So, Scheherazade began
A story every night; each one kept the King on the edge of his seat. Aayirathiyoru Iravugal, playwright/director Vinodhini Vaidynathan’s adaptation of the Arabian Nights, seeks to capture this essence of ingenious storytelling.
Why did you choose to do an adaptation of the Arabian Nights?
I wanted to do an absurdist take on a story. We’ve all grown up reading stories from the Arabian Nights, and playwrights such as Na. Muthuswamy sir, for instance, have re-written stories on Vikramaditya and Tenali Raman — these come across as social satires and were commentaries on the political state of the time. Also, the Arabian Nights allows for a lot of physical theatre. Music and dance are an integral part of theatre and these stories let us incorporate these elements.
Do you think the stories are relevant to the present times?
I’m not sure if they are relevant. The stories have magical elements in them. But, I’m concerned about the gender politics they talk about. Written during the Medieval Islamic period, they tell of how women had an equal role to play in society when compared to men. They were, in fact, dominant. But, the power was always with the men. The power equations between man and woman are always relevant.
Tell us about the music of Aayirathiyoru Iravugal.
We’ve approached the play’s music as we would a mainstream movie. For instance, we have a heroine introduction number. We’ve incorporated elements from various genres of music. Actors will perform the songs live on stage like in a musical. Our entire climax will be narrated as a song.
You’ve done quite a few memorable roles in Tamil cinema. Which medium appeals to you the most? Theatre or cinema?
It’s difficult to choose one. Cinema and theatre are completely different media. Theatre has a way of making me feel that I’m going back to my roots. I feel refreshed when I act in a movie after I’ve performed theatre. In fact, my training in theatre helps me approach a role in cinema differently. A lot of directors respect the fact that I have a theatre background. For my role in Aandavan Kattalai, director M. Manikandan of Kaaka Muttai fame gave me a lot of freedom to improvise.
Sun, salt, and some humour
The story of Mundhirikkotte unravels in a coastal village near Chennai. A salty mix of human emotions and humour, it was written by Sunandha Raghunathan as part of the Writers’ Bloc workshop held by Rage Theatre, Mumbai, in collaboration with The Royal Court, U.K.
Edited excerpts from an e-mail interview with director Anitha Santhanam
What is your approach to the story?
As a director, I prefer simplicity and visual poetry in my work. Given my physical theatre training at LISPA (London International School of Performing Arts), I choose to work with the subtext through physicality and action on stage. The landscapes of Parangipettai, the colours and the rhythms of salt-making, are all part of the play. It’s a simple but ever-transforming set.
Though economically disadvantaged, Pavunu, KP and Selvaraj exhibit zest and determination to make something of their lives. There is a lot of playfulness and humour in the play — KP and Ahmed want to make it to the IPL and star in action movies.
You’d mentioned that you visited the village with the playwright. How did the visit and interactions with people there affect the narrative?
We visited Parangipettai and took in the place and its people — chatting, hanging around, watching the salt-pan work, talking to vendors… The colours on stage, the costumes, the set, and definitely the rhythm of the play, are influenced by the visit.
Importantly, my visit to Parangipettai and talking to the people made me feel that I owe it to them to tell their story with unflinching honesty, passion and playfulness.
Tell us about your background and the kind of theatre that appeals to you.
I grew up in Chennai and did my Masters in English from Stella Maris College. My background in the performing arts includes classical and contemporary dance and physical theatre. I’ve been a full-time performer for the last 15 years.
Till 2003, I was a full-time dancer with the Bangalore-based group, STEM. In 2006, I did my first Tamil play Vanaprastham in Madurai, directed by Parasuram Ramamurthy. I fell in love with theatre and pursued a course in Lecoq-based physical theatre at LISPA London, on a Charles Wallace scholarship {she got the scholarship twice}. And, I was shuttling between London and Bangalore from 2007-2013. I came back to Bangalore in 2013, and have been directing since then.
I’m also an actor with Perch and was part of Ms Meena and Monkey and the Mobile. Mundhirikkotte is the fifth play I have directed.
Good theatre appeals to me. Theatre is very close to life and, therefore, infinite variety is possible. I hate pretentiousness and bombast, both in theatre and life.
What is your take on the current scene in Tamil theatre?
Being based in Bangalore, I’m not equipped to comment on the Tamil theatre scene. I love Tamil — its intensity and power; it’s a great language for theatre. I wish that there were a performance space only for theatre in Chennai, like a Rangashankara or a Prithvi. It makes a huge difference to both theatre makers and theatre lovers.
Once upon a tale
From the school of the master of avant-garde, Na. Muthuswamy, comes an abstract production, Vandichodai. Directed by R.P. Rajanayahem, the play is being staged for the first time since it was written in 1968.
Edited excerpts from an e-mail interview with the director
Tell us about the experience of working with Na. Muthuswamy.
I consider myself fortunate to work in Koothu-p-Pattarai and direct Na. Muthuswamy’s play. It’s exciting that his son M. Natesh is doing the sets and lighting. The playwright practises good values and ethics. I’m learning a lot from him and developing confidence as a director.
What kind of theatre appeals to you?
Theatre is not a place for just seeing or listening to a performance. Good theatre should create an emotional exchange between the performer and the audience. I’m always fond of experimental plays. Theatre of the absurd appeals to me.
Tell us about your background in theatre.
I’m a keen observer of modern plays. I enjoy plays such as Samuel Beckett’s Waiting for Godot, Edward Albee’s The Zoo Story, and Federico García Lorca’s Play Without a Title. I’m a Shakespearean scholar, an actor, singer, and a writer. Vandichodai is the first play I’m directing.
What advantage, according to you, do abstract productions have over realistic ones?
Theatre of the absurd has a sense of metaphysical anguish towards the absurdity of the human condition. People should learn to appreciate such productions.
August 26:Aayirathiyoru Iravugal
August 27:Mundhirikkotte
August 28:Vandichodai
The plays will be staged at Museum Theatre, Egmore. Tickets are priced at Rs. 250 each.
