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Continued relevance A scene from the play

Performed in Dari, this is the first time that a play from Afghanistan is being shown at the National School of Drama festival. While the nuances were lost on the audience, it compelled attention in its use of simple props with stunning effect. It was performed without subtitles as the director believes that “subtitles distract the audience”. The role of a narrator has been added for the Indian audience.

While this is the first time that director Arash Absalan ventures into Brecht’s epic theatre, he believes that this play has continued relevance. “What is the old and holy meaning of ‘mother’ is a question that is timeless. It is relevant to all times and all people,” he explains, through a translator. This “play-within-a-play” explores whether a mother is she who gives birth or she who nurtures.

Written in 1944, “The Caucasian Chalk Circle” is one of Brecht’s most frequently performed plays. How can such a famous play be done differently? He says, “This epic play is episodic and that gives the director a lot of freedom. It wasn’t a question of daring to be different; instead one has to be different.”

Absalan says he didn’t love epic theatre initially. “I had never experienced it. But when I was given an offer to direct “The Caucasian Chalk Circle”, I realised it was very near my desire.”

This Iranian director is an established thespian in his home country. Wishing to experience theatre in different countries, he moved to Afghanistan two years ago. Problems of censorship with the Iran government prompted this move.

He explains that both the countries have an ancient theatre tradition. More familiar with the traditions of Iran, he says that religious theatre, black comedy and puppet shows are intrinsic to the culture. Afghanistan has theatre based on old heroism and even shadow plays. However, he says with thirty years of conflict, theatre in both the countries has been a difficult practice. While there is a ready audience and willing talent, auditoriums and theatres are few. At the recent National Theatre Festival in Kabul, forty productions were staged, proving the vibrancy of the theatre scene. There is an urgent need for support, however, especially from international bodies like UNESCO, asserts Absalan.

But plays from the region are slowly garnering attention. The Aftaab Theatre, from Kabul, which staged this production, has already been invited to a festival in France, and is looking at returning to India.

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