The aim of this essay is to explore how Indian theatre has developed over the years, society’s opinion on Indian performers in theatre and how it is now becoming more acceptable and respected in modern day British theatre. By employing qualitative modes of research, it is very clear that ethnical established ways of thinking have always been challenged in Indian theatre performance for several reasons. These consist of the disadvantages faced by the ethnic groups on the British stage, Indian languages on the British stage, and how Indian Theatre is looked upon by audiences – Indian and non-Indian. This essay will examine the hidden and forgotten histories of Indian Theatre and how it is now blooming in today’s British theatres. Tara Arts Theatre Company will be used as a platform throughout this essay.
From the very start it was evident that the Indian film scene was about to become a force to be reckoned with. With its very first silent film making an appearance in 1913. ‘Raja Harishchandra had its debut in India. This film had great success and paved the way for similar films. Today films like, ‘East Is East and ‘Bend It Like Beckham’ are actually a lighter and less informative interpretation of the struggles and disadvantages that the Indian theatre industry faced and still face. Firstly, in the report from, The Arts Britain Ignores it is highlighted that the historical disadvantages faced by “ethnic minority arts… (were) … lack of premises to rehearse, lack of comparable back up that is afforded to equivalent native British groups, lack of acceptance within the arts structure” (Khan, 1976, p. 5, cited in Hingorani, 2010, p. 4). From this you can already see that earlier on even though the Indian film industry were producing a vast number of great films they still had to work and overcome the barrier of not having any help, support or encouragement from the mainstream film industries and arts councils. In addition, these boundaries all lead up to Tara Arts Theatre Company. The birth of Tara Arts was created when a male Asian youth called Gurdip Singh Chaggar was killed in a racial responsive attack. This took place in London on 4 June 1976. Now the artistic director, Jatinder Verma, was in his final year at university at the time of the killing. His rage and unreturned questions of the event lead to the birth of Tara Arts in 1977. His company’s message and belief was to help, support, and be the voice for the Asian community who have no say or power to make a change. (Hingorani, 2014, p. 14). Tara Arts are informing and educating the Asian theatre trough there work and messages they portray in the shows that they create. Tara Arts are “a brave company (that) could develop a theatre that examines the place of tradition in a new society” (Khan, 1976, p. 71, cited in Hingorani, 2010, p.18). Here we see the first obstacle for the Indian theatre community. Through deeper understanding of research, it is very clear that there are more complications and battles still to be overcome and fought by the whole Indian theatre community, such as Asian languages and the meaning of them when used in productions, ad how to understand what is being said for those non-Indian audiences. Furthermore, Tara Arts Theatre Company have been the true victors for the Modern day British and Indian theatre industry today.
In 1984 Tara Arts were efficaciously running a well-organized, structured, and professional theatre group, consisting of seven actors, administration, and director. Since their inception in 1977 till 1984 Tara Arts have continuously pushed the boundaries in order to get funding and to have support and respect from the British mainstream theatres and arts council. By being daring and bold in approach Tara Arts would purposefully entice and allure their audiences by repetitively performing outside of mainstream venues to seek the praise and respect from the Indian and non-Indian audience. Through determination and graft Tara Arts reputation succeeded and they bought their very own studio rehearsal/theatre space in London on Garrett Lane, which they continue to utilize today. (Hingorani, 2010, p.19).
Sacrifice was Tara Arts inaugural production in 1997. This play focuses on cultural tradition, and the struggles of the royal Bengal family. The idea of this play was to make creative connections across cultures through theatre. In early years from 977 to 1984, Tara Arts had 3 functions to their productions, those were: Recovering histories of the subcontinent and find connections to the contemporary British theatres. To perform and highlight the hidden histories of Indian theatre in Britain. To look at the British Indian experience in Britain. (Hingorani, 2010, p.19).
Indian languages on the British stage can dramatically and instantly enhance, engage, and enwrap audience members to its world, and it can enrich a production and make it stronger and more emotive when that language or languages are used. In the same way, it can lessen and weaken a production when an unrecognizable language is used in modern day British theatre.
Tara Arts made the creative decision to work and use English language in their earlier work. The importance of working in English was extremely crucial to Tara Arts, as this made them unique. Other Indian theatre companies in Britain were using and employing Indian languages om stage for their productions. These companies were, ‘Leicester’s Literary Arts and Lights, Birmingham’s L & P Enterprise, and London’s Indian National theatre. Tara Arts did not want to follow the trend and use this approach because everyone else was. Tara Arts had the ability to go beyond the norm and be industry individualist. Tara Arts had four explanations to why they worked in English at that time. The first was to remain and uphold their distinctiveness to be the only Indian Theatre group not to be following the Indian language trend that the other Indian theatre groups were engaging. Second, as most of Tara Arts target audience was born and raised up in Britain it made sense for the company to go with the English language as that would of been more adaptable for their target audience at that time. Third, Tara Arts knew that they would need the support and backing of Funding authorities like the Arts Council to increase their credibility and to widen their status as a new, bold, and diverse theatre group in Britain. Forth and most prominently Tara Arts felt very confident and comfortable to challenge theatrical work done by new Indian theatre companies, like themselves. Tara arts desired to defend their honor in their backing and partnerships with the British theatre industry. Hingorani, 2010, p. 23).
The use of Indian language within theatre performance in Britain was probed. Non-Indian audiences would feel left out and in the dark when an Indian language was used on stage. To the non-Indian audience ear this would be confusing and unclear of what was happening in that scene or song. However, the use of an Indian language being used on stage is to mature and enlighten the production. When Indian language is spoken on stage it is out of respect to that heritage and the only way that the actors on stage can represent that is to give it the respect it needs by conversing in its mother tongue, weather that is Hindi, Punjabi, Urdu, Gujarati, or Bengali. When trying to translate the Indian meaning into the English language it can be a challenge as it is very difficult to find the exact translation for that word (s). As an alternative, rather than trying to find the translation of that word it would be more useful if the finding would lie in the actor’s emotional connection, response, journey, and characteristics. (Bharucha, 2000, p.68 cited in Hingorani, 2010, p. 12).
A different type of Indian language Is used on the British stage, that is classical Indian dance. Indian dance is more familiar and has fewer boundaries in Britain, therefore its unimaginable variety, wondrous expressions and preputial beauty makes this a world of its own. There are eight classical dances that make up this epic genre those are, Bharatnatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattyam, Oddisi, and Sattriya. All eight styles have a similar connection, they all share the timelessness of the Indian heritage and classical fusions of principal traditions. Over time Indian dancing became more available throughout foreign countries. (Hall, 1970, p. 116).
The perception of performance theatre in the British Indian community is unfortunately unsupported and weak. Through hardship, pain and suffering, Tara Arts have been the notable body for revolutionizing the Indian theatre scene within Britain for a multitude of Indian and non-Indian performers, varying ages, and different cultures. Still in today’s society numerous Indian families do not support the likes of Tara Arts theatre company as they feel that it is corrupting their children’s minds and destroying their confidence. Many young Indian performers or non-performers would like the opportunity to engage in theatre groups as this increase their communication skills and helps them to find their inner self, weather that’s to have a career in theatre or elsewhere.
Race within theatre is based upon a human direction for a sense of order within society. We all learn by our environment that we are surrounded by. Through observation of others around us who look familiar and unfamiliar is key to make a noticeable difference and change in modern day theatre. Embarking on to the journey of further development of race in theatre it is very clear that we must learn how to articulate the hidden histories of that genre before we speculate. (Young, 2013, p. 4).
Today’s theatre is an inspired and ground breaking industry where many influences have been shared and shown. Theatre is a place where anything can happen at any time. It is a place of freedom and desire, a place to visit and explore the buried, mystical, and never ending stories of theatre as we know of it today.
In conclusion, this essay has identified the disadvantages faced by the Indian theatre community, it has examined Indian language on the British stage and how to understand it, and it has explored the view of Indian and non-Indian audience members. Through deeper findings this essay has shown how Tara Arts have come from nothing to now transforming the Indian theatre experience in Britain. Research shows that British and Indian theatre have always had common grounds. The passion to deliver a message though the means of performance theatre, the persona to be daring and bold in approach, creativity, and individuality. Also, the never-ending thirst to always seek more information to help and support other theatre communities and to be a unity of voices, forever more upholding the theatre decorum for years to come, hoping that one day the word performer is only described and viewed as a person of great talent, empowering stage presence, raw and real beauty of emotions.