ON WARM evenings, when a small piece of sky, filled with colourful kites, climbs down into the courtyard of a small village house, it tempts one to grab the tailing strings of kites and spiral upwards to peep beyond the horizon. Holding one such string, Punjab’s Kewal Dhaliwal has risen against the wind to explore the “beyond” of the
theatre world. For the past 32 years, his presence in the wings has kept the Punjabi theatre in high spirits in the national and international arena. Just as strong winds only take the kite higher, the dark phase of the militancy era of Punjab and an indifferent government attitude have not barred Dhaliwal from flying high.
Believing in the principle that an artiste is valued for vision and not labour, Dhaliwal returned to his state in 1991, after having finished his training at the National School of Drama. He established a theatre group called Manch Rangmanch in Amritsar to fulfil his dream of reviving the Punjabi theatre. The mentorship by Gusharan Singh, an eminent theatre personality from Punjab, sensitised Dhaliwal to the grassroot issues related to his time and space.
“I went to the drama school after 10 years of working on stage with Gursharanji to learn the techniques of designing and acquire the professional outlook. In Punjab we had the culture of amateur theatre without any full-time professionals,” says Dhaliwal, who has directed more than 150 plays. His vision behind the foundation of Manch Rangmanch was to develop both soft and hard infrastructure for the stage.
Dhaliwal, an ambassador of intellectual awareness, introduced the rural audience of Punjab to the flavour of literature. He is a master of the art of unleashing the sophisticated layers of poetry and classic pieces of literature on stage. He has directed experimental plays based on writings of poets such as Pash, Hashin Shah, Shiv Kumar Batalvi and Surjit Patar. His adaptations, based on the works of Girish Karnad, Amrita Pritam, Gorky, Goldoni, Ethol Fuegurd, John Milingten, Jean Anue and Harold Pinter, have been received with enthusiasm among his audiences. His selection of contents targets social issues related to migration, immigration, violence, terrorism and women.
“The content of my productions provides scope for the director’s signature on the stage, alongside actors. Poetry has various shades, textures and perceptions. Every word conveys millions of interpretations and emotions. Poetry provides a wide space for design and craft. The process of extracting subtext is an enriching experience for both actors and directors,” he says. His productions filled the vacuum in the lives of village folks due to lack of exposure to the classic literary works.
“At times, villagers desire to read good literature, but due to limited access to it, they are deprived of it. At times, my plays decode the complex hidden text of the content for the simple village folks. My focus is to develop a taste for good art among all sections of people,” says Dhaliwal. Manch Rangmanch, has many volunteers and permanent members from the rural background. Dhaliwal, who is not satisfied with the government’s role in the development of theatre culture, has developed a model of sponsorship-based theatre, partnering with village panchayats and other local bodies. His movement has inspired many enthusiasts to initiate theatre groups and establish auditoriums.
Dhaliwal’s vision has revived the stage culture of Preet Nagar, a hub of literature and drama in the heart of rural Punjab. “Every third Wednesday, Preet Nagar’s auditorium showcases works of different theatre groups. No formal invitation is sent, but word of mouth gathers a crowd of thousands of theatre lovers,” he says.
Apart from sensitising both rural and urban audience to the culture of drama, Dhaliwal has also played the role of peace ambassador between India and Pakistan. Every summer, he organises summer workshops with huge participation by the cross-border artistes. “As artistes it’s our responsibility to play the role of peace agent and boost up cultural exchange. Pakistan has no formal school of theatre training. Every year many Pakistani artists attend my summer workshops. These artistes do not stay at hotels, but at the houses of our group members. Their bonding goes past the superficial linings of nation or religion,” he says.
While recalling the horrific phase of Punjab militancy, Dhaliwal recollects his memories of walking the deserted streets alone in nights. “We would often joke in Punjab that those who wander the lanes in nights are either dogs or artistes. Our team would go to different villages and put up anti-militancy awareness shows. When we would return home, the streets had nothing but silence and terror. Carrying costumes and props on our shoulders, we would walk for miles, dreaming about a peaceful Punjab,” says Dahliwal.
Dhaliwal believes in the concept of “total theatre”, containing diverse flavours and space for intercommunication. “Theatre festivals help in carving out ‘total theatre’ with groups from diverse backgrounds exchanging and experimenting with each other’s style,” he adds. Dhaliwal has not only scaled the pinnacles of theatre, but has also defined its new heights. He will surely be an inspiration for generations to come.