When the street erupts into action

Mona

The working class mingled with vendors, students with retirees, beggars and buyers made for the audience as a bunch of young enthusiastic artistes regaled the on-the-spot audience with their take on zindagi.

Street theatre has been a significant instrument for change — not only giving something for the laity to think and hopefully act on, but giving theatre artistes a space to express sans commercial considerations.

One fine evening at Sector 17 piazza, such a play invited guffaws and some sensible retorts and questions from young children. The loud cheers were heard as the brand new, crisp, pink Rs 2,000 note made an appearance. The issues which were raised ranged from smog to plastic, demonetisation, uproar in Parliament and reasonable responses from the motley audience. Regardless of being two-decade old, Dhoond Ke Lao Zindagi is as interesting for performers as to the onlookers. It talks of ‘life’ dying a slow death because we are not paying attention to how we are polluting our surroundings.

“I never thought twice before buying a water bottle and disposing it off on how I have added a weight on earth that’s going to outlast me and the generation next,” offers Shruti after watching the play. While a retired Punjab Government employee enjoyed the 40-minute show sitting down in the company of kids for its sheer entertainment value, for Jashmeet Sodhi and her toddler it was a call to go green.

Among those enjoying the rather rowdy spectacle was Jin Van Dez Linclen, a Dutch, who couldn’t suppress his laughter seeing the buffoonery. Travelling in India, he was appreciative of the effort that the street play addressed, because that concerns the people worldwide and highlighting those concerns among the ‘real’ folks matters truly. “Street theatre offers a liberty to ask, revolt and present without any monetary or statutory considerations,” opens up GS Channi, director, mentor, CEVA Drama Repertory Company. His team mates are equally enthusiastic, “On stage we have the concept of an invisible wall – the audience is there and yet not. In street plays, the audience is as much part of our act as we are and it’s exhilarating,” offers Vinod Bharti.

Among the audience is Sherub Bodh, preparing for competitive exams with his gang of friends, who couldn’t help but watch the show. “There is so much more that one can achieve through this art form — it’s fun and functional at the same time.”

Talk of Chandigarh and it’s not possible to miss Nonsense Club and its popular face, Jaspal Bhatti, who could deal with the gravest of the issues in his trademark humorous style. The club is still carrying the legacy. Last weekend saw the black-money hoarders being taken to task by giving awards.

Savita Bhatti offers, “While Jaspal Ji injected humour in every platform — be it cartoons, films, television — street plays is where he was at his best, uncensored.”

While nukkad natak helps bringing out social ills or issues out in the open, they also work as a good stepping stone for artistes. Says Shamsheer Dhanoa, currently part of Alankar theatre group, “Right in the middle of the street, with a varied audience, not only you have to be out and loud but also deal with interruptions by onlookers. You need to be spontaneous too.” “Street theatre offers absolute liberty and that is what the artistes and audience enjoy in equal measure,” Savita Bhatti seals the deal.

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