bind this two-hour play.
Why don’t we see 2014?
I wanted it to end in 2004 because from 2004 to 2014, I want people to look back in that perspective and decide what should have happened. Otherwise it would defeat its purpose and become indulgent in pamphleteering, which I didn’t want.
Tell us about the cast and crew...
There are two main characters. One is Anirban, played by Rajorshi Dey, who’s in the media, writes plays and I found him interesting. I play Abani. Theatre actors Turna Das and Soumyojit take turns to play different characters.
The band on stage will feature (son) Neel, Amyt Datta, Sanket Bhattacharya, Durjoy Choudhury and Deboprotim Bakshi.
Your play Galileo was appreciated, while your last films met with criticism. Is that why you decided to take theatre so seriously?
Not really. I think I can produce theatre. I had started off with theatre and I still feel that Dutta Vs Dutta, Shesh Boley Kichhu Nei were lovely films but since there are too many films happening, the space for a film to survive is thinning out, especially the kind I make. So it’s better I do less films and do other things. I have music to fall back on, theatre is also about acting and I love being on stage.
You wrote “theatre is dead today” on the play’s Facebook page. How will Abani Opera make a difference?
I believe in postmodern theatre that is fragmented. The Brechtian form has always excited me, unlike classical forms. In Abani Opera, I bring in theatre of the absurd. The situations are slightly surreal and there are no sets as such. The whole place looks like a godown. The backdrop is a screen where we see visuals of violence, uprising, protests and deaths. The play is a cross mix of different mediums — music, theatre, multimedia.
See, when I say theatre is dead, I’m not denying that valid theatre is being practised or saying there’s a dearth of talent. What I mean is that the purpose of theatre is losing its power. To push us to debates and questions, that has gone missing over the years. All doing their kind of stuff but in general the impact of theatre on the youth, the way I was inspired, I don’t see that happening today. I am not trying to say that I’m here to bring it back to life. Just trying to provoke questions and arguments. We’ve reached a situation where we’re only saying good things about each other. I think questioning and self-questioning is helpful.
You are very vocal and critical of people these days on Facebook. Aren’t you making a lot of enemies?
Not criticising or arguing is like allowing ourselves to die. I think there should be an artistic environment where people argue, fight yet live together. My purpose is not to ridicule anyone or be sensational. I’m just trying to voice my opinion and tell people that yes, they are good but it should be better. My demand from theatre and films is more.
I’m bothered about what is going on and I expect a lot. They’re all my friends. I think they understand that I’m not vicious. There’s no politics or agenda in what I say. They too should criticise me and point out my mistakes. Today we’re isolated in our computers and therefore my medium is the Net. Instead of Coffee House, now it is Facebook, a space that can’t be denied, and I want to use it or else I will become senile. We’re living in a virtual world where we’re constantly multitasking. There was a time when one couldn’t read a book and listen to music at the same time but then there came a time when you could. At 61, I accept this world of constant distraction I live in. I don’t see anything wrong in somebody watching a film and at the same time sending a WhatsApp message.
Will you not get angry if someone did that during your film or play?
No, I used to get very angry earlier. I still wouldn’t do it myself but there is multitasking happening and Abani Opera also takes care of that. In fact, I’m not going to make any such announcements at the start of the play, consciously. Let people enjoy and talk if they want to because I’m also going to distract people with what I do on stage.... What the hell, let’s open up the digital world! Theatre is one place you can do all that.
Given your radical ways, some call you a maverick and some think you’re eccentric. How do you find yourself fitting in in these descriptions?
I’m both, I think. I’ve come to believe that radical people are eccentric. And if anybody laughs about it, I don’t care. I laugh too because they don’t see beyond their nose.
With fame comes a lot of hazards but I don’t feel attacked. You have to be a little eccentric to join the young. I’m 61 and I should be ideally resting, not ruffling feathers and making one nice film in a year but I don’t want to do that. I want to be in the thick of everything and I’ve always wanted to be a part of the alternative. Otherwise I could have joined mainstream Tollywood which I have not because I don’t identify with it. Just like many don’t identify with my kind of work. Because my time is running out, I feel I have lots to do. I have no intention of retiring.
[Abani Opera premieres on October 5 followed by shows on October 6, 17, 18, 19, 24, 25 and 26 at Gyan Manch, 7pm. Tickets available at the venue from today]
