CHENNAI: In any profession, working with a stalwart can be a learning experience. Beyond the craft, you learn how to lead your life, too. Theatre artiste Sreedevi Gengaiah had a similar experience. “Not just acting and direction, but I learned what is life from Natesan Muthuswamy, founder of Koothu-P-Pattarai. It was my way of repaying the gratitude by opening a school of acting for theatre buffs,” says the founder of Devriksha School of Acting.
Fondly rewinding her glorious summers of the bygone years, Devi recalls that the best thing that happened to Tamil theatre was when Muthuswamy brought the organisation to its rightful place on the cultural map of India. “During the 70s, the veteran started writing in Tamil and found a firm mooring in the way his ideas hit the bull’s eye. He scripted several plays and staged them under Koothu-P-Pattarai productions. He has won a handful of awards for his contribution to Tamil theatre Sangeet Natak Akademi Award (1999-2000), Kalaimamani Award (2010) and Padma Shri Award (2012),” she says.
Devi worked under the late artiste for 10 years, and she calls it being part of the family, such being the bond. “Once I learnt the basics of acting, it was a matter of getting into the nuances of theatre where the body language had to be pronounced in every frame. Such was the confidence the founder had in me that I was soon in direction. Possibly, I surprised him with the range of ideas, thanks to the freedom where every actor had a say in the proceedings,” she says.
An active part of the theatre for well over 25 years, the hallmark of Devi’s innings had been the countless national and international workshops on acting, theatre, and storytelling. “What did wonders to my CV was working with theatre experts from Tamil Nadu — legends like Anandakannan, Jeeva Raghunath, not to forget the towering presence of my mentor Muthuswamy,” she notes.
Besides the regional legends, fruitful interactions with international wizards like Nelia Vekzal, Ruth Ziv Aval (Germany), Gil Alon (Israel), and Edgar (Costa Rica) impacted her craft when they visited Koothu-P-Pattarai. “That did wonders to my confidence that I had it in me to create and mould actors while guiding them in their nervous opening phase. In providing their art to society, there was so much satisfaction, which was what my mentor had visioned and ordered too,” she says.
Starting an acting school was a dream come true for Devi. Based in Saligramam, this institute has shaped many talents over 15 years and still going strong. On her method which has a lot of individuality enveloped over it, Devi says she monitors her ward’s journey from take-off to sign-off without missing the minute nuances, thereby simplifying the entire process. Devi believes there is nothing like the actual play where an actor’s talent is tested.
“I ensure that the batch of students get to act in a play where the script from me is tailored to bring out the best in the individual. The point to be borne is that every aspirant has a hidden talent, which has to be spotted and nurtured. To my surprise, the shy ones in the rehearsals had outsmarted the seasoned ones in my school in a few plays. That underlined the message of not taking anything for granted and the best moments in a play is in going with the flow of the script and the mood swings of the talent bank,” she shares.
In 15 years, they have staged several plays, and their USP is the specialisation and individuality Devi gives to every aspirant under her wings. “In 15 years, the 25 stage plays and five street plays speak for the quality fare, winning lavish praise from veteran stage artistes even outside Tamil Nadu. The school has trained over a hundred artistes who have gone on to have successful careers on the stage and the big screen. Our school has played a vital role in creating awareness regarding important issues such as health and welfare, road safety, cancer awareness, and women’s safety. The bottom line is that our school actively encourages folk art and spreads awareness about performing arts,” she says.
The latest play was Arjunan Thabasu, which set the platform for a fresh batch of students. Needless to say, Devi feels honoured and privileged to direct a play inaugurated by Muthusamy 15 summers ago. “The words of my guru kept harping on me that in giving a contemporary twist to a traditional play, the director’s wherewithal is put to the ultimate test in taking a few liberties with the characters which the purists may frown upon,” she says.
Arjunan Thabasu is about the penance of the third Pandava prince to get the potent Paasupatha arrow from Lord Shiva. It essays the challenges Arjuna encounters on his way to the Himalayas in its pursuit. The play brings in characters like Ekalavya’s disciples, who try to dissuade Shiva from giving Arjuna the weapon. Here, it’s an uncanny cut to the 21st century as they also speak of the mad arms race among countries of the earth. Without being didactic, the play is rich in satire and provides much food for thought to audiences with contemporary interests.
Devi stuck to her guns of making the actors cleverly inter-change the characters. “It is the characters that matter and not the actors who enact those. Again, a learning curve which has stood the test of time over the years,” she notes.
Devi has her hands full in hitting the break-even but is happy keeping the legacy alive of an individual she sees as her father figure. “The full meaning of my school will come through only if talents emerge, upholding the longevity of Tamil theatre. I believe it has to be preserved in its pristine and original form. It is true that urban audiences are drawn towards English theatre while Tamil theatre is at its struggling best to find sponsors to promote fresh ideas,” she says. A burning desire of Devi, who hails from Gudiyatham in Vellore district is to take Tamil theatre deep into the villages. “I know that village audiences have a feel for realistic plays. They understand the values of theatre as an art.
If cinema is said to be an extension of theatre, it is only due to the contribution of Sivaji Ganesan, Major Sundarrajan, MN Rajam, and a few others of their ilk,” she says, as she ends the conversation with a parting note, “The desire is not to make a living out of theatre but do my mite to preserve a century-old culture. As an artiste, the onus is on the likes of us.”