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International Theatre Festival of Kerala (ITFOK) 2014: A state sponsored experiment with hits and misses




Deepa Punjani




(ABOVE) C SHARP C BLUNT, VIRASAT and MEPHISTO WALTZ (BELOW)THE KITCHEN
(Above) C SHARP C BLUNT, VIRASAT and MEPHISTO WALTZ  
(Below) THE KITCHEN

Special Mention

Three other plays that stood out for me at the festival were C SHARP C BLUNT (India/Berlin), directed by Sophia Stepf; MEPHISTO WALTZ (Germany) directed by Anton Adassinsky and EPIC (Slovakia) directed by Josef Vlk. I liked C SHARP C BLUNT for its versatile performance by MD Pallavi and for its tongue-in-cheek, computer syncronised parody of the urbane, modern Indian young man whose App is designed to mirror his ingrained patriarchal and sexist attitudes. MEPHISTO WALTZ after Goethe's FAUST although now too familiar in its production design continues to strike a chord precisely because the stage design and the physical theatre it employs hinges on the primeval and the raw nature of man. EPIC is a finely designed movement piece with a creative stage design that uses shadow work. The play broadly explores class, capital and labour in a style that meshes dance, opera and the films of the twenties and the thirties.

I regret missing BEGUM PANNIKAR, the Malayalam adaptation of Satish Alekar's BEGUM BARVE, directed by Kumara Varma but followed Professor MV Narayanan's conversation with the director. Kumara Varma spoke of how he was able to take off from Alekar's text and root it in its Malayalam idiom by finding parallels in Kathakali where also male artistes assume female characters. Roysten Abel opened the festival with THE KITCHEN and Anuradha Kapur closed it with VIRASAT. Both were sensorial treats befitting the grandeur of the first and the last day that accompany events of this scale; yet both productions are problematic bringing into sharp focus some of the critical issues and dilemmas confronting modern and contemporary theatre in India.






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