The world of Odia drama is privileged to have been viewed through the lens of a woman critic, Dr Sanghamitra Mishra, for about four decades. A prolific writer who brushes with almost all genres, Mishra is especially famed for her precise and unbiased critical discourses. Known for her hairsplitting and lemon-squeezing style, she is widely acclaimed as an eminent critic of reason and a voice of sanity among literary circles in Odisha. Like other incisive literary critics of Hindi, Bengali and Tamil dramas, she has added dynamism to the Odia dramatic tradition in order to shape up and mould it into excellence at the pan-Indian scenario. She had her superannuation as Professor and HoD of Odia Language and Literature from the Utkal University recently. Her major contributions include compilations of critical discourses, plays, stories, biographies, editorial writings and translations, monographs like ‘Mamatar Upapadya’, ‘Galpaganga’, ‘Natak O Natakiyata’, ‘Natakar Nabamulyaan’, ‘Santhakabi Jasobant’, ‘ Itihasra Hajila Khia’, ‘Patha Bataye Patha’, ‘Kabita O Srujanshilata’, ‘Gopal Chhotaray’ to mention a few from her ensemble enriched with scores. Born at Khandasahi of Salepur in Cuttack district, Mishra won the Odisha Sahitya Akademi Award in 2009 for her ‘Basudhara Pratibad O Anyan Natak, besides shelves chockfull with several awards and accolades from literary and cultural institutions. In an interview to The Pioneer, Mishra talks to Sugyan Choudhury about her creations, drama audience, experimental plays and role of government in promoting theatre in our State.
Please tell us why you chose to be a playwright. How do you assess the phenomenon of drama then from an audience’s perspective? What changes have occurred since then and what is your role in it?
I am, quintessentially, a critic, being associated with evaluation of drama since Seventies. I wrote plays late in my career. It came naturally to me without premeditation. Today’s drama tries to get near the viewers. A lot of changes have happened since then and is also happening today. It is ever inevitable. Are not the trends and style we mark in plays produced during the Second World War missing in the time of emergency? In the same manner, we witness that the plays have undergone transformation in regards to their appeal in the aftermath of globalisation of common life. I believe that plays mould themselves in tune with the audience’s taste and sensibility.
Do you think we have been able to wean away piqued audience from cinema and soap opera today? What more we have to do for winning affection of viewers?
In my opinion, these questions appear irrelevant. The viewers are discreet about their choice of entertainment that depends as much on their sensibility as on the time and ages they live in. The audiences having inclination to watch folk dances like Ghoda Naach and Ghuduki Naach will not prefer to relish “Labanyabati” or “Bidagdha Chintamani”. Leave it; cine-goers fond of Odia films are not same as those who are fan of Telugu movies. Those who love Hindi films are also different in their preference. Irrespective of the differences, the modes of entertainment prevalent in an age are sure good for the society. It is undeniable that good plays attract audiences. Furthermore, it is debatable what we choose to be a good play and who the good viewers are. Always, educated middleclass are fans of stage plays, I think. Above all, the preferences of spectators fix upon whether a play is good or not.
What role, you think, the government should play to popularise the drama? Are expertise and wisdom of the playwrights of older generation like you being sought when government policies are being formulated for spread of drama and theatre in our State?
The government has to play a pivotal role to make charm and value of drama accessible to people. As far as I know, the government is extending support and financial aid to the drama troupes in our State. But we can’t expect the government to write good plays for us. I don’t feel like belonging to either the old generation or new generation as a playwright. All those involved in creating drama are called theatre-activists. I started writing plays too late in my career. I know little about what policies the government formulates about the promotion of drama. I’ll feel glad and privileged If I’m ever invited to share my experience and wisdom for this good cause. I’m sure the older playwrights, directors; actors are collaborating with government agencies.
Do you think the Kendra Sahitya Akademi and the State Sahitya Akademi are justified when picking up playwrights from the State for conferment of awards and honours?
I have no knowledge of how the Kendra Sahitya Akademi and Rajya Sahitya Akademi conduct themselves. But it is the Sangeet Natak Akademi that exclusively deals with drama. I think you know how tough it is to win an award or honour by virtue of writing plays. I feel unable to come up with any revelation that might thrill or surprise you! Why this question to me? Is it that I’m a recipient of the State Sahitya Akademi award? That is accidental. I always distance myself from lobbying or racing for honours. I extend my thankfulness to you for taking me to a large audience.
Absurd plays shoo away the theatre-going audience because they lack essence of drama? What is your take on it?
Humbly, I just can’t reconcile with your proposition. No absurd play in the true sense of the term has ever been written in our State. All those appearing identical to absurd plays are indeed experimental plays. The experiments in theme, dialogue, scenes, settings, costumes were once going on. Reading and reacting to Samuel Becket had inspired some playwrights to indulge in experiments; and what they produced has remained as experimental. They couldn’t go forward. Why shnould the audiences love to watch a play that lacks good story, dialogue, song and dance?