IAPAR 2024 has concluded, and I am now in another part of India, attending yet another theatre festival. In Part 1 (read it here), I explored how Indian theatre differs in scope and projection from Chinese theatre, particularly the kind seen in Europe.
In this second part, I will focus on how many contemporary Indian plays are introspective in nature, reflecting the profound changes occurring in Indian society at both individual and community levels.
The Festival Spotlight of IAPAR 2024, showcasing young theatre students and emerging artists working on new projects, was especially telling in that regard. The majority of the works presented, each lasting about 30 minutes, strived to communicate with a wider audience beyond the boundaries of Pune. Perhaps unconsciously, the artists aimed to reach a universal audience. Of the 5 titles presented, 4 focused on physical and gesture theatre with little or no verbal content.
The themes ranged from psychological and emotional abuse against women to individual self-love and acceptance, mental illness, and the breaking of societal norms. A word of caution here: all of these themes were seen from a distinctly Indian perspective and should not be mistaken as mere carbon copies of Western ideas on these topics.
India is not the West, nor will it ever be. It possesses its own distinct voice, shaped by thousands of years of autonomous historical, philosophical, and spiritual development. Take, for example, the concept of atheism. When a European identifies as an atheist, they often reference traditions like the French Enlightenment, Existentialism, Materialism, Positivism, or Nihilism. By contrast, when an Indian identifies as an atheist, they may draw upon traditions like Jainism, Samkhya, or Buddhism, and figures such as Osho or Krishnamurti.
These represent opposite directions of spiritual and personal growth—one going “against” religious impositions, and the other going “above” them.
From this perspective, most works presented at the IAPAR 2024 Spotlight focused on “personal introspection” or, quoting Carl Jung, were essentially “introverted” in nature. The protagonists revealed their personal worlds to the audience without resorting to one-sided, patronizing interpretations of how the world should be, a tendency often observed in European plays addressing similar themes. India is a country of unity in diversity, composed of multiple communities, languages, religions, and ethnic groups. At the core of many stories presented to us, individuals shared their emotional struggles without passing judgment, simply telling us how they feel.
Looking back at the 2023 edition of the festival as well, it is notable that the majority of stories centered on female characters and their emotional struggles. The economic growth and technological transformation of the country seem to go hand in hand with the challenge of century-old traditions. Marriage, from an individual point of view, is no longer seen as a “must” nor is it desired as the only outlet for femininity and female creativity. In the Indian plays I have seen so far that revolve around the theme of female emancipation, this transformation appears to be a gentle revolution.
The goal is not to tear tradition apart but rather to find a new way to express it, turning the rudder of universal consciousness to unexplored directions.
Consider Indian classical dance: in many of these plays (e.g., The Hunt, Dreams to Reality, and Pagli), it is adapted and transformed to merge with physical theatre, conveying new meanings and providing artists with innovative tools to express emotions and themes. All of these artists strive to evolve their physical interpretations rather than stage a revolution, often finding creative solutions and addressing themes that are deeply engaging. As audience members, we empathize with the person telling their story, identifying with their struggles and emotions.
At its core, this is the strength of Indian theatre within the vast landscape of contemporary Asian theatre. It distinguishes itself, for instance, from other Asian productions that often avoid diving into the ocean of the individual, preferring the safe shores of more extroverted productions.
