Probir Guha in Bhubaneswar. Telegraph picture

The alternative style of theatre pursued and practiced by Probir Guha got him equal number of supporters and detractors. Pratyush Patra of The Telegraph spoke to the eminent playwright and theatre director from Bengal about a plethora of issues.

What are you specifically teaching the participants?

I am here to teach theatre direction which means I have to teach them everything from acting, voice modulation, stage movement to music and lighting.

Have you noticed any change in Odia theatre?

It has sort of revived itself. Earlier, only a handful people were interested. Now, I see that many troupes have sprung up that are coming up with regular productions. Formation of Odisha Natya Sangha is another bonus. Also, the interest among the youngsters as artistes and their presence among audience members have risen wonderfully. But sadly the modern and contemporary elements are yet to seep into Odia theatre.

What needs to be done to improve the scenario?

Watching more plays and reading more about drama are a must. Especially the lesser-known troupes that are trying to do something experimental should be invited here for festivals. Not just Odisha, whole Indian theatre is lagging behind.

You started your career with street theatre but that form is almost invisible now. Why?

I still do it. The street theatre gained momentum when there were major movements going on. Today, there is no political righteousness to carry forward a movement. Also, the streets have either gone too narrow or too wide with heavy traffic plying. We need to revamp the form by using more movements and fewer dialogues.

What is your style of theatre?

It is alternative- a deviation from the popular form. My production Tritiya Juddha (Third War) is a political drama but uses only gibberish dialogues but still makes sense to audience members. I and my mentor Badal Sarkar were the only people who were trying to do something different three-four decades back. In 1984, when I staged my play Ahalya in Bhubaneswar, I was severely criticized by Asim Basu, one of the towering figures of Odisha. Today, Asim da has understood the deeper meaning of what we were trying to do at that time. I even left Badal da because I feared I will become like him and won’t end up as something else. If you see Subodh Patnaik’s Natyagram in Khorda, that is what reflects my school of theatre.