Octogenarian Asim Basu is the grand old man of Odishan drama who has dominated the provincial world of theatre like a mighty colossus. He has left his indelible imprint to the celluloid world by acting in films of various hues. Besides, he has left his mark in films, especially in lending art direction in movies like Jajabara, Sautuni, Jay Ma Mangala, Ta’poi, Sodh (Hindi), etc., etc. In addition to all this, his character roles in various theatres have added a new dimension to his popularity among the theatre aficionados. He believes that the future of Odia theatre by 2035 would reach an all-time high besides making its presence abundantly felt in the pan-India scenario. In an interview to The Pioneer, Basu spoke to Sugyan Choudhury from his Kokila Garden residence at Pokhariput, Bhubaneswar.
Why did the Annapurna Theatre, the Kalashree Theatre, the Janata Rangamancha, etc. fail to attract theatre lovers at certain point of timeIJ
It is true indeed that these halls failed to attract theatre lovers owing to more reasons than one. lack of sophisticated theatre psndals, absence of state-of-the-art infrastructure, absence of gimmicks, magic made the theatre watchers forlorn. When they saw other Indian theatres in Kolkata, Bangalore, Mumbai and Delhi in a razzle-dazzle manner and felt its absence completely in Odisha theatre psndals, they were disillusioned.
Besides the above, our Odia playwrights began imitating modern world dramatists and wrote dramas in such a way which had no relevance to the day-to-day life of our common masses. They imitated and wrote plays like the theatre of the absurd, which failed to entice the masses. The masses turned volte face and became alienated from the Odia theatres and dramas. Thus, our playwrights were forced to write plays laying emphasis on stories. When the story-based plays emerged once again, our theatres got revived. What we need today is the construction and availability of Rangamanchas or theatre pandals by private players or entrepreneurs or by cooperative efforts. The ones that we are having at the Rabindra Mandap and the Bhanja Kala Mandap are governmental ones. How can we predict that the theatre lovers of our State are interested in watching Odia theatres unless they pay at the counters out of their own to witness the dramas of our own languageIJ
How does our Government help in patronising and popularising Odishan drama and theatreIJ
The Government of Odisha in the Department of Culture is making all-out efforts in patronising and popularising Odishan drama and theatre. All amateur theatre groups of Odisha are registered under the Odisha Natya Sangha, of which I am the president. A selected group is allowed to perform either at the Rabindra Mandap or at the Bhanja Kala Mandap for one day. likewise, in three days three troupes perform both at the Bhanja Kala Mandap and the Rabindra Mandap. Besides, our Government is sending theatre troupes outside the State to various pan-Indian festivals. But it remains to be seen that only the worthy ones having expertise and rich experience should be sent outside the State to showcase our theatre. Sometimes, the otherwise happens and low quality theatre troupes avail the chance at the cost of the worthy ones. It is the image of the State that matters while sending such troupes for performing outside.
You have acted in films in your salad days. Would you please kindly tell us about itIJ
It was a very memorable experience to act in films in those days. I have acted in film like Niraba Jhada, Sautuni, Jaga Balia, Dadagiri, Tara, Mukti Tirtha, Agniveena, Agni Sanketa, etc.
Your art directions in films are more eloquent than your other directions. Would you please tell us about itIJ
I have lent art directions to many films which are indeed poignant and memorable. They are to be noticed in films like Jajabara, Sautuni, Jay Ma Mangala, Ta’poi, Nijhum Ratira Sathi, Sodh (Hindi), Dora, Parajhiya Ghara Bhangena, Agni Sanketa, Mukti Tritha, Rana Bhumi, Batasi Jhada, etc.
Do you think that Odia drama will survive the cutthroat competition of the cinemaIJ
Be that as it may, cinema deals with the pallid world where the lively human touch is missing. That is only available naturally in a drama or a theatre where acting comes as naturally and as spontaneously as leaves to a tree. In cinema, everything today has become mechanised without little human involvement unlike it is in drama. Besides, the theatre lover undergoes through the purgation of his or her emotions very much unlike the stereotype cinematic figures. I believe personally that the Odia theatre and drama should be treated as an industry with someone or some people of some agency whether Government or nongovernment investing in it. Besides, Rangamanchas or open theatre pandals should be made available across the State for recreation and delight. The Odia drama and theatre has a bright future in the waiting by 2035 as unique Odia stories are available.
How and when did you get initiated into this performing act of drama and theatreIJ
If I remember correctly, it was way back in 1967-1970 that an amateur dramatic troupe was formed under my stewardship. It was entitled Roopkar Natya Group. Ananta Mahapatra and Biswajit Das used to come and sit with us, and we decided to give something new to the audience other than just recreation or amusement. Other theatre groups were in existence before us. But they just limited the scope of the theatre to fun, amusement or the play of the ludicrous with the sensual. Our group gave new thoughts and posed new questions to the intellectual elites that made the plays more vibrant and attractive. Today, there are as many as ten to fifteen amateur groups in Bhubaneswar alone and as many as many numbers in the whole of the State.
What is the aim of the Natya SanghaIJ Is it to give justice to all without any discriminationIJ
I have told you earlier that all the theatre groups should become members of the Natya Sangha in order to be able to be given equal justice. Number two, they are required to be worthy of being selected not by any other means but by their sheer merit. They should learn from other national shows from other regional languages and try to compete with them and even try to excel over them. We want to send quality troupes outside the State for performance than believing in mere numbers.