Setting the stage for celebrations
Four eminent personalities from state getting the Sangeeth Natak Akademi awards could rejuvenate Kannada theatre
Four eminent personalities from Karnataka have got the Sangeeth Natak Akademi awards and it is time to celebrate for reasons more than one. For all four, theatre has been a passion and truly deserve the honour is one reason, and that they put Kannada theatre yet again on top at the national level is second.
The third reason is that these awards could induce that much needed energy into Kannada theatre.
All of them said they were happy for the recognition but felt that there were others who also deserved it.MS Sathyu definitely deserved the Fellowship as at 75 he is still active in theatre and just a couple of months ago directed a play, Mudraaraakshasa, in Hindi at Delhi. Ask him if there is any plan to stage in Bengaluru and he says, “ If we get sponsorship; we have 20 actors.” That’s his spirit.
He is one director from Karnataka who has worked at the national level and is well known. Of course, in Kannada theatre B V Karanth overshadowed everyone else but there are others who have held their fort.
I ask him if he feels the Fellowship has come a bit late, and he asks me “Is there a time limit for awards?”
He goes on to explain, “You see, the awards depend on who the committee is. Depends on how they think. This committee must have thought I deserve it. That’s all. But I am happy to get it because it’s an important theatre award. Coming to whether I deserve it...hmm...I don’t know! There are so many who deserve it more than me.”
I tell him that if a person makes one important contribution, I take it as deserving enough, and he has done more than that. His Garam Hawa for me is the ultimate contribution to Indian films. So when he eventually made some not-so-great films in Kannada, I took it in my stride and did not let him slip from his exalted place.
Sathyu is well informed to give an analysis of contemporary status of Indian theatre. “Each region has its own season and each is doing well. Mumbai of course has regular theatre activities and Delhi has its winter festival and summer festival. Only in Kolkata have theatre activities come down a bit. Bengaluru is doing well; with Rangashankara the theatre activities are very healthy.”
Then what are the woes of Kannada theatre?
He gives his reasons. “Funds crunch. There are no playwrights now writing for the stage. All are writing for the small screen! TV gives them money whereas there is no money in theatre. Same applies to other departments of theatre. Directors, actors and other talents are migrating to TV. But still Kannada theatre is in good shape,” he says.
For K V Akshara of Heggodu, the award is recognition for the institution of Neenasam. “It belongs to all. Theatre any day is a collective art. I can’t claim it alone. I am happy as well as feel a bit odd that when there are so many more deserving than me, who have made greater efforts, have not been given and yet I got it before them.”
I ask him the inevitable question often asked of him: If he was overshadowed by his father, Magsaysay awardee K V Subbanna, and this award comes as a relief for having proved otherwise.
He laughs and says, “May be ten years ago I may have felt a little unsure but today I look at it this way: When a father leaves all his wealth – material and otherwise -- we do receive it and as the heir continue to build on that. Now, this too is something I have inherited from him and if not as good as him I must at least match his achievement. It happens in all other fields too, not just in arts. No, I don’t feel he overshadowed me but I have made my peace.” Akshara, who is one of our rare scholars is much more than this. In fact he feels the award does not really reflect the work he is doing in theatre but in a positive way. “I should not say it actually, I must simply be silent and accept the award and get on with my work” is how he feels. However, we know that Akshara getting the recognition at the national level definitely is significant.
Chidambara Rao Jambe is another theatre personality who has been awarded the Natak Academy award this year.
He too considers it as recognition for the Kannada theatre community and not of any individual. However, I am very happy for him because he has come a long way and richly deserves the accolades. He very willingly acknowledges the influence of both B V Karanth and K V Subbanna. Kannada theatre needs someone trained under both these stalwarts to prosper. Jambe is full of hope for Kannada theatre as he feels “we have a very good audience for theatre but no funds.”
He believes that given a strong support system wonders can be done. “The government should come forward to support the theatre culture. I am not saying give employment to theatre enthusiasts but when young teams are eager and also capable of producing good plays they must be supported. There is definitely a good audience. I see many youngsters eager to get into theatre. We must cash in on that,” he says.
The fourth recipient this year is Hostota Manjunatha Bhagavathar for Yakshagana. His single handed, untiring efforts in training youngsters in Yakshagana has contributed more in continuing the heritage art than any institution. It was a special moment when he trained visually impaired children at Shivamogga in Yakshagana. He has been a Yakshagana exponent for past 60 years and the recognition was long due.
Four eminent personalities from Karnataka have got the Sangeeth Natak Akademi awards and it is time to celebrate for reasons more than one. For all four, theatre has been a passion and truly deserve the honour is one reason, and that they put Kannada theatre yet again on top at the national level is second.
The third reason is that these awards could induce that much needed energy into Kannada theatre.
All of them said they were happy for the recognition but felt that there were others who also deserved it.
He is one director from Karnataka who has worked at the national level and is well known. Of course, in Kannada theatre B V Karanth overshadowed everyone else but there are others who have held their fort.
I ask him if he feels the Fellowship has come a bit late, and he asks me “Is there a time limit for awards?”
He goes on to explain, “You see, the awards depend on who the committee is. Depends on how they think. This committee must have thought I deserve it. That’s all. But I am happy to get it because it’s an important theatre award. Coming to whether I deserve it...hmm...I don’t know! There are so many who deserve it more than me.”
I tell him that if a person makes one important contribution, I take it as deserving enough, and he has done more than that. His Garam Hawa for me is the ultimate contribution to Indian films. So when he eventually made some not-so-great films in Kannada, I took it in my stride and did not let him slip from his exalted place.
Sathyu is well informed to give an analysis of contemporary status of Indian theatre. “Each region has its own season and each is doing well. Mumbai of course has regular theatre activities and Delhi has its winter festival and summer festival. Only in Kolkata have theatre activities come down a bit. Bengaluru is doing well; with Rangashankara the theatre activities are very healthy.”
Then what are the woes of Kannada theatre?
He gives his reasons. “Funds crunch. There are no playwrights now writing for the stage. All are writing for the small screen! TV gives them money whereas there is no money in theatre. Same applies to other departments of theatre. Directors, actors and other talents are migrating to TV. But still Kannada theatre is in good shape,” he says.
For K V Akshara of Heggodu, the award is recognition for the institution of Neenasam. “It belongs to all. Theatre any day is a collective art. I can’t claim it alone. I am happy as well as feel a bit odd that when there are so many more deserving than me, who have made greater efforts, have not been given and yet I got it before them.”
I ask him the inevitable question often asked of him: If he was overshadowed by his father, Magsaysay awardee K V Subbanna, and this award comes as a relief for having proved otherwise.
He laughs and says, “May be ten years ago I may have felt a little unsure but today I look at it this way: When a father leaves all his wealth – material and otherwise -- we do receive it and as the heir continue to build on that. Now, this too is something I have inherited from him and if not as good as him I must at least match his achievement. It happens in all other fields too, not just in arts. No, I don’t feel he overshadowed me but I have made my peace.” Akshara, who is one of our rare scholars is much more than this. In fact he feels the award does not really reflect the work he is doing in theatre but in a positive way. “I should not say it actually, I must simply be silent and accept the award and get on with my work” is how he feels. However, we know that Akshara getting the recognition at the national level definitely is significant.
Chidambara Rao Jambe is another theatre personality who has been awarded the Natak Academy award this year.
He too considers it as recognition for the Kannada theatre community and not of any individual. However, I am very happy for him because he has come a long way and richly deserves the accolades. He very willingly acknowledges the influence of both B V Karanth and K V Subbanna. Kannada theatre needs someone trained under both these stalwarts to prosper. Jambe is full of hope for Kannada theatre as he feels “we have a very good audience for theatre but no funds.”
He believes that given a strong support system wonders can be done. “The government should come forward to support the theatre culture. I am not saying give employment to theatre enthusiasts but when young teams are eager and also capable of producing good plays they must be supported. There is definitely a good audience. I see many youngsters eager to get into theatre. We must cash in on that,” he says.
The fourth recipient this year is Hostota Manjunatha Bhagavathar for Yakshagana. His single handed, untiring efforts in training youngsters in Yakshagana has contributed more in continuing the heritage art than any institution. It was a special moment when he trained visually impaired children at Shivamogga in Yakshagana. He has been a Yakshagana exponent for past 60 years and the recognition was long due.
