The subjectivity of truth has captivated humanity for millennia. Depending on perspectives, experiences, and beliefs, the same truth can hold different meanings for different people. What one person holds true may not be for another, and what is considered true today may be questioned or disproven tomorrow.
Acclaimed actor-screenwriter Saurabh Shukla’s play Barff – returning to Bengaluru nearly five years after its debut – explores this fluidity. “It delves into the concept of truth, which is intentionally vague. It questions what truth is, suggesting that ‘truth is truth,’ but whose truth is the truth? Where does it ultimately lead?” says Shukla.
Starring Shukla, Sadia Siddiqui and Sunil Palwal, Barff is set against the backdrop of a frigid Kashmiri winter and unfolds over a single night. A doctor, far from his familiar urban surroundings, finds himself lured to a remote house under the guise of treating a sick child. However, upon arrival, he is taken captive by a cab driver and his wife.
The title, Barff (meaning ice in Hindi), serves as a metaphor for the emotional distance and hardened mindsets that often accompany conflict. “I wanted to build a story around this idea of isolation, and initially, I placed the story in Maharashtra. However, as I developed the story, I found that the seclusion did not feel authentic or well-grounded in that location,” Shukla shares, adding, “At that time, Kashmir was experiencing insurgency, and it was cut-off from the rest of the world for years.
During a visit to Kashmir for a shoot, I was struck by its natural beauty and the warmth of its people. But there was also an underlying sense of unease. Despite the apparent tranquillity, anything could go wrong at any moment. This unsettling feeling led me to revisit the story. I changed the setting to Kashmir, incorporating the culture, atmosphere, and personal observations I had gathered during my visit.”
Originally conceived as a screenplay, Shukla later decided that it was more suited for the stage. However, the adaptation meant that creating an authentic feel of a frigid Kashmir night was quite a challenge. “In a film, visual depiction helps establish the setting and events, whereas in a play, there’s less visual representation. Initially, this seemed like a problem, but it ended up becoming a strength of the play.
We created a space where the audience could be transported to the setting of the story,” shares the 61-year-old, adding, “One of the best compliments I’ve received for the play is that audience members often say they felt transported to the snow mountains and the secluded setting during the performance. It was exciting to achieve this theatrical effect.
We started designing, and lighting became a crucial element. We had to decide whether to light up the entire stage or leave some dark spaces. Leaving some dark spaces would make the audience wonder what was happening beyond the light, engaging their imagination. The set design was also important. We wanted it to be minimalistic and slightly darker in colour.”
At a time when polarisation is the new normal, Barff’s exploration of the idea of truth is quite relevant. But Shukla says it was a happy coincidence that wasn’t intended. “I believe that the purpose of any art is to engage the audience. A gripping story keeps one invested. My personal experiences, including the people I’ve met, the ideologies I’ve encountered, all contribute to the creation of my art.
The way I think, my worldview, and the environment I’ve been raised in, influence the reflections that emerge in my work,” he shares, adding, “Polarisation has become a new reality, a new normal. While it may not be ideal, it’s something we must acknowledge and navigate. People are finding ways to cope with it, and it’s part of the human experience. However, the starting point of my art is not to highlight or condemn specific issues; rather, it’s to engage the audience and create a meaningful experience.”
INR 500 onwards. March 17, 6 pm. At Prestige Srihari Khoday Centre for Performing Arts, Konanakunte. +919900151383.
