In life he performs the roles of instructor, actor and director, whereas the myriad roles he has performed on stage mark his character with the air of a person who has lived a number of lives. Theatre artist, Teekam Joshi, is the recipient of the Sangeet Natak Akademi award for appearing this 12 months. Within the midst of educating a theatre module on the Panjab College, Chandigarh, the versatile actor opens up on his craft and considerations.
An actor prepares
“The preparation to get into the character is very rigorous,” says Joshi. “I approach a role through the body — the spine, breath, postures, the walk, the voice, and most importantly the character’s thought process.” Concurrently performing reveals of just about 15 performs at varied venues, Joshi is deeply immersed within the research and efficiency of the function of Gandhi presently, for the play “Bapu” directed by Bhanu Bharti. The play traces the final days of Gandhi, earlier than and after the Partition. Reflecting on the challenges of essaying a historic character of such stature, he says, “The way Gandhi is understood today is the larger than life image of this towering personality. As an actor, it takes a lot from inside you to not be overwhelmed by the image and to comprehend and portray him as a regular but complex human being. A lot of the preparation involves reading, researching and reflecting on his quotes, why he said something, his life context and to trace his thought process.”
Joshi emphasises that aside from the character, the style or type of the play is an important think about figuring out his strategy. Elaborating on the instance of his function in “Bapu”, he says, “This play is in the mode of realism, so to be as close as possible to the image of Gandhi, I started wearing dhoti, living frugally, experiencing the bare-bodied sensation of the way he dressed was important. I attempted to capture how he would sit, walk, stand.” He factors out that make-up and costumes are main features that deliver the character alive for an actor. “After make-up, when I see myself in the mirror as Gandhi, it changes something inside me. It is like carrying a character inside your body.”
In one other current manufacturing, Joshi wears a number of hats as director and as an actor essaying two roles. The bilingual play “Agg Di Ik Baat Hai”, on the lifetime of iconic poet Amrita Pritam has him difficult his personal boundaries as he performs Sahir Ludhianvi in addition to Imroze.
Remarking on his most memorable roles, he says, “There are some plays that are indelible. In ‘Janeman’ directed by Waman Kendre, I played the role of a eunuch. This remains the most challenging part I have played!” He additionally recollects Mohan Maharishi’s “Einstein” as a transformative journey, whereas Prasanna’s “Uttara Ram Charitam” examined his expertise as an actor when he performed the function of Ram within the lifelike style with Awadhi language and songs. His solo efficiency in “Shaayar… Shutter Down” was one other problem, “The play explored urban loneliness in a poetic way. It involved many theatrical tools like mime, dance, acting and a lot of emotional shifting through the narrative.”
As an actor he surrenders to the character, and likewise retrieves one thing from the function earlier than exiting the persona, “These characters have given me growth — as a teacher, actor, director, and have expanded me as a human being.”
Rising up in Bhopal, Joshi was uncovered to theatre at an early age. Watching the works of legendary theatre administrators like BV Karanth, Bansi Kaul, Habib Tanvir, he was drawn to stage throughout his childhood. He acted in a number of performs reducing by way of a spectrum of genres, with administrators like like Bansi Kaul , BV Karanth, Fritz Bennewitz, John Martin and Robin Das. Throughout his days in Bhopal, he additionally labored with the Bharat Bhawan Repertory, Rang Vidushak (Bansi Kaul), Dost (Alok Chatterjee).
“The performing arts scenario in Bhopal was very promising when I was growing up,” he recollects. “I was already doing theatre there and the next natural step was to get deeper into the grammar of theatre at drama school.” The Nationwide College of Drama in Delhi turned residence turf for the artist as he accomplished his post-graduation with a specialisation in appearing, adopted by a number of years of working with the NSD repertory after which returning to show there.
“After passing out from NSD, I wanted to practice whatever I had learnt, at least for 10 years. Those were the years I focused on acting and created my own module for approaching characters, building a role, working with the script, and other elements. Then my teachers asked me to teach in drama school. In a way I can say the module of teaching was built when I was practising acting.”
Round 2012, Joshi’s foray into path started regularly. “I wanted to work with directors who would make me grow further as an artist. At this point I also had an urge to explore my own directorial style.” Penned by Tripurari Sharma, “Shifa…the healing” was a landmark for him as a director. Based mostly across the theme of the lives of HIV constructive individuals, the play explores the nuances of relationships, social marginalisation and emotional isolation.
“When you give your time, energy, attention and passion to a medium, it responds,” believes Joshi. He factors out that the principle problem for theatre in north India stays the cultivation of a tradition of assimilating it into the lives of the viewers. “In the Hindi-speaking world, the concept of professional theatre hasn’t become a part of culture, like in places like Maharashtra and Bengal. It needs to reach people’s calendars, so that it is a part of people’s lives to watch theatre, just as they watch television or cinema. Theatre has many possibilities, and we as theatre artists need to explore them to engage audiences.”
With a number of upcoming productions, Joshi says that appearing stays his old flame. “I think I find my own self more by performing different characters. My journey in theatre is about understanding human beings for who they are, freedom of expression and connection with the world.”