A very short profile of the playwright-director Abhishek Majumdar, for India Today magazine.
THEY TAKE AS THEIR THEMES OUR MOST DIVISIVE ISSUES, BUT ABHISHEK MAJUMDAR’S PLAYS CAN STILL MAKE YOU LAUGH
"Oonchi jaat ka rajnitik sammelan hai. Log bhadakne ke liye hi aaye hain (It’s an upper caste political meeting. People have come only to take offense),” says one of a trio of actors playing Nats, traditional street performers who make up the ostensibly “comic relief” track of Muktidham. It is a packed closing night for Abhishek Majumdar’s brilliant 2017 play, and Bengaluru’s Ranga Shankara Theatre breaks into laughter. The next evening, during a show of Kaumudi, another Hindi play written and directed by Majumdar, the crowd laughs even more uproariously. Yet those who follow Majumdar’s work are unlikely to call it funny. Working in English, Hindi, Bengali and sometimes Kannada, the 38-year-old playwright-director has subjected some of the most divisive issues of our time—immigration, Hindutva, caste, Kashmir, Tibet—to rigorous research and intense ethical questioning.
Harlesden High Street (2010) dealt with working class Pakistanis in London. Muktidham, set in a fictional 8th century temple town, uses the historical tussle between rising Buddhism and a threatened Brahminical Hinduism to interrogate the narratives of both religions, especially the present-day Hindu right’s claims to non-violence and castelessness. Kaumudi, set in early 20th century Allahabad theatre, wrestles with epic figures like Abhimanyu and Eklavya in the context of a conflicted father-son relationship. Three of his plays are set in Kashmir. Rizwan, based on Agha Shahid Ali’s poems and Eidgah ke Jinnat, about state and non-state actors caught in the cycle of violence, are both written by him; while Gasha, in which a Kashmiri Pandit man returns to the state years after leaving it as a child, is by Irawati Karnik. Violence and non-violence are also central to his most recent production, Pah-La, whose depiction of the Chinese use of force on Tibetans caused London’s Royal Court Theatre to delay it for over six months.
Seated in the green room with a
tumbler of Ranga Shankara’s strong Rs
20 coffee, a deadpan Majumdar demonstrates
he can treat humour as seriously
as he does other things (or is it the
other way around?). “I’m often asked
‘Is this play a tragedy or a comedy?’ I
say, when you think about your life, is
it funny or is it sad? It simply isn’t one
way or the other. Also, tragedy and
comedy are western categories. What is
the Mahabharata, or Betaal Pachisi, or
the Arabian Nights?”
That said, he is excited about
advancing his grasp of humour, starting
with Dialectical Materialism Aur
Anya Vilupt Jaanwar, a new play
about Communist history by him.
“I’ve written comedy into plays that aren’t of a comic form, but this is my first satire. I’m older and maybe tragedy is a form for the young,” says Majumdar, who did a Masters at the London International School of Performing Arts and, since 2013, spends a semester a year teaching playwriting and philosophy at the New York University’s Abu Dhabi campus. In India, most of Majumdar’s plays have been staged by the Bengaluru’s Indian Ensemble, founded by him in 2009 with actor-playwright Sandeep Shikhar. In 2018, in an attempt at de-personalised institution-building, they handed it over to Chanakya Vyas as artistic director. “Everyone who wants to run a theatre company shouldn’t have to start it,” he says.
Majumdar has since started a new one. The Bhasha Centre for the Performing Arts, started with Shikhar and actor Vivek Madan in 2018, focuses on South Asian languages, particularly Dalit dramaturgy. “We maintain many principles from Indian Ensemble: all members paid equally; free tickets for those who can’t afford them,” says Majumdar, who believes theatre deserves more government support. “The Ramayana, which people are now fighting over, wasn’t created as a market-driven exercise. Neither was Bhasa or Kalidasa. They are important for humans to exist and they can’t be market-driven... On that Friday, a play may not have the largest audience, but if you ask in about 80 years, it might.”
Published in India Today, 5 July 2019.
THEY TAKE AS THEIR THEMES OUR MOST DIVISIVE ISSUES, BUT ABHISHEK MAJUMDAR’S PLAYS CAN STILL MAKE YOU LAUGH
"Oonchi jaat ka rajnitik sammelan hai. Log bhadakne ke liye hi aaye hain (It’s an upper caste political meeting. People have come only to take offense),” says one of a trio of actors playing Nats, traditional street performers who make up the ostensibly “comic relief” track of Muktidham. It is a packed closing night for Abhishek Majumdar’s brilliant 2017 play, and Bengaluru’s Ranga Shankara Theatre breaks into laughter. The next evening, during a show of Kaumudi, another Hindi play written and directed by Majumdar, the crowd laughs even more uproariously. Yet those who follow Majumdar’s work are unlikely to call it funny. Working in English, Hindi, Bengali and sometimes Kannada, the 38-year-old playwright-director has subjected some of the most divisive issues of our time—immigration, Hindutva, caste, Kashmir, Tibet—to rigorous research and intense ethical questioning.
Harlesden High Street (2010) dealt with working class Pakistanis in London. Muktidham, set in a fictional 8th century temple town, uses the historical tussle between rising Buddhism and a threatened Brahminical Hinduism to interrogate the narratives of both religions, especially the present-day Hindu right’s claims to non-violence and castelessness. Kaumudi, set in early 20th century Allahabad theatre, wrestles with epic figures like Abhimanyu and Eklavya in the context of a conflicted father-son relationship. Three of his plays are set in Kashmir. Rizwan, based on Agha Shahid Ali’s poems and Eidgah ke Jinnat, about state and non-state actors caught in the cycle of violence, are both written by him; while Gasha, in which a Kashmiri Pandit man returns to the state years after leaving it as a child, is by Irawati Karnik. Violence and non-violence are also central to his most recent production, Pah-La, whose depiction of the Chinese use of force on Tibetans caused London’s Royal Court Theatre to delay it for over six months.
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| Actors Ipshita Chakraborty Singh and Sandeep Shikhar in a scene from Majumdar's play Muktidham |
“I’ve written comedy into plays that aren’t of a comic form, but this is my first satire. I’m older and maybe tragedy is a form for the young,” says Majumdar, who did a Masters at the London International School of Performing Arts and, since 2013, spends a semester a year teaching playwriting and philosophy at the New York University’s Abu Dhabi campus. In India, most of Majumdar’s plays have been staged by the Bengaluru’s Indian Ensemble, founded by him in 2009 with actor-playwright Sandeep Shikhar. In 2018, in an attempt at de-personalised institution-building, they handed it over to Chanakya Vyas as artistic director. “Everyone who wants to run a theatre company shouldn’t have to start it,” he says.
Majumdar has since started a new one. The Bhasha Centre for the Performing Arts, started with Shikhar and actor Vivek Madan in 2018, focuses on South Asian languages, particularly Dalit dramaturgy. “We maintain many principles from Indian Ensemble: all members paid equally; free tickets for those who can’t afford them,” says Majumdar, who believes theatre deserves more government support. “The Ramayana, which people are now fighting over, wasn’t created as a market-driven exercise. Neither was Bhasa or Kalidasa. They are important for humans to exist and they can’t be market-driven... On that Friday, a play may not have the largest audience, but if you ask in about 80 years, it might.”
Published in India Today, 5 July 2019.
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