Lakshman KP, a multifaceted dynamo in the realm of Indian theatre, has been awarded the prestigious Shankar Nag Theatre Award for 2023, a coveted honor that recognises the nation’s most exceptional talents in the theatrical arts. As a pivotal component of the renowned Ranga Shankara Theatre Festival, this national prize is bestowed upon individuals under the age of 40 who exemplify an unwavering commitment to the broader vision of theatre in India. Lakshman KP’s journey through the world of theatre is nothing short of remarkable, having cultivated a rich and influential body of work over the past decade.
A pupil of the revered Ninasam, Heggodu and a graduate of the Intercultural Theatre Institute in Singapore, Lakshman has been recognised for his exceptional versatility, which extends to his roles as a writer, musician, actor and director. He seamlessly weaves his creativity and ambition throughout his craft, effectively establishing himself as an all-rounder in professional theatre. Speaking about the same artistic director of Ranga Shankara, Arundhati Nag says, “He is a fine director, team leader and holds promise for Theatre. Especially giving voice to subaltern structures and people. His politics is a committed search for justice.”
Lakshman KP’s artistic reach doesn’t stop at the stage; he also explores the world of theatre-in-education with children and young adults. Moreover, he is a poet, a compelling voice-over artist, a skilled translator-interpreter and an unwavering activist dedicated to addressing the concerns of marginalised communities and cultures in Indian society. His directed plays have graced both national and international theater festivals and the theatrist is a member and artiste of the Jangama Collective — a theatre group characterised by its diverse cultural background, using theatre as a powerful medium to raise cultural and political awareness. Lakshman also serves as a theatre trainer at Aadima, a platform born out of the dalit movement in Karnataka. In a candid conversation, the artiste reminisces his journey in theatre, the moment he won the award and lots more…
I was very happy and excited also because the name, Shankar Nag is an icon for working-class people in Karnataka and receiving an award in his name feels good.
I grew up in a village where I grew up watching puranika nataka (night-long theatre performances). One morning, I saw an advertisement in the newspaper and I applied for the theatre workshop they had announced. That’s when I was first introduced to contemporary theatre and from there to now, it’s been a long journey. I’ve been to different institutes but my time at Aadima is what really changed my perspective on theatre based on how we used to go to villages and perform and collect things, not just money, like ragi and clothes and that shaped my vision. On my return from Singapore, I started working in like different parts of India and realised I was influenced by European absurdist theatre a little too much. After doing plays like Waiting for Godot, I began looking for something very similar, observed and at the same time, something that feels real and is true.
I trained to be an actor and that has been my major focus. I think acting itself involves all this (direction, writing, etc). Actors should write and actors should think from the audience’s point of view. Of course, music, writing, direction and acting have different disciplines but if you look at it as a whole, they’re very interconnected. That’s what helps me to manage all this. They’re an integral part of theatre and you cannot really separate them. I used to write poetry and the first script I ever wrote was for my solo in Singapore called Fireflies.
What themes and issues inspire your theatrical work?
I’ve been doing theatre for the last 15 years, I feel many people that I grew up with are not represented and that I should present them on stage because they need that space and hence I bring stories that are important for society and need recognition. For instance, my works Dakla Katha Devi Kavya throws a spotlight on the Dakla community and culture.
How do you see the relationship between politics and performance in your work?
The politics and the aesthetics of the performance are not two different things. They’re very much together. The way you present your work, the way you compose your work, talks about your politics and that is very important. The moment you’re performing, you’re on stage, you’re telling a story, it becomes political. Because you’re choosing to narrate a tale to people and giving them something to talk about, which means you’re playing your politics.
Of all the theatrical works you’ve been a part of, can you share with us your favorite piece or project?
When We Dead Awaken by Intercultural Theatre Institute is one of them — I was an actor in that play and of course, Dakla Katha Devi Kavya.
srushti@newindianexpress.com
@Sru_Kulkarni