Back in the 1880’s, Binodini Dasi, known as Notee Binodini was one of the most prominent Kolkata-based, theatre actresses. Most would not know that she was born to prostitution and was herself a courtesan before Girish Chandra Ghosh of National Theatre recognised her talent and put her on stage. From her story to contemporary actress Maya Krishna Rao, a playwright, director and dancer, who constructs her own performances; the book The Act of Becoming — Actors Talk traces the journeys of 22 critically-acclaimed theatre actors from 1850’s to 1990’s. It is the labour of love of National School of Drama’s chairperson, Amal Allana in association with Niyogi books.
“New writing on theatre focuses on the significance and contribution of directors and playwrights to the development of contemporary Indian theatre. To balance this, I was keen that actors, who are virtually the expressive instruments, the articulators of new formulations and thoughts in theatre be focused upon. We need to find the grammar, the vocabulary, to talk about or write about the complex art of acting,” says Allana.
The book includes first-person accounts of a range of actors including Bal Gandharva, Fida Husain, Zohra Segal, Sombhu Mitra, Shreeram Lagoo, Utpal Dutt, Manohar Singh, Uttara Baokar and Naseerudin Shah among many others. They are based on autobiographies, biographies and interviews of these stalwarts over a period of time.
Talking about the book, veteran film director, Govind Nihalani puts forth, “When I was informed of Amal’s endeavour, I was a little surprised. Why focus on actors? But eventually, I realised that when the curtain parts on the stage, the audience can only see the actors. They become carrier of playwright’s text and director’s vision. It is essential to tell their story.” The book has beautiful illustrations and some very rare photographs of these actors performing their acts.
The Act of Becoming is set against India’s struggle for independence. It also explores the complexities of actresses trying to gain acceptance in public life as professionals. “I remember how my father, Ebrahim Alkazi talked about the era when he had to go to the houses of actresses of the likes of Uttara Baokar and persuade them to let her act on stage. By touching upon the struggle of female actors to gain acceptance, the book brings alive that era,” recollects theatre stalwart Faizal Alkazi, who also happens to be the brother of Allana.
These personal narratives contribute to a riveting account about the encounter of Indian theatre with that of the west including the groups from England, America and Europe.
“Actors not only reflect society but are also role models who are emulated, and therefore they hold the potential of being able to alter conservative mindsets,” concludes Allana.