‘Sabha plays’ have occupied the center stage of mainstream theatre spaces for long, sidelining alternative productions. ‘Sabhas’ refer to Brahmanical theatre spaces that promote plays portraying stories—sanitised and reduced to stereotypes—to appease a homogenous Brahmanical audience.
Though Sabha plays are famously known for their moving depiction of Hindu-centric devotional themes, they sometimes draw upon contemporary life too. However, these slice-of-life productions merely reinforce Brahmanical values for an unquestioning audience, often promoting conservative ideals and patriarchal structures within the household. The one-dimensional approach to theatre comforts the audience; neither the producers nor the audience choose to confront the harsh realities that exist beyond these exclusive and elite Savarna theatre spaces.
Such a situation has slowly started to shift, as mainstream theatre spaces have begun shedding their dependency on Sabha plays. This change can be attributed to a recent revival of a counter-tradition that not only challenges dominant ideas but also navigates through physical space in ways unimagined by mainstream theatre.
By combining traditional form with modern sensibilities, a new genre of alternative theatre has emerged in Tamil Nadu.
However, the existing monopoly of Savarna theatre in the mainstream has significantly shaped the growth of alternative theatre. With wealthy patrons and powerful connections in place, Savarna producers can mobilise resources for high-budget performances at exclusive stages, reinforcing their hold on mainstream theatre. As such, theatrical spaces are difficult to democratise.
"Currently, in Chennai, mainstream theatre is not a leading industry like in Maharashtra. Most people in the field have other jobs or compensate performance and creation with earnings from training and so on. While Sabhas still fill up, and we have more festivals than usual, I do not think there is a current mainstream form of theatre," says Samyuktha PC, director of The Mobile Girls Kootam.
One could not spot the same play enacted again. The Mobile Girls Kootam is about a conversation among five to six women post-recession from Nokia. Generally, the audience remains in a vegetative state as mere perceivers. This play breaks the fourth wall, making the theatrical space wider and more inclusive.
In Sabha plays, the role of children would most likely be idealised and prototyped with divine characters. Alternative theatre challenges this usage of children. Sathish Kumar, founder of Erode Nadaga Kottagai, staged his play Unthichuzhyam in Koothupattarai. This play portrays how, in the past, women were oppressed in a patriarchal society due to their biological ability to bear children.
The late writer N. Muthusamy highlights this with a scientific perspective, drawing attention to ongoing IBF (Intrauterine Baby Farming) practices in contemporary society. Furthermore, he uses characters like 'Draupadi' from the Mahabharata and 'Kannagi' from Silappathikaram as symbolic representations.
Sathish Kumar made a stellar choice by casting children in this play. Exploring adult themes such as virginity and chastity typically demands casting adults, but Sathish Kumar consciously shifted children's theatre by casting them instead.
"Teaching sensitive dialogues to children is quite challenging; it's not merely about mugging up the lines but understanding them. So, the children are getting exposed to various taboo topics," he says.
Koothu performances have, for ages, mocked Brahminical dominance through political satire. From Annadurai and Kalaignar's parodies to modern social justice movements, they've consistently challenged traditional conservative theatre.
Carrying forward the legacy of koothu traditions, contemporary theatre too conveys messages of social justice. Most alternative theatre troupes today are independent, for they consider performing to be a non-capitalistic endeavour.
Queer theatre has also made a paradigm shift in theatrical spaces. While it initially focused on testimonial performances, much like Dalit theatre, it has now evolved to portray the resilience of marginalised individuals through plays in a more celebratory tone.
Poongodi Mathiarasu, a queer theatre activist and MMF-PARI Fellow, spoke about the tokenistic attitude toward queer tales. Mathiarasu is collecting and archiving queer stories in the Thirunar Archives.
"Most mainstream theatrical spaces use queer characters to reclaim their self-esteem, ending up in fake allyship. We used to hear queer people’s stories and had them staged, performed, and directed by the queer community themselves. We often try to break away from the proscenium theatre setup, making the audience sit in a circle around the performer. This way, I can make them sense my breath, scent, and anger more deeply, welcoming them into my world," he said.
Adaptations and subversions of grand narratives hold an important position in the theatre of the masses. This helps localise global themes to bring into existence a multitude of micro-narratives.
Eppo Varuvaro, a localised adaptation of Waiting for Godot directed by Vasanth from Thedal Arts, takes a rational approach toward the existence of God, similar to that of the original. NEET suicides, societal rituals, and societal ignorance are discussed through the lens of absurd theatre, educating the audience.
Further, we see multiple adaptations of The Tempest by Curtain Calls. Each adaptation explores different cultural aspects, ranging from Dalit issues and Native American genocides to refugee crises.
Campus productions play a major role in propagating social welfare and justice. Lumos Theatre Wing from MCC staged a play called Curfew at 6.30, which dealt with curfew timings imposed on female students in campus hostels and PGs, examining the broader issue of women’s safety. The actors concluded that time itself works differently for women than for men.
Yaazh Theatre and Research Foundation, founded by Dr G Gopi, has consistently produced anti-establishment plays critiquing Brahmanical patriarchy and capitalism. Their recent play, Mayaana Kaandam, discusses cremation workers and how caste and religion manipulate generations of Dalits into this work. It is an anti-caste retelling of Harichandrapurana.
Yaazh stages plays across Tamil Nadu, almost like a touring group, and last year, they performed Kazhumaram at the Vaanam Arts Festival. They collaborate closely with progressive writers and theatre groups, acting as pioneers. Beyond enactment, they encourage theatre-related research, motivating alternative theatre movements.
Marappachi Theatre consciously attacks conventional norms, marching toward alternative theatre. Founded by revolutionary poet Inqilab and managed by A Mangai, a retired English professor from Stella Maris College, their past productions are noteworthy for their inclusive policies and revolutionary practices.
In Stree Parvam, they advocated an anti-war stance and questioned war’s injustices. They also implemented an inclusive gender policy, welcoming acting aspirants into their crew.
Speaking about subverting the Mahabharata in her play, Mangai says, "Though the Mahabharata is a grand narrative, it has marginalised characters and episodes. I found it fertile and rich as a resource. We have a history of critiquing the Mahabharata and the Ramayana. During the play, the touch of women in opposite gaps transforms into an embrace, symbolising the only solution to wars, including the recent India-Pakistan conflict." Mangai has a pioneering theatrical journey spanning around 40 years.