A crusader for the cause of drama and theatre, Dola Govinda Rath chose to chase after this illumined but illusive world since an early age. And now after decades of time when he is in his seventies, he is untiringly doing the same in spite of being ignored by the agencies dispensing awards and accolades. By transforming youths and communities through theatres, workshops across the country and producing blockbuster plays for regional and national platforms, he has turned his life a virtual prop in the playhouse. An alumnus of the National School of Drama (NSD), he believes that drama and theatre has made little substantial progress since the days of Bharat Muni or Aristotle. A former Professor in Theatrical Arts of the Utkal Sangeet Mahavidyalaya, he quitted his job in response to his disagreement to the double-standard displayed by authorities. He is of the opinion that theatre is meted with step-motherly treatment by our Governments owing to its low utilitarian value and laments that dedicated theatre activists starve to death in our consumerist society. Rath is a theatre director, an actor and a writer rolled into one who has co-directed Sanghai, a Manipuri film that won nominations at the Cannes Film Festival, besides starring as lead cast in Manmohan Mohapatra's Majhi Pahach, Nisiddha Swapna, Agnibina and Kichhi Smruti Kichhi Anubhuti and Pranab Das's Chhabira Manisa. In an interview to The Pioneer, Rath spoke to Sugyan Choudhury on the problems and predicaments confronting the world of theatre.
How would you sum up your achievements in the world of theatre as well as in cinemaIJ
I always find it difficult to assess my own achievements since I feel I have done very little in this field. In fact, I have tried hard to project my thought through theatre in particular since my childhood but failed to reach my expected mission very often till this day.
You’re a nationally-renowned theatre activist and a member of some forums promoting drama and theatre across the country. Tell us about your endeavours in this regard.
People say I am a theatre man of national repute. Yes, it appears to me a fact when I find myself well-connected to big names and platforms of theatre of this country, and at the same time I laugh at myself when I locate where and how I exist along with my theatre.
No doubt, I have made attempts to translate my unusual thoughts through my stage presentations, but I know that common expectations of the gallery for popular entertainment are never fulfilled. Hence, I am branded as experimental which is meaningless to me since every creative expression is an experiment I believe.
What are the trends and styles commonly adopted in producing plays in our country and beyondIJ
I think we don’t deserve to name ourselves as trendsetters since enough is done in theatre in the past in practice of oriental theatre, theatre of Greece and Rome and in the period of renaissance. We are merely collecting precious remains and trying to do something with it naming as our own brand.
What are the plans on your agenda for Odia theatreIJ
I am sincerely teaching students of theatre and present plays of my choice and realisations, and that is enough I can do when art is not treated as a way of life.
What’s your considered opinion on the current scenario of Odia theatreIJ
The present scenario of Odia theatre is miserable as it is elsewhere in the globe. It is quite funny a question when basic understanding of art and literature is in a serious threat. I say so because I believe art and literature are strong wings of socio-cultural progress of the human race.
Where does the theatre figure in the Government agendaIJ
Theatre as well as any kind of art forms of literature is not at all seriously taken neither by Government of India nor by the State Governments since it is not productive in terms of money. Our political leaders and Government system don’t understand the vital role of art and literature in the making of a civilisation. Hence, dedicated fulltime practitioners in such arenas are undergoing starvation and death very often.
What do you think; could you win back the audience to theatreIJ Can it survive the cutthroat competition from other modes of entertainment, especially film and soap operaIJ
When theatre is not a regular practice of life, the question of winning back the audience is a futile one. Theatre today is a fashion or hobby of amateur groups which get promotion of the Government in terms of financial assistance for production of plays, organising theatre festivals, salary grants for theatre repertoires, workshops, seminars and rest others. These promotions are functional through goodwill and other petty equations. Dedicated fulltime practitioners fail to be functional in such operations. So, we hardly can witness four to five theatre repertoires in the country whereas salary grants are sanctioned to almost one hundred theatre repertoires in India. And those selective four to five good theatre repertoires also are not able to go for regular shows due to financial constraint. Theatre festivals, I believe, are a poor alternative to feel that theatre is existing. And I also believe that regular good theatre practice can survive comfortably in the presence of other mass media.
In Odisha, alone more than 50 theatre repertoires were active till the 1970s performing every evening managed by dedicated fulltime practitioners when no free entry was entertained. But the process of decline started with the entry of Zamindars (feudal lords) into the managements, and entries depended on whims and spirits of these lords. And besides that, they patronised in the scale they wished and the groups they wished like the Government institutions.
Why did you relinquish the job of professor at Sangeet Natak MahavidyalayaIJ
I believe I was sincerely teaching students of theatre when I was a lecturer in Theatre Arts in the Drama Department of the Utkal Sangeet Mahavidyalaya, Bhubaneswar. But my sincerity was rewarded in such a way that I never wished further to be a part of that institution. Of course, I would not hesitate to mention here that I was extra concerned towards the welfare of the institution that spirit no Government employee should cultivate I believe. It is because when you go ahead against their cocooned caprices and desires, they hit you, and when you go back they kick you. A creative artist is an artist by every inch who can never bend before the insolent prigs.