Parva - conflict of thought, conflict in action: Belavadi

‘Parva’ is an ambitious project of Rangayana-Mysuru, a government-sponsored repertory. While Rangayana Director Addanda C Cariyappa says that the objective to stage ‘Parva’ is to make the attention of theatre enthusiasts of entire India to turn on Karnataka, play director Prakash Belavadi says, Parva is all about converting ‘conflict of thoughts into conflict in action’.

The first show of ‘Parva’, the magnum opus of Rangayana, will be held at 10 am on March 12, Friday, at Kalamandira, here.

Repeat shows of the seven-and-a-half-hour play, an adaptation of ‘Parva’, a novel by S L Bhyrappa, first published in 1979, is on March 13 and 14, at Kalamandira. From March 25, the shows will be at Bhoomigeetha auditorium, up to three months on weekends. The play will be staged in three parts, on Thursday, Friday and Saturday, at 6.30 pm, while it will be staged in full, with two breaks, on Sundays, from 10 am.

DH: None of S L Bhyrappa’s literary works were experimented by Rangayana, so far. Why Bhyrappa now, and why ‘Parva’?

Cariappa: Bhyrappa is one of the best and most-read writer of our times. Just before the Covid lockdown, we had staged another big project ‘Malegalalli Madumagalu’, based on Kuvempu’s novel. His classic work ‘Sri Ramayana Darshanam’ was staged in 2019. Lockdown restricted our movement and activities. By following Covid guidelines, we experimented ‘Vachabhinaya’ of ‘Kusumabaale’ of Devanuru Mahadeva, ‘Bommanahalliya Kindarijogi’ of Kuvempu, theatre festivals and workshops. To put the talent of our artistes and technicians and, also their time and energy, to good use, we planned a long-term project. Rangayana is meant to do the impossible. Thus, ‘Parva’ happened.

Prakash: It is a culmination of various aspects. It is coincidence. Bhyrappa is one of the greatest living writers in India. I had contacted Bhyrappa earlier, about Parva’s adaptation as play. But, I could not explain to him on how I will do it. When Cariappa approached to do a project on Bhyrappa’s works, we held a consultation with Rangayana artistes. We started with ‘Sartha’ and finalised ‘Parva’. If not now, when?’ was the question.

What are the interesting aspects of Parva?

Prakash: Parva is the extreme of consciousness narrative. It is monologic narrative translated into dialogic, to make it a human drama. Humans have internal conflict. There is no choice before the characters, even though they know what is right and what is wrong. Parva is a translation of ‘conflict of thought’ into ‘conflict in action’.

For most professional as well as amateur theatre persons, Bhyrappa or his literary works were either untouchable or difficult, for their own reasons. Of late, Bhyrappa is fit into a particular ideology, by a section of both his critics as well as fans? Over the years, your ideology has evolved. Is there a difference in your perception of the novel, now?

Prakash: I am still a Leftist, by ideology and action. I follow Karl Marx’s principle of ‘From each according to his ability, to each according to his needs’ in letter and spirit. I am only opposed to division of the society on Leftist ideology. The New Left has made a virtue of ‘divisive ideology’. I read Parva only a few years back. Since then, I have read a few of his works. Now, I realise what I missed.

There is a huge hype on ‘Parva’. An aura is created around it. There is a huge expectation. New theatre enthusiasts are created. Does it mount pressure on the team?

Prakash: Pressure is pleasure in theatre. We do the impossible on stage in theatre. It is greater pressure if only three people turn up to watch it.

A section of theatre enthusiasts are against the price of tickets. They say that amateur troupes are mandated to stage plays without selling any ticket, even if they get just Rs 20,000 as aid from the government. How do you justify the pricing?

Cariappa: Rangayana is an autonomous repertory, with Rangasamaja as apex body. Rangayana is allowed to avail donations and sell tickets to mobilse funds, to strengthen. Rangayana has only 12 artistes, but Parva troupe is expanded to 40. We are preparing since six months, by paying salaries to artistes. Big names like Prakash Belavadi and Prasad Biddappa are associated. Government funds of Rs 50 lakh is only for production.

Rangayana’s regular price of tickets is Rs 100 for the two-and-a half hour episode of Parva and Rs 250 for the entire play. Rs 500 and Rs 1,000 tickets are only for the first three shows. The premium Rs 1,000 tickets are all bought by S L Bhyrappa Sahitya Prathistana. Besides, most of the enquiry is for Rs 1,000 and Rs 500 tickets. People do not mind paying Rs 100 for a good play.

When you spend money on cinema, you create an asset, which can be multiplied in copies and exhibited any number of times, on multiple platforms. When you spend a huge amount on a theatre production, how do you intend to create an asset and justify the investment?

Prakash: If the government intends to create an asset like a movie, it could have established a film production company rather than a repertory. The idea is about creating intangible assets. Watching Amitabh Bachchan act on stage is anytime a bigger experience than watching his film on television.