Nirdigantha, a theatre incubation center in K Shettihalli, Srirangapatana, founded by actor and filmmaker, Prakash Raj, recently celebrated a year since its inception. Established with the aim of empowering artistes and creating opportunities for them, Nirdigantha has seen significant growth and success over the past 12 months.
Talking to The Hindu, Prakash Raj shares his experiences on the journey of Nirdigantha, the impact it has had on the theatre community, his vision for the future, and why he wants to take his time getting back on stage.
Nirdigantha has turned one — how do you feel about it?
We are living our dream. The journey has just begun and there is positivity all around. The way Nirdigantha has evolved over the past year is heartening. You see people from different walks of life and thought processes through the youngsters who work here. Much like the Ranganathittu Bird Sanctuary nearby, this has become a Rangada (theatre)thittu. The conversations that have happened here in the last one year have personally enriched me.
Have you been able to meet your goal to empower artistes? What more can the theatre community in Karnataka do to create opportunities for them?
Currently, we have about 30 to 40 artistes working under various projects here. This is not only a place for them to unlearn what they know, but to also fail and understand why they failed. Following one of our recent festivals in Chikkamagaluru and Mangaluru, we heard that more people are attending theatrical performances by local troupes. People from different parts of the State are also realising the possibility of theatre. If we, as Nirdigantha can inspire different Nirdiganthas in their own spaces with a little push, people will be able to listen to the new voices of this generation.
The actor also organised a series of events to see the celebrations through | Photo Credit: K Bhagya Prakash
Nirdigantha started Shalaranga, a program to introduce theatre in schools across Karnataka. How important is theatre in a child’s life?
The purpose of Shalaranga was not just to introduce theatre, but use it as a tool of education. According to UNESCO, the basic requirements of an education are not only mathematics and science — social justice, perception, literature and more are also needed. Theatre can expose children to these subjects.
It is an extensive project and we are trying to structure a curriculum, which we will present to experts who have worked with children to understand what more is needed. Theatre gives a child perception and a way to express their creativity. Whether it is theatre, singing or dancing, any form of art is important in a child’s growing years.
Of the productions by Nirdigantha, ‘Gaayagalu’ and ‘Project Darling’ stand out. Is there anything new on the cards?
Six new productions including A Friend Beyond the Fence, Tappida Yele, Bob Marley from Kodihalli and Mattaya 22:39 have emerged. So far, these have been performed only in Mysuru and Chikkamagaluru, but will soon start touring across the State. Our latest production Manteswamy Kavya Prayoga that is currently running is interesting. Traditionally, men sing the folk songs or Manteswamy Kavya, but in this play we have a young female singer and actor, who presents the kavyas. A few more one-man plays and documentary shows are in the works.
Where do you see Nirdigantha in the next 10 years?
I honestly don’t know because you can never touch the horizon. It is quite like chiseling a rock that takes on a different shape each time, and once it becomes a circle, you must go behind it. I believe Nirdigantha will go beyond us.
You are back on stage after dedicating three decades of your life to cinema. How do your roles in both these worlds contrast?
I wouldn’t necessarily say my roles contrast. I farm here in Nirdigantha. The villagers around us are inspired not to grow sugarcane anymore. Children, women and the elderly from the surrounding areas come to watch plays here. An old woman who has no family has found shelter here. A different sort of social bonding is unfolding. I would have become irrelevant if I was just a theatre actor; my relevance today stems from expanding the horizons of the next generation.
A year ago, you had told The Hindu something new was afoot and your fans would get to see you on stage soon.
I have decided not to go on stage for another two years, as I believe my role is to give others the opportunity. When I get back on stage it will not be just for performing roles — something else is churning within me, not just my acting abilities.
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