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`We will keep working, silently'

Anjolie Ela Menon and Ebrahim Alkazi on art and theatre

PHOTO: V. V. KRISHNAN

WORDS OF WISDOM Anjolie Ela Menon and Ebrahim Alkazi sharing notes on art and theatre

Ebrahim Alkazi is a doyen of theatre and Anjolie Ela Menon, a renowned painter. If Menon wears arrogance on her sleeve, just to ward off the fake artists and the ignorant scribes, Alkazi is a picture of humility, though a recluse by temperament. If Menon doesn't like to beat about the bush when it comes to discussing art and theatre, Alkazi loves to go down memory lane, sometimes, even drifting away from the point, only to come back, like a child returning to the referral point. Both have a difference of opinion. Menon seems angry with art treated as a commodity, Alkazi takes it easy.

Here the stalwarts meet at Alkazi's famous art gallery in Delhi, Art Heritage, sharing their opinion about art, theatre, rare collections and more.

Rana Siddiqui is tuned in.

Anjolie: I always think of you as the `Renaissance Man' who took great care of all aspects of creativity, whether in art, theatre or history. You are like an icon for all of us. Nobody nurtured art as you did...

Alkazi: (Smiling): In all humility I would say that I didn't actually do it. All arts are inter-related. I think theatre combines all art. Its production takes into consideration colours, direction, form, aesthetics et al. I started humbly in a very little space in Mumbai. And today it has grown into a dependable base. I still have a long way to go.

Anjolie: Did you go to your seniors for guidance? Who were they?

Alkazi: I remember having met the excellent dancer Shanta Rao and Padamsee, who was an embodiment of genius, a towering personality whose presence would inspire awe. I imbibed a lot from them and many others...

Anjolie: Very few people understand drama as the unmistakable link between form and visual contact. Now filmmakers have started using special effects for this. What did you do in your earlier days?

Alkazi: In my case I had to discover a `theatrical language'. For that I had to create background, translate the movement of actors through the language of relationship. Scene after scene we had to think of background, lighting mode, dance and atmosphere. For instance, according to speech crescendos, I had to manipulate the light from the backdrop and so on...

Anjolie: That's right, that's exactly what we do while painting... take care of various aspects within the creation. But don't you think those were more innocent days? You could invent what you wanted. I know as a painter the scene was very intense. We were a small, bonded community. We could grow within our respective spaces. We had one Dhoomimal Gallery. There were few art critics. Now, it is quite scattered. We seem to be almost swallowed by it all. There is tremendous commodification in art.

Alkazi: But you can find this situation anywhere. For example you have commercial theatre. See today's comedy plays. Whatever their quality, but there is a section of people that wants to see it.

Anjolie: But don't you think we lack good playwrights?

Alkazi: It is not merely that. You could take Shakespeare. Many of his plays seemed Greek to all! What about Chekhov? When I came to the National School of Drama, I met people like Dharamveer Bharti. His "Andha Yug" has seen several productions. Then we had Mohan Rakesh. His "Aashad Ka Ek Din" and "Aadhe Adhoorey" were amazing. I still wonder how he could write such a play then for radio. I decided to stage it. I must admit, he gave me my career in stage. I met the likes of Girish Karnad, I found in him the vigour, tenacity of purpose, that infallible nobility... I mean we have good people still.

Anjolie: But I feel a little disappointed when I see artistes today. We have to adjust to today's larger-than-life scenario. We used to do art for art's sake. The younger generation is taking it to another level. They are creating with commercial reasons more in mind. It is bad for the creativity... Artistes now are a star phenomenon. They are more cautious about their `image'...

Alkazi: Art galleries have contaminated the art scene. Tell me the name of any art gallery or institution, which has a proper library and research material.

Anjolie: Even newspapers have almost no art critics. We had wonderful critics like Charles Fabri and Richards. They were the benchmark in art criticism. It is merely `art reporting' that is done today.

Alkazi: You have to live with it. It was so throughout the West too.

Anjolie: Let's change the topic. It hurts anyway. I believe that you have the best archival collection.

Alkazi: (Smiles) Not the best... But who is saying this! I have none...

Anjolie: (Smiles) Okay, but you have. How did you start collecting?

Alkazi: It is like asking you how did you start wearing a sari?

Anjolie: You have the best collection of Souza's old and original works. You recognised his talent at an early stage.

Alkazi: Souza made enemies of those who supported him once. I just tried to help him. Similarly, Tyeb (Mehta) had a tough time in Mumbai. Those who called themselves progressive artists did not consider him so. First you form groups and then you become prejudiced, dictators. I helped him organise an exhibition of paintings and sculptures then.

Anjolie: Whatever you say, galleries in the West are good patrons. The Asian Art Museum gave me a six-month solo show. Is it even thinkable in India? Even the Chinese and the Vietnamese are breaking the barrier.

Alkazi: I think TV and radio are the best learning medium. Art can be taught in a more conducive manner through them. Don't grouse.

We will keep on doing our work in our own silent ways.

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