Renowned art - director and film - maker M. S. Sathyu was in Mysore city to participate in the three - day foundation day lecture series organised by the Central Institute of Indian Languages (CIIL). A special interview was conducted by litterateur Dr. Lingadevaru Halemane and English Lecturer of Basudeva Somani First Grade College S. R. Ramesh.

Excerpts:

How did you enter the theatre? What were your priorities?
I was doing B. Sc in Mysore. Since the beginning, I cherished a desire to become a cinematographer. I dropped out of college during the '70s and went to Mumbai. Despite several attempts, I could not fulfill my desire. That is when the Indian People Theatre Association (IPTA) came to my aid. During '70s, the Leftists had their influence not only in politics, but in the field of theatre too.

Naturally, I was influenced by it. In those days, Gujarati, Marathi and Bengali troupes were actively involved in theatre, along with IPTA. The turning point in my profession came while working as an Assistant Director under the then popular director Chethan Anand. This ended my four – year - unemployment.

What was the shape of theatre activities under Leftist influence?
The theatre troupes too were influenced by the Leftist ideologies then. Besides, there were amateur groups for the artistes who had just begun their career. Those were the days when Gubbi Veeranna's drama company was active in Karnataka. Among the budding artistes trained under Gubbi Veeranna, some stayed back while others migrated. Vimal Roy and Sanjeev Kumar, the talented artistes, are prominent examples. Though the Marathi, Bengali and other theatre groups worked differently, their ideals and philosophies were same. Their main attraction was anti-fascism. This is where one remembers Balraj Sahani.

Tell us about the early days of career as director?
I graduated to becoming an independent director from Assistant Director. At that stage, directing the Hindi film Garam Hawa became a milestone in my career. The film depicted the mental turmoil that a Muslim family underwent during the Indo - Pak partition.

The story line, which could have emerged in a negative mood, was changed into a positive note. The film won a national award.

An artiste has no regional boundaries. But he should be sensitive enough to respond to the environment around him. Probably that is why the entire theatre society had expressed surprise when a Brahmin from South won a national award.

Can you share your experiences in the film industry?
Throughout my career in the film industry, I was impressed by the “uncommon style” of story presentation. Instead of presenting the film in the sequence of the occurrence of incidents, merging the interesting clippings into a film appealed more to me. Story - telling interspersed with comedy, satire and humour is my favourite style. Films like Chithegoo Chinthe, Kuri and Bara are such examples. Kuri was a political satire. Filming a dry subject like Bara (drought) was a challenge in itself!

What do you feel about the film industry of the '70s and now?
Yes, it has changed a lot. Digital technology has created a revolution. You can shoot a film using handy cam, without tapes, which saves time and money! These days, films are blindly made. Their names and heroes may differ, but the story, frame and other aspects are the same — sex and violence. There is no novelty in Kannada films these days.

It appears, actors like Sudeep, Darshan and others feel that showing weapons and muscle power is acting. It should change.

Films in good taste like Munnudi, Dweepa, Thayi Saheba only can save the film industry. Film stars should either work for free or obtain very less remuneration while acting in such films. May be Malayalam actors who work for less remuneration, can be a model for them. The Malayalam film Perumale Kalam, shot in a small village, could be a role model for hundreds of other film producers.

What could be the reason for this difference?
Lack of good story - writers.

No, I do not agree to this. Writers are there. But they are not getting recognition.

Who is your favourite stage artiste?
It is a very difficult question. I have directed plays written by Kuvempu, Bendre and others. It is tough to decide as to who is the best. I have also directed plays written by Girish Karnad, Kambar, Lankesh and others. But the influence of German playwright Bertolt Brecht is ultimate for me.

Any suggestions for the growth of modern day theatre?
The theatre experiments and activities taking place in Mysore's Rangayana and Bangalore's Ranga Shankara must also extend to Bellary, Dharwad, Davanagere, Bijapur and other places. Instead of continually re - enacting the old plays, more and more new directors and new plays must come to the fore. Only then can the theatre attain progress.

Lastly, what is your advice to the stage artistes?
Accept criticism in a positive spirit. Only then can an individual develop as a good artiste.

Courtesy: Star of Mysore