Nirdigantha, a theater incubation center at K Shettihalli in Srirangapatna, founded by Prakash Raj the actor and filmmaker, recently clocked one year old. Nirdigantha is an empowerment program that was initiated to support theatre artists and provide avenues for them. It has been a period of considerable growth and success for Nirdigantha in the last 12 months.
In his discussion with The Hindu, Prakash Raj elaborates on different aspects of the journey Nirdigantha’s impact on the theatre community, his dreams/future plans and why he hesitates to join acting again quickly.
How does it feel that Nirdigantha is now one?
We are living our dream. This is just beginning; there is so much positivity all around us. The way this place has grown over the past year really touched me. Through these young kids who work here you get to see “all types” of people in life with different mindsets. Like Ranganathittu bird sanctuary just around the corner from here, this place has become “Rangada (theatre)thittu”. Those conversations have enriched me within my own self through all these past years till today.
Did your aim ever come true of empowering artistes? How can the theatre community in Karnataka create more opportunities for them?
Currently we entailed some 30 -40 artists working under various projects. This area not only helps them unlearn what they know but also enables them fail as well as understand why they failed. After our recent festival in Chikkamagaluru and Mangaluru we heard more numbers were coming to watch local plays produced by local troupes. Even people from other parts of Karnataka are starting to realize that theatre can be done here too.If as many Nirdiganthas as possible can be inspired by us at Nirdigantha to start their own Nirdiganthas in their respective spaces, people will hear the voices of this generation.
Nirdigantha started Shalaranga, a program to introduce theatre in schools across Karnataka. Is the place of theater important in children’s lives?
Shalaranga was not only meant for introducing plays but also for using it as an educational tool. Some of the basic requirements that UNESCO contends must be considered when schooling students include more than just maths and science – issues such as social justice, perception and literature are important too. Theatre can expose children to these subjects.
This is a big project, and we are trying to create/establish/develop a curriculum that will be presented to professionals who have worked with children to see what else is needed. Theatre helps a child understand the world and find a way of showing his or her creative thinking capacity by creating.
Whether this is theatre, singing or dancing; every art form is crucial during the period when one grows up as a child.
Out productions performed by Nirdigantha include ‘Gaayagalu’ and “Project Darling”. Is there anything else on the horizon?
A total of six new plays have been born including Tappida Yele, A Friend Beyond the Fence, Bob Marley from Kodihalli and Mattaya 22:39. These were played only at Mysuru and Chikkamagaluru up to now, but they will soon start touring around the whole state. Our latest production Manteswamy Kavya Prayoga that it is still running at present also makes sense. Traditionally, Men sing folk songs or Manteswamy Kavya but here in this play we have young female singer cum actor presenting kavyas. There are few more one-man plays coming up as well as documentary shows.
In ten years where do you think Nirdigantha would be?
Am not sure because dawn will never again come in your life. Nothing stays still for long; it keeps changing its shape, until once it turns into circle then you must go on its other side too. I believe Nirdigantha will go beyond us.
You’ve rejoined theater after dedicating all your life to cinema for thirty years. How does your role in both these worlds differ?
It’s not like my roles differ much anyway. Here at Nirdigantha I farm in my spare time whenever I want to—I don’t know if that can/will make sense no sugarcane again. From these surroundings, children, women and the elderly come to see plays. This old woman who doesn’t have any family is staying here. A different kind of socialization is on the rise right now. I could have been irrelevant had I been a theater actor only; it’s this that keeps me meaning more in today’s generation.
Some time back you told that something new was happening and your fans would soon watch you perform.
I’ve decided to stay off stage for the next two years because I think my job is to allow others do it. When again I will be on stage, it will not only be about playing characters – there’s also something else I am going through, not just my talents as an actor.
