Manav Kaul, a diverse artist, discusses thinking like a woman, his love for Kashmir, and how his literary and cinematic endeavours affect one another as he untangles the female heart in his most recent play.
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I have a lot of time. Manav Kaul says, "I don't know what to do with it. The writer, actor, and director who masterfully switches between mediums packs so much into his life that he gives every creative person a complex. I travel too, too," he adds, displaying his adaptable nature.
His most recent performance, Tumhare Baare Mein, is a potent, poetic look at contemporary relationships in which men aspire to be penguins and women dream of being a bird with wings. He was in Delhi in his stage persona to inaugurate the upcoming IHC Theatre Festival. It is about the barriers that males put in front of women, as well as the centuries of patriarchy and self-denial that women have been fighting to overcome. The story centres on a couple sitting in a cafe communicating with their past and future selves. It is provocative, moving, and humorous.
Manav claims that Delhi has a "taste for theatre" and that whenever he writes a new play, he is keen to hear from the Capital's audience. "People attend my shows because of my novels more so than because of my fame as an actor. I believe the social media craze will eventually fade away, and young people will turn back to reading. We catch up with him backstage to talk about his craft and concerns before he takes out for Himachal Pradesh for yet another two-month writing and travelling excursion.
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IHC Theatre Festival from Sep 22 to Oct 1 | IANS Life |
The play clearly has a feminist voice. How did it develop?
I'm not sure why, but lately I've been reading solely female authors. They are far more sophisticated and elegant than most contemporary male writers, in my opinion. I just finished reading The Beekeeper of Aleppo. It depicts the terrifying journey that Nuri, a Syrian refugee, took to get to London. I felt I should read more books by the author after finishing this one, and I discovered that Christy Lefteri is a woman. I expressed my gratitude to her for providing me with this insight so I could likewise approach writing from a gender-neutral standpoint. I began coming up with the idea for this play as I wondered what inspired her to write.
The women in my life, notably my mother, have an impact on it as well. Although incredibly skilled, they were unable to do anything significant. Everything came together as soon as I realised I was writing for my mother. She was a gifted individual trapped in a remote location. It was more about my father and how in a patriarchal society a woman may only fly within the boundaries of the house, but our move from Kashmir to her father's house in Hoshangabad played a part.
We have restricted the role of women in our life to the kitchen when men only remember their moms because of the flavour of their dal that they miss. Grandmothers who haven't touched the sun in days have been observed by me. The patriarchy is ingrained in me, and when I was a young man living in my tiny town, I believed that this is how society functions. It is therefore a form of apology letter.
The Line-Up
12 plays, a book discussion, a 35mm video on Indian theatre, workshops, and encounters are all included in the festival.
AHA!, EE Gida, AA Mara (This plant, That plant), and Chippi, The Chipkali, a double-bill of plays by Ranga Shankara
The Verdict by Akarsh Khurana, Dekh Behen 2 by Shikha Talsania and Prerna Chawla, and The Departed Dawn by Victor Thoudam and Bimal Subedi.
Siachen by seasoned actor Makrand Deshpande and Maas by Jyoti Dogra.
Afterflies by Faezeh Jalali, Golden Jubilee by Saurabh Nayyar, and Indian Theatre by Jabbar Patel.
(Everyday at 7 p.m. from September 22 to October 1 at the India Habitat Centre on Lodhi Road)
