Storytelling has been a part of societal development since the ancient Greeks. Over time, a slew of storytellers and raconteurs adopted various props and methods to make their tales both innovative and interactive. Puppetry was one such medium.
Manipulated by a puppeteer, who usually stays in the shadows, the marionettes used in this art are nothing short of thespians in a theatrical production. Characters such as the ‘The Lonely Goatherd’ yodelling in The Sound of Music or the ensemble of The Muppets have elevated puppetry internationally. But India is not far behind, with its rich tradition of puppetry. The roster of homegrown puppeteers includes Varun Narain (52) from South Delhi, who has been in the profession since 1994.
Narain developed a passion for this art at the age of nine. “I used to make finger puppets with cloth and paper, and perform puppet shows for my family. The warmth and encouragement of my family are the foundation of my confidence today,” he shares.
Love at first act
Narain’s tryst with the art began while pursuing a Masters at The Mass Communication Research Centre at Jamia Millia Islamia. Back then, he would often experiment with puppetry and mass media. Creating puppets using papier mâché, cloth, and recycled waste, the characters by Narain are a representation of his acute observations of human and plant behaviour. Narain—he has a degree in botany from Hansraj College, Delhi University—uses his knowledge of plant structures to inspire the characters he designs.
He is often influenced by Indian master puppeteer Ranjana Pandey, who specialises in the fields of mental and physical abilities in adults and children, and Neville Tranter from Netherlands.
“I watched the puppet awareness performances by her [Pandey] at the NGO Janmadhyam, here in Delhi, and that has greatly influenced my work,” shares Narain. His acts, therefore, are not inspired by fairy tales. He introduces a range of social topics such as issues of gender and sexuality in his acts, and aims to break the stereotypes around them.
“I hope to make my audiences aware of the diversity of life so that everyone can be more inclusive. With puppetry, these issues become non-threatening and effective communication becomes possible,” he says.
An inclusive artform
Given the subjects he deals with, many might categorise Narain’s shows as more suitable for an adult audience. For instance, his act ‘Bowl of Peals’ is an adaptation of the ballet Swan Lake with an LGBTQIA+ theme; ‘Liquid Rainbows’ explores the idea of erotic art and pornography; ‘Giselle ki Kahani’ is a rural adaptation of the 19th Century French ballet Giselle. Narain stresses that he tries to develop his acts to cater to a mixed audience.
“I believe nowadays, children have evolved and adults have a lot to learn from them. I also believe that adults are children who have forgotten who they are. Remembering this helps make the world happier,” Narain elaborates.
Specialising in interactive puppetry, he adds, “When a puppet character interacts with a human being, something very amazing happens. In my experience, both adults and children pay attention without being distracted or becoming self-conscious. They are able to think about what the character has said even after the interaction is over, and this has led to a progressive change.”
Currently, Narain is working with thespian-poet Shaad Qureshi on projects where they explore the similarity between “plant flavour and human poetry”.
With characters such as ‘Ginger’ and ‘Cocoa’ being his current favourites, Narain believes that this show will “give these puppet characters a whole new dimension.”
THE LOCKDOWN PROJECT
During the first lockdown in 2020, Narain performed his first virtual show ‘I am a Plant’. With his co-performer in a different physical space, the duo presented a 40-minute show for an international audience.
“It is an important memory for me and the evolution of my art. It was a big strange step and we discovered a new way to perform in today’s world,” he shares.