For 36 years and over 2,000 shows, Victor Paulraj has been one of the top set and light designers. He wants to open an institute to train youngsters the technicalities of stage and light design.
CHENNAI: To envision a larger-than-life set and hues of lights that compliment a theatre production is one thing but, to encapsulate the ideas and bring it life on stage is another. Victor Paulraj has been creating prolific sets and light designs for 36 years and has done over 2,000 shows and dance productions. Amid a tech discussion for The Madras Players’ next production at Alliance Francaise of Madras, the 52-year-old master set and light designer chats with us about his passion for colours and lights, ‘unplanned journey’, working with theatre groups, and dancers like Anita Ratnam.
What made you get into stage craft and lighting?
My father was in charge of museum theatre till 1990. So, I used to observe the process of set construction and other technical aspects. But the first thing that attracted me was the colour and the magic it created on stage. I’ve always been a creative person and having exposure to productions presented by the British Council and ICCR gave me the push.
What are your memories of the first play you worked for?
I was 15 when I started. In 1981, Mithran Devanesan, who became my mentor, directed and designed the sets for a play called LUV at the Museum Theatre. I saw carpenters working on a piece of wood and I started helping them. Mithran noticed this and took an instant liking to me. The sets and lights I design are a reflection of his creativity. I have imbibed a lot from him. How could I not? I have worked with him in more than 500 productions! (smiles)
Did you have different aspirations as a child?
I have never really planned anything. I took a liking to stage and lighting but, I never thought it would become my career. I went with my gut instincts and today, I am happy. I am not sure if my passion drives me or it’s the people who I work with. I think it’s a bit of both!
How has the status of ‘the light men’ changed recently?
It has taken a giant leap in the last 20 years. Before that, we were in the lower rung of the theatre hierarchy and weren’t treated as equals. But, today with production houses and groups realising the importance of sets and lighting, things have changed. We have a major part to play in the quality of a production. In some cases, the halls are booked only after checking the availability of ‘the light men’ these days (beams). It has taken a positive shift but, there needs to be more emphasis. I think even the performing artists have to step in to learn and understand the nuances of lighting.
Tamil and English theatre — two different working styles...how do you manage?
They are poles apart, and there are reasons for it. Firstly, the budget of both varies. The production budget of Tamil plays are lesser than English. So, they don’t spend a lot on sets and lighting and stick to the old-time settings. While for some, it’s a conscious decision to stick to the traditional setups. But, I am seeing a change. The youngsters in Tamil theatre want to experiment. Having said that, I have worked in very few Tamil productions compared to English ones. Manjal, a play produced by Pa Ranjith was my most recent Tamil production and it was a hit!
Are you conscious about power consumption while chalking light designs?
I focus on minimal consumption when needed. This changes based on a production as sufficient power supply is connected to the budget. But I make sure nothing disrupts the play. All lights are designed in such a way that it supports one another. So, even if a light stops working, the others can manipulate it. The audience will never know something is wrong.
How are the older light men coping up with new technology and techniques?
They struggle to adapt, but you can’t blame them. They weren’t trained and what they know is through experience. With the right guidance they can learn new concepts too. The government can help open an institute for set design and lights, but for that, the theatre groups should come together and raise their voice.
Do you have plans of entering into the film industry?
I wouldn’t say that I am not interested in it. But, this is my forte and I am the king! In theatre, there are no retakes and the work is done in a scheduled and specified time - we have tech show rehearsals in the morning, and the live show in the evening. But in movies the time is prolonged. Maybe if things fall in place, I might try my hands in it. But again, I don’t plan anything (smiles)
Is there a demand for light and stage technicians in the future?
Definitely! But, we need to prepare the next generation for that by exposing them to it. We don’t have institutes that train youngsters about the technicality and process of stage and light design and I want to do that. I will be opening an institute solely for this, by 2018.
An artiste who understands light
Anita Ratnam understands lighting like no other! She has no issues in taking suggestions. If I suggest that a different spot will suit better for light to shine through, she will ask me to mark the position. I might be working with her again by end of 2017 for a dance production.
Victor Paulraj will be in conversation with Avis Viswanathan as part of ‘The Artist’s Soul’ at Wandering Artist, RA Puram, on October 14, from 7 pm to 8:30 pm. For details, call: 9840111425