SHE EMANATES as a frail silver line at the hilltop. Choreographing her turns with every curve of the smoky hills, she catches the sun; she turns around and sings along with the valley folks; she embarks upon the winds and whispers in the ears of banks. She smiles, talks, jumps, swirls, roars and eventually meanders to the ocean. She is the river of life. She is Lushin Dubey.
Untitled, her solo staged last week in New Delhi, gave a glimpse of the above and much more. She enters the stage as an individual, and grows into a configuration of multiple characters. Five minutes into the play, and the audience forgets that she is alone on the stage. All the characters she portrays stay with her on the stage. Directed by Arvind Gaur, Untitled combines the essence of Vijay Dan Detha’s story Nyari Nyari Maryada with that of Dario Fo’s short play Medea. It asks a basic question — if men can, why not women?
Lushin picks up an idea, sows it like a seed inside her soul and keeps watering it until it transforms into a shade. Later, the warmth of the shade hugs her creative expressions. “I take a subject only after believing 100 per cent in it. So, the sense of fulfilment starts growing right at the beginning of the journey. Honesty adds passion and conviction to an aim. People who get a chance to follow their passions are blessed.”
While discussing the scope of financially-sustainable revenue model for theatre, Lushin points out that the art form is on an upward incline. She highlights the space theatre has created in the society in terms of impact and credibility. “It can not be denied that theatre has been a poorer cousin of films and TV serials, but the doors are opening. All those who have stuck to it and have been sheer die-hards have had a chequered journey. Sponsors and supporters are coming forward to support the individuals who are consistently creating ripples on the stage. It is going towards betterment.” She insists that if one hangs on to the hope, one can prove that the true and meaningful theatre has got its place under the sun.
The actress, who has mapped the globe with her performances and shuttles between US and India, represents the changing face of the contemporary Indian theatre on the universal platform. “More people are coming up with indigenous concept and are open to experiments. People are taking pride in portraying their own stuff. When I decided to do Salaam India, a narrative based on Pavan K. Varma’s Being Indian, there was no set storyline. I had a chance for both, weaving out something challenging on stage in an experimental way, and showcasing the real story of my time and space.”
Lushin, who has acted for tough taskmasters such as Alyque Padamsee and Arvind Gaur, believes in sharing her vision with her team when she is in the role of direction. With an ample amount of freedom to her actors, Lushin also gives them a basic mantra — think out of the box. She believes that nothing should be patterned in the process of theatrical creation. “It’s about feelings on the stage. I tell my team that it should never be like any of the earlier. And when it is fresh, it turns out as a magic for us and the audiences. I tell them it’s about you and me first, it’s about human relationships and connectivity with each other,” says Lushin who is planning a new production Ji Sabji, in early December.
Lushin, a free-soul, opens her wings and covers spaces beyond stage. She is deeply involved in teaching and special children in India and the US. She draws her philosophy of life from Buddhism and believes in the concept of inner happiness. “Peace and compassion comes from within. It is very important to maintain the sense of lightness within. The minute you are in synergy with this thought, the attitude towards life turns positive. ”
Lushin has been on the performing side of the curtain since her childhood, but is still waiting for her dream role. Her desire and passion to maintain novelty refreshes her audiences every time she expresses. Her humility sets her apart from many celebrities of the stage world.