Bhoomi by Adishakti looks at the power dynamics between genders.
Proscenium theatre shows had been on a long hiatus owing to the uncertainties of the pandemic. It was just a few weeks ago that spaces opened their doors to audiences for live shows. This week, not just theatre patrons in Bengaluru, but even those in Mysuru will witness a unique production by Adishakti Laboratory for Theatre Art Research. The late Veenapani Chawla’s theatre group, which is known for its contemporary and experimental work, is back with a new production titled Bhoomi.
Inciting conversations
The play was originally written in Malayalam as Bhoomirakshasam by writer Sarah Joseph. But what makes it interesting is that this narrative, which explores gender issues and aggression against women, is translated and adapted for the stage by a man — Vinay Kumar, artistic director and managing trustee of the company. The story looks at patriarchy and physical abuse against women, through the perspective of two women artistes. Bhoomirakshasam, Vinay explains, was written over a decade ago. “Sarah hadn’t worked on it, so I asked her permission and adapted it for the stage with sufficient and subsequent changes,” explains Vinay who started his career in theatre by working with a number of feminist theatre groups. But he clarifies that his background wasn’t the primary reason for him to choose this play. “I found it to be dramatically and structurally very intriguing. It’s not preachy, it looks at multiple points of view while discussing gender aggression, and how we perceive acts like rape. It’s not pretending to be an intellectual piece of literature. It can be complex but at the same time, it’s very simple to comprehend,” he says.
The narrative follows Kamala, a theatre director who is in conflict with her inner self. Her subconscious unacknowledged voice is questioning her patriarchal conditioning. Kamala is directing a play that looks at the myth of Dandakaranya from the Ramayana. In the process of exploring the story of Araja, the daughter of sage Shukracharya, and king Dhandaka, Kamala starts questioning her beliefs. Ambika, the actress who plays Araja, discovers a liberated side to her. Although it appears simple, the story is a complex account.
Gender debate
The definition of gender and gender subjugation depends on the person and the power position they are in, but the play explores not just this hierarchy but a resolution beyond this. Hence, this adaptation is a critical piece of work. “In the original play, there is confusion regarding the resolution (to physical aggression and rape). It was an argument that was written 15 years ago. In the last five years, there has been a fierce debate between author Germaine Greer and other feminists because the former said society should look at lowering the punishment for rape. There is a large-scale agreement and disagreement. It’s a vast lucid space and we end up in a loop and are still in it. We are instead looking at an individual’s resolution. How can a victim arrive at her own resolution? How does she negotiate her own trauma? That’s what I am trying to look at through these two characters. But we are not presenting an activist point of view rather we are looking at it through the creative lens,” explains the director.
While it may sound like an intense watch, the play is actually a musical. All the performers sing and play different instruments, and music is composed and arranged by Vinay. “The subject is a grim one and as a form the only way it worked was with music which helped to lighten it up as a dramatic structure,” explains the director. The music is a blend of Carnatic, blues, jazz, classic rock and various other genres. All the artistes are self-trained musicians and this brings a variety of influences.
December 4-5, 6.30 pm. At Natana Theatre, Mysore. December 11 and 12, 3.30 and 7.30 pm. At Ranga Shankara, JP Nagar
ayeshatabassum @newindianexpress.com
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