THE BOUNDARY of the place is no constraint for creativity. No area can restrain the creative seed from growing giant enough to pierce the high-rise sky. Small-town dreamers have mastered the art of picking up dew drops and placing it high in the sky which shines like stars even against the bright moonlight. Usha Athaley and Ajay Athaley, the theatre activists of Raigarh, a kasbah-style town of Chhattisgarh, have picked and placed many such drops to create their galaxy in the universe of Indian theatre. Chhattisgarh can pin its hope on this “consistent couple” when it comes to leading the culture of state theatre, post-Habib Tanvir.
Their workshops, festivals, symposiums and productions have placed Raigarh on the national canvas of theatre.
Usha and Ajay, who have given a new pace to the stage activities of their state, lead the Raigarh chapter of the Indian People’s Theatre Association (Ipta). Born to Marathi theatre activists of Bilaspur, Usha started her journey as a child artiste in mohalla plays and graduated to Pragatisheel Lekhak Sangh in the late ’70s. Her politically-sensitive appro-ach and desire to express inspired Usha to join Bilaspur Ipta in 1983. She moved to the Raigarh unit of Ipta after tying the knot with Ajay. It has been more than 26 years, but Athaleys have never let the theatrical flame die in the region despite various adversities.
“The biggest problem any small town faces is not getting an opportunity to watch good full-length plays. Watching a good play is like attending a practical class of any subject. We had no experienced directors or trained artistes to come up with high-quality productions. When we revived the Ipta unit here, our main focus was to ensure the availability of good productions,” says Usha.
Athaleys’ emphasis is more on doing and being than on getting and having.
They started organising workshops in association with the National School of Drama since 1994 for training their group members and other theatre enthusiasts.
They also organise yearly eight-day theatre festival with participation from all over India.
The emphasis is on interaction among groups and local theatre enthusiast.
Ajay stresses on the need of intellectual stimulation for developing a long-term vision for theatre. “These days people shy away from thinking hard. They come unexposed to great stimuli that could have made them active thinking human beings. Here comes the role of symposium and seminars. We invite critics and activists and discuss the present trend. It is very important to have a vision,” says Ajay.
Lack of female artistes and auditoriums are other major practical issues Usha points out. “Hassle-free female participation on the stage is still a dream. We keep our rehearsals in the evenings and girls are not allowed to go out of their houses after sunset, or stay out till late in night. In Raigarh, Ajay’s family is well-esteemed, so people are a little comfortable sending their girls to work with the daughter-in-law of such a reputed family, but the mindset must change. Any small-town theatre activist has to spend a lot of time convincing the parents and guardians of girls for allowing them to work on stage,” says Usha.
Another important issue she raises is the lack of auditoriums. “When we organise festivals, we do it in a ground by covering it from all sides. We must find reason of doing things instead of cribbing over what we do not have. These adversities have never stopped us from exploring the creative horizons around us,” she says.
Athaley’s family life also revolves around stage with their son, Anadi, equally interested in this alternative world. They recall how their seniors convinced them to be life partners. Ajay calls it “lovely arrange marriage” with common dreams. Usha’s involvement in backstage and Ajay’s dedication to direction give a complete picture of their rapport.
Their eyes, sparkling like “alive and coloured pebbles” on wave-washed sea shore, are in constant search of creative drops waiting to be turned into shining gems on the stage.