Ac t o r S a t y a m B h at tac h a rya w o n o u r h e a r t s as the simple and loving Bhupati in Ballavpurer Roopkatha, a screen adaptation of thespian Badal Sircar’s eponymous play directed by Anirban Bhattacharya. But few know that this acting talent had his roots in theatre and that he is a founder-member of the group Hypokrites. Indulge tries to find out from the actor how theatre still holds relevance in his life despite his busy shooting schedule in films.
How did you enter the world of theatre?
I started practising theatre during my time as a student at Ashutosh college with Hypokrites. Once we
finished college, we thought of continuing with the group. We got it registered and turned it into a professional group. We will celebrate Hypokrites’15th anniversary in February ’24.
What do you find most challenging and supportive in theatre as a medium?
The financial aspect becomes a challenge sometimes for groups like ours. Also, hall accommodation becomes an issue at times. Due to this, we have somewhat become a Gyan Manch-based group, but we would like to explore other theatre stages, too. On the brighter side, there is a constant flow of theatre workers. It teaches us discipline, and patience, and helps us to hone our skills and develop specialisation in lights, direction, and acting, among other such skills. Many join the theatre to become actors - some are good and some imbibe the art. Some of them I know personally, got into theatre to get over the trauma of the pandemic. Theatre is a lifestyle that teaches a lot.
Has theatre training helped you face the camera better?
I did theatre for three to four years before working in films parallely. As an actor, it’s important to learn. I believe theatre teaches not just acting but more. It has helped me work in tandem with the shooting crew as well. Since I did group theatre, it helped me to deal positively with other people, technicians, co-actors, and everybody.
Characters you want to adapt on stage...
Shakespeare’s characters like Hamlet, Macbeth, Duncan, and Othello.
Are shots of theatre in reel life the same as in real life?
Creative liberty is taken as we see close-ups of people in films or television. But that’s not the
case in real life where it’s a single wide view. However, when we record our performances, we
also take that liberty.
Is moving out of the traditional set-up a positive sign?
Proscenium theatre will not fade. Many people including myself, love it. But that theatre
is moving to the streets, exploring intimate spaces, and adopting space-specific methods,
are all very good. We have also done it. That way we can explore interesting aspects absent in
proscenium.
What is your takeaway from theatre?
My entire career as an actor. my life is Hypokrites and my family of theatricians.
How do you see the future of theatre?
I want it to adopt a corporate approach without hampering the creative side. I wish it to survive on its own and turn into a well-paying medium.
Upcoming projects?
Dadur Kirti, and Haloom