A Quote by Pankaj Kapur
Most of the theatre work that you see in India is very verbose and the visual is whatever you can create on stage.
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People who have never done theatre before, and have only worked in front of a camera, would find it very difficult, I think, to know how to command a stage and work with the logistics of being on stage. They're very different. The theatre is quite tricky, actually.
Art, in the widest sense of the word, is the instrument Hellenism has used and would use for that purpose. All the arts, poetry, music, ritual, the visual arts, the theatre, must work singly and together to create the most comprehensive art of all, a humanized society, and its masterpiece, the free man.
The requirements of the theatre are very great--a strong constitution, energy and unflagging purpose, charm of feature, these alone do not necessarily mean anything, and they must not be relied upon as assurances of an easy conquest of the public heart. It is not only a question of fitness for the work, but of long years of most diligent effort to master the technique of the theatre, and to develop whatever of the art instinct we may possess upon the simplest, broadest, and most human lines.
My biggest ambition when I was younger was to appear on stage at what was then Nimrod, which is the theatre where my father used to take me on Sunday afternoons to see matinees. The most extraordinary things used to occur on that stage.
I did theatre in the U.S. because there, content-wise, it's very light. In India, theatre tends to get preachy.
It's a tremendous asset if you have a visual eye because you can make huge visual statements in a very theatrical way and play to the strength of theatre. But the high end of directing is working with actors and making the acting the best it can be.
I've done a lot of costume drama and theatre - the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.
I don't see a future for Broadway-style theatre in India. We already have Hindi cinema, but small, intimate theatre will survive as long as people feel the need to talk to each other.
It's been a huge honor to collaborate and create new theatre with new writers and to create theatre that will last after my lifetime. It's been in the most truthful way possible. It's my favorite thing to do.
When you put everything you have into making music, both on and off the stage, it can be very frustrating when the music you work so hard to create is not allowed to see the light of day.
If it's the theatre and the stage that really interests you, you should work on your voice, develop its range and flexibility and most important of all - projection!
I feel the theatre is the most unique one of all [the arts] for collaboration. I feel very fortunate to be in a field where I really do get to have long conversations with the visual artists, the actors, the musicians. It's all art forms rolled into one and I feel very fortunate to be a part of it.
All modesty aside, I think I'm good at reading scripts. The way I read a script is as fast as I can, all in one sitting, and I don't read many of the stage directions. I only read enough stage directions to let me know where I am, because they're always so verbose and mostly horseshit. So I only read the dialogue, which allows me to see the movie in my mind's eye in real time.
I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it's visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.
God's careful instructions for building the tabernacle in Exodus 31 remind us that his perfection sets the standard for whatever we create in his name. Whatever we happen to make-not only in the visual arts, but in all the arts-we should make it as well as we can, offering God our very best.
All drama teachers are very effusive, very emotionally open, very big, and gesticulate a lot, and are very physical. Those people don't work in banks and they don't work for pharmaceutical companies. They teach drama, or they may be theatre directors. That's why I love people who are openly gay in theatre, because they have license to do what they like, and there's a kind of artistic liberal tolerance thing that goes on.
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