Vijayawada: Drama needs young blood, feels actor Basha

Vijayawada: Drama will generate from discussions. Writers, directors and artistes must have the knowledge and awareness about the vital problems in society that are taking place in political, economic and social fields to produce a good play. For that discussion is necessary to get a good outcome.

Unfortunately, the present drama is lagging in this aspect. Most of the production houses are thinking that their production is the best one and their script is best. I humbly request the writers, directors and artistes to come out from this notion and make out the scripts to curb the social problems, says SM Basha, theatre actor, director and writer.

'The Hans India' interacted with Basha to obtain his views regarding the accountability of drama towards society.

Basha agrees that the drama is responsible to society. He recollected the memories of Emergency when the theatre artistes also raised their voice along intellectuals. Basha said that these dramas did not only emerged during Emergency, but also during movements, as history tells that a number of dramas have come from struggles like 'Indian Freedom Moment', 'Telangana Movement', 'Jai Andhra Movement', 'movement against zamindars' etc.

Basha also made his observation that the writer penned the dramas to point out the struggles of the public or society. In other words, the writer had discussion with society.

SM Basha was a committed theatre activist and also nominated as a member in the dissolved AP Nataka Academy. He was born in 1963 to Shaik Moulali and Shaik Mimun. He had his studies in Narasaraopet and presently in Hyderabad.

Though he was a State Bank of India employee, he did not forget his passion in theatre. He started his acting career right from his college days and acted in many plays like 'Nothing but truth',' Natanalayam', 'Bhuvana ghosha', 'Madhyataragati mandahasam', 'swarna pisacham', 'Alochinchandi ..Please!', 'Vanaprastham',' Padamati gali', 'Navvandi eid vishadam', 'Aatmageetam', 'Nirmala', 'Amma brathakalani undi'. He received many awards and rewards from AP government and also from private organisations.

In addition to acting, writing and direction, he also conducted many workshops and seminars on theatre.

"Unless the theatre workers come out of the 'drama competitions' trend, it is difficult to achieve its main objective. In my view, writers and directors must update with the new technology and scientific approach.

There are only 5 to 10 per cent artists who have total theatre knowledge. Why should we not acquire academic knowledge to improve our production levels to compete with national and international dramas, he asks.

We can find many dramas in other languages touching the current social problems. But we are producing the drawing room plays in a comfort zone, he says.

I feel even the critical and sensitive problems also can be dealt with in absurd theatre wherein the problem can be discussed effectively so as to reach the audience. Unfortunately, most of our dramas have been confined to individual problems," opines Basha.

Basha expressed that most of the present artistes are in the age group of 40 to 70. The thinking and daring attitude will naturally be reduced and compromising approach will develop at this age thereby the quantum of questioning plays may be reduced. He suggested that drama will regain its glory only if youngsters enter into theatre. He also feels that they should be given academic knowledge in addition to practical.

Basha also stresses the need for theatre courses in colleges and universities.

"Drama should act as opposition to point out the illness of society and to create a better society for the future generation. I hope the drama will change its shape from competition trends at least after this Covid-19," says the actor, writer.