Widely acclaimed as an astounding actor of versatile genius, a director of substance and an entrepreneurial theatre leader, Narayan Pati has been striving to redefine norms of stage since he joined the Janata Theatre, Cuttack in early 1970s. In the process of propagating theatre revolution in and outside Odisha, he perpetuated a play ‘Aruna Rangara Pakhi’, wherein the traditional ‘Pala’ and ‘Daskathia’ have been portrayed in the frame and design of modern theatre. On his return from the National School of Drama (NSD), he formed a theatre group Anwesana in Bhubaneswar. He has dramatised, directed and acted in the play adaptation of the story ‘lekhak’ written by Premchand. His same adapted play ‘lekhak’ was staged at the NSD and had won high appreciation. The plays written, directed and acted under his stewardship include ‘Muktipatha’, ‘Jibana Sauda’, ‘Sesha Rakta Bindu’, ‘Abasesa’, ‘Sishu Dibasa’, ‘Karmayogi’ (translation). Hundreds of street plays were enacted throughout Odisha under his direction that released a wave of consciousness among the audience that culminated in his plays like ‘Pratibaad’ and ‘Ganahatya’. He is also producer of many feature films and documentaries of remarkable value and much interest. He has left his indelible imprints by acting in Odia feature films like ‘lakhye Siva Puji Paichhi Pua’, ‘Bhagya Chakra’, ‘Bata Abata’, ‘Gaare Sindoora Dhare luha’, ‘Samar Salim Saiman’. His genius in acting in Hindi films with formidable directors is clearly noticeable in ‘Dayavan’, ‘Antardaha’, ‘Durga’, ‘Damini’,’Jail’, ‘lal Dupatta’. He has produced and directed TV serials for the Doordarshan, Bhubaneswar in ‘Pathara Padile Sahi’, ‘Tokei’ and ‘Bhagya’. His acting in Hindi serials like ‘Discovery of India’, ‘Adhikar’, ‘Kahkashna’, ‘Byomkesh Buxi’, ‘Dr. Ambedkar’, ‘Hum Rahee’ and ‘Aur Bhi Hai Rahne’ are simply amazing and second to none at the national scenario. He drifted into different arenas in his distinguished career that includes founding of Shatabdira Kalakar. Graduating from NSD, landing roles in offbeat Hindi films, soap operas by celebrity directors and conducting workshops and producing critically acclaimed plays and pictures and ever having an eye on not being branded a stereotype and always having something to thrill his fans with, Pati who also harbours a leftist leaning has finally carved a niche for himself in the entertainment and celluloid world that few of his peers could ever aspire. In an interview to The Pioneer, Pati spoke to Sugyan Choudhury at his Bhubaneswar residence.
What is your opinion regarding a model actorIJ What are the tricks behind your acting as a versatile genius that makes you widely fan-basedIJ
Every actor has his/her own way of winning over fans. Me as an actor the trick is I have always applied the method of Stanis lavsky in building a character. Whatever character comes to me, I follow the natural way of reacting to the situation and the co-actor. I don’t act; I only behave as the character behaves in a given situation. This is the trick and the secret of my versatility as an actor and fans loving me.
Your fans miss you a lot on the screen these days. WhyIJ
After a long gap, I have acted in a film ‘Mu Khanti Odia Jhia’. I am an actor and actor only. It is the domain of the producer and the director; and they have to cast me in their films. Perhaps, they do not need an actor like me or they get better actors than me. Be that as it may, if the producers, directors need me, I will be glad to act, provided it suits me.
What’s your observation about the Pan-Indian theatre scenario and where the troupes and theatre activists of our State figure in thereIJ
The present theatre scenario of our country is depressing. Theatre has always been exploited by self-seeker careerists who use theatre for their name, fame and money. Everywhere, there is free-theatre. These theatre groups avail money or grants from the government and provide free entry to the viewers in their shows. Since they do not tax the viewers, they are not concerned about the quality of their productions and go scot free. That is how the theatre goes down. On the contrary, in the name of theatre some established actors who are from theatre left theatre to pursue film acting. When their film career is no more running well, they use their face value in theatre to exploit. Often, they act alone in a play performing different characters and say that this is theatre. If by taking a lone actor, a play is staged then how plays of Shakespeare, Ibson, Chekov will be stagedIJ Play is a play where characters with different ideas conflict with each other for a solution. For example, here the stars like Nasiruddin Shah, Seema Biswas, Pankaj Kapur, Himani Bhatt use their star value and exploit theatre which really destroys theatre. In Odisha, the situation is precarious. The same old methods of directors directing plays not directing virtually but dictating the puppet actors who do not apply their brain rather dance to the tune of the director-cum-dictator. Ten days rehearsal and then the stage groups attend festivals outside Odisha, those who move in the power corridor of the Secretariat. Then how can good plays by talented directors will be selected to the festivals organised out of OdishaIJ Recently, I had been to the NSD; some theatre activist commented “Pati, what theatre your Odisha people are exhibiting yaarIJ Why they ask for so much money as grantIJ They should be awarded with a mere fifty thousand only”. This is what our Odia theatre groups and activists have created impression over outside theatre lovers and critics.
What’s your opinion regarding the state of drama and theatre affairs of Odisha and what are the roles of the Government agencies towards promoting itIJ
To encourage theatre, the Government has organised a programme called Natyadhara. This is supposed to be organised by the Sangeet Natak Akademi as it is the nodal organisation to do the job. But a few individuals in the name of a ‘Natyasangha’ are taking away all the creams. Individual groups like Satabdira Kalakara, Manana, Pancham Veda, Arohana are favoured with more chances to stage plays in Natyadhara, where others are discriminated and relegated to the background. Natyasangha is being favoured by the Minister and Secretary of the Culture Department. Despite several memorandums, the Secretary does not pay any heed and rather gives his decision in favour of Natyasangha. Natyasangha collects money from groups whereas again the Government gives money to it to manage Natyadhara. The Government is not only guilty of negligence but also detrimental to the progress of theatre in our State.
You are known for your leftist leanings. How do you visualise theatre helps in furtherance of that causeIJ
In the social advancement, every progressive thought or philosophy has given birth to new literature and art covering all aspects of life. When capitalism for its own nature of exploitation has become the enemy of progress, Marxism is the only way to free the world from exploitation. As an artist, I have adhered to Marxist ideas relating to art and theatre. But all slogan-mongering leftists are not Marxists. Through street plays or poster plays, we help in furtherance of the cause of Marxist ideas. It is not simply the slogans; it’s the character that will be reflected through its behaviour in different situations. As per example, when we read Sarat Chandra Chattopadhya’s “Pather Dabi”, the character of Sabyasachi completes new man with a revolutionary thought. let us bear in our mind that a cultural revolution always precedes a political revolution; and through theatres, street plays, it is possible to awaken the masses.
What’s your message to the theatre fraternity of OdishaIJ
The ABC of doing anything is honesty, sincerity and dedication. We must learn it from Stanis lavsky, who has not only dealt with the method of acting, direction or production but also has dealt with the ethics and morality of theatre people. Art is beautiful; those who are engaged in creating this beautiful art cannot be ugly in reflecting their culture. An artist must reflect higher culture. “Art is to elevate people and to evaluate society.”
