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“We need a South Asian theatre programme”

-- Dr. Anuradha Kapur, director of NSD

Karim Waheed
Director of the National School of Drama (New Delhi) Dr. Anuradha Kapur is in Dhaka to attend the ongoing Ibsen International Seminar and Theatre Festival 2009. Dr. Kapur is travelling with the Indian theatre troupe Vivadi'. The group staged Ibsen's "John Gabriel Borkman" (directed by Dr. Kapur) on November 16 at National Theatre Hall, Bangladesh Shilpakala Academy.
Dr. Kapur has written widely on theatre. Among her much-acclaimed publications is "Actors, Pilgrims, Kings and Gods: the Ramlila at
Ramnagar". She has taught and directed in India and abroad and her theatre work is recognised extensively. She wa;>. .qqhIerred, with the
for Direction in?004.
During a conversation over cha in the green room, Dr. Kapur touched topics like Ibsen's relevance in the postmodern world and the need for wider collaboration in South Asian theatre. Excerpts from the conversation:
Dr. Kapur on Vivadi: "I'm one of the founder-members of Vivadi. It's a working group of painters, musicians, writers and theatre practitioners, which was formed in 1989."
On the theatre festival high-lighting Ibsen plays: "When you focus on a particular play-wright, traces of what's contemporary' in his/her work emerge."
On Ibsen's c o n t e m -poraneity: "Some of the major concerns of 19th century are still very relevant. Even though our lives have been affected by post-modern issues, subjects like an individual's correlation with the society will always remain applicable."
On NSD’s association with Bangladeshi theatre: "The National School of Drama has a very cordial relationship with Bangladeshi theatre activists and enthusiasts who have studied there. In fact, one of NSD's major concerns is to encourage collaboration and dialogues. So, we're always keen on exchange programmes. Several Bangladeshi directors have staged their productions at NSD's theatre festivals."
Her impression of Bangladeshi theatre: "It's very vibrant! I've seen works of Kamaluddin Nilu and Jamil Ahmed. I'd say Bangladeshi theatre is marked by the impressive and active participation of young individuals as well as technical expertise of life feascitfJr1 directs and writers. Ill is very acme here too. What 1 find particularly impressive is the ongoing effort to maintain a close tie with the indigenous / folk forms."
On South Asian theatre, on the whole: "Diversity is the strength of South Asian theatre. Language is not a barrier any more. There should be more collaboration. A South Asian theatre programme would be beneficial for us all. This could be a mobile project; parts of it can be held at universities across South Asia.”