Tough Act

Participation of the youth is the key to a longer stage life for any art form. When it comes to theatre, the present generation's apathy for the art is gradually taking a toll on it. Theatre is facing a tough time struggling against its contemporaries.
In the recently concluded 33rd Manana Theatre Festival several theatre groups from different parts of Odisha staged their original scripts. But the youth's participation was conspicuously sparse. Manoj Patnaik, president Manana Natya Sanstha, said, " The youth is attracted to participate in those forms of entertainment which give them instant name and fame. But their art value is zero, as they do not offer any message to society. But the youth enjoy the glamour and money in such form of entertainment."
Earlier colleges and universities were citadels of theatre. Many noted theatre personalities were college level performers of their times. It is here that the concept of 'dramatic society' in colleges comes into play. Sudhir Patnaik, founder, Natya Gram, reflected, "The interest in theatre grew from college level through the 'dramatic society'. The presence of a society exclusively for drama sheds light on the importance of drama as an art form. But today in the name of 'dramatic society', college students sing and dance to Bollywood or Ollywood songs. The urban youth is completely away from theatre. Therefore, I conduct theatre workshops and seminars for the rural and tribal youth so that they continue the tradition."
Today theatre as a profession is almost non-existing. Almost all of the participants of various theatre groups have taken this as a free-time activity because it provides no financial security. Prakash Mohanty, teacher and president, Damayanti Kala Parishad Kotpad, Koraput said, "Though I wanted to take up theatre as a full-time profession, I was forced to maintain a regular job to secure a salary. But theatre has showered enriching satisfaction. It is through theatre that I got a chance to perform in the path-breaking movie Jeyonta Bhuta. Considering theatres potential as a means of mass communication, the youth's participation in good number is all the more justified. Even in remote areas of the state, theatre has moved people for different reasons. Remembering one such theatre seminar in 2009 Prakash Mohanty said, "UNICEF conducted a theatre seminar involving 200 villages in Kotpad where theatre training was imparted. The trained people then developed scripts touching sundry social issues that affected their lives and performed in remote areas to make people aware of it. But sadly, the movement died as people got involved in the search of their livelihood."
It is a matter of grave concern that the known theatre groups are now surviving because of the participation of their respective family members. Patnaik further added,
"Like me many other veterans of this field are now organising stage shows with the help of their family members because voluntary participation of the general mass is null." A young artist of Manana Natya Sanstha, said, "The love for theatre runs in my genes. I get immense creative satisfaction when I participate in the script development process, rehearsal and performance. But my friends have no interest for theatre."
It is not only difficult to internalize the nuances of this rich art form but it is equally difficult to sustain the struggle of persuasion of theatre and what it demands. The question is will theatre survive only if theatre-loving families continue pursuing the art? If the saying every phenomenon completes one cycle is to believed, will the youth's interest in theatre get a revival?