Our Theatre Collective, in collaboration with Nirdigantha (a theatre in cubator founded by Prakash Raj) and Kalakshetra Manipur (a theatre group from Manipur), presents It Is You, a theatre production that distinguishes itself by foregoing spoken dialogue, instead relying on music and physical expression to convey its narrative. The storyline centres on two characters in conflict and explores themes of coexistence and harmony. Vivek Vijayakumaran, director (and one of the actors in the play), lets us in on the chosen themes of the production, why dialogue is not part of the play, the collaboration with Kalakshetra Manipur and lots more…
It Is You is set to premiere in Bengaluru. Can you tell us more about the play and the message you want to convey?
The play revolves around two characters or rather two types of people. Both of these characters, Pangambam Tyson Meitei and I, as performers embody these characters. Each of us represents different kinds of thinking and motives that resonate with human experiences across various cultural or universal contexts. The story is about these two entities in conflict, with a third character, nature, that intervenes in their journey. While this may sound abstract, we’ve presented it in a way that’s accessible even to teenage audiences. That said, the piece is not a toned-down version — it’s simple yet layered with complexity
There isn’t be any spoken dialogue in the play. What inspired this unique approach to storytelling?
The decision came from the subject matter itself. Thematically, we wanted to explore religion and its impact on the world today. Given the complexity of this topic, we realised that spoken language might limit our ability to communicate effectively. Using spoken dialogue would also tie the piece to a particular cultural context, which we wanted to avoid. By eliminating language, the story becomes universal — deeply human — transcending cultural and geographic boundaries. Creating a non-verbal piece has always been challenging, but it’s allowed us to convey more complexity in an organic way.
Did the absence of spoken dialogue enhance storytelling?
Absolutely! One of the reasons we embraced this approach was because it allowed us to express more complex ideas without the constraints of language. Additionally, the novelty of this format brings something fresh and innovative to the audience. For us (Tyson and me), with over 30 years of collective experience in theatre, this was an exciting challenge. It pushed us to explore new dimensions of performance and storytelling.
How did your collaboration with Tyson shape the language and style of the play?
Tyson has been with Kalakshetra Manipur for over 15 years and Kalakshetra’s training is deeply ingrained in his work. On the other hand, I have a background that combines koodiyattam, kalaripayattu and contemporary dance practices in an urban setup. Bringing these two worlds together was a fascinating experiment. It took us more than two and a half years to create this piece and the journey has been both challenging and rewarding. We’ve been persistent and patient.
How do you anticipate the audience connecting emotionally with the characters and themes, given the absence of dialogues?
We’ve conducted trial shows to gauge how well the story resonates. These sessions have given us confidence in its emotional impact. In October, we perfor med the piece at Kalakshetra Manipur for an audience of over 60 people and their response reaffirmed our belief in the work.
Does music play a big role in the production?
Music serves multiple purposes. It represents the third character — planet Earth. We’ve used a combination of recorded music, sound design and live music. Live music, in particular, is an extension of one of the characters, acting as an integral part of the narrative rather than just an effect. It aligns closely with the actions of the characters.
Do you see this play as part of a larger movement toward experimental or non-verbal theatre in India?
I see this piece as a standalone exploration for now. While it’s been an enriching experience to work with non-verbal storytelling, I wouldn’t define myself strictly as a nonverbal or experimental artiste. The learning from this project — especially about action and communication — will inform my future work.
INR 399. January 31, 7.30 pm and February 1, 3.30 pm & 7.30 pm. At Ranga Shankara, JP Nagar.
Email: alwin@newindianexpress.com
X: @al_ben_so