Torrential
|
Master Hirannaiah, known for his rhetoric, enjoys doing theatre the most
|
Hirannaiah regaled his audience with his sharp humour. — Photo: Bhagya Prakash K.
WHEN MASTER Hirannaiah is on stage it is common knowledge that it's a riot; both on stage and off stage. And it is history now that how Hirannaiah uses his sharp-edged humour to attack not just people in power, but also to comment on social evils.
Son of the legendary actor K. Hirannaiah whose plays such as Ecchama Nayaka, Jagajyothi Basaveshwara and Devadasi were a rage some fifty years back, Master Hirannaiah who has bequeathed a great legacy has taken theatre to new heights through his social satires.
]Though his memorable acting as Najookayya in Devadasi, wherein the agonies of a prostitute is highlighted, plays like Nadubeedi Narayana, Kapimushti and Lanchavathara (which has a rare distinction of 10,000 shows) have elevated him to a satirist.
With obvious pride he explains: "For me, my plays, particularly Lanchavathara are not sthavara but jangama (thereby meaning that their theme is subject to constant changes).
In each of its performance, the play takes new shape as I introduce new dialogues into it keeping in view of the happenings of the day. Through an imaginary character who represents the common man, I ridicule the what seems unjust." No wonder, he has a large following as the general public see in him a protagonist who would give voice to their myriad problems and anxieties.
He is aware that through his plays, which generally spin around kaavi (the orange robe), khaki (police uniform), and khadi, the society would not undergo a metamorphosis overnight, but his confidence is that at least a few wrong doers will be awakened and this has encouraged him to carry on his with his kind of theatre.
Difficult days
While participating in the recent Maneyangaladalli Maatukathe, organised by the Department of Kannada and Culture, Master Hirannaiah recalls the days when stage artistes like him were treated as untouchables by the so-called elite society and refused even to have them as their tenants.
But as days rolled by and when people like him wrote plays that reflected agonies of the society, they did find a great deal of support from the general public.
These were the people who acted as his shield, when he continued to present them even during days of National Emergency. While answering questions from the audience, Hirannaiah said he consciously stayed out of those connected with land and language, because he always felt that there were other ways of doing it.
While elaborating on the distinctions between professional and amateur theatre, he said that while the professionals enacted a play for several months, the amateurs would hold rehearsals for several months to put up one single show.
In theatre, amateurs could be called R&D people (research and development), and professionals could be termed marketing personnel, he joked. He lauded people's response to his plays, including Kannadigas living abroad.
Hirannaiah confessed that he enjoyed theatre most, though he had a stint with film and television media. He said the advantage of being a stage performer is that said that there is a possibility of improvisation.
B.S. VENKATALAKSHMI
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
