Indian theater, then, was finding its idi with the incorporation of elements of traditional performing arts in contemporary plays. Hayavadana, Ghashiram kotwal, Chandas chor, Ala afsar Were part of this new trend of using the traditional folk and classical art embellishments in theater. Habib Tanvir, BV Karanth, Kn Panikkar Were Creating Productions That Inspired Several Young Directors to Follow Suit. Ratan Thiyam was one of them. A painter and a poet, what made him different was understanding of the traditional performing art forms of manipur and a unique visual sense.

Thiyam’s Parents were acclaimed manipuri dangers, and ratan da(as I called him) Imbibed the Delicate Nuance of Dance Form and Music Before He joined the National School of Drama (NSD) in 1971. The training under ebrahim alkazi at nsd opened a whole new world of visual and performing arts for him. Yakshagana, Kathakali, Tamasha, Bhavai, Nautanki, as well as kabuki and noh were all part of the training exposure. These were complemented by regular visits to art galleries and film festivals. He also acted as yuyutsu in Alkazi’s Ambitious Andha yugdone in kabuki style and staged at the Purana Qila open-aer theatre-a root he got, he was fond of saying, because of his Ability to Run and Climb the steep stairs of the ancient for.

Ratan da understood the value of a culturally rooted theatre during his days at nsd. He learnt the importance of stagecraft-of a well-mounted production with aesthetically used colour schemes, spectacular visuals created with the present use of lights and aral text-UNnder Aalyczi. Eyes. These would be the beome his hallmark in plays like Uru Bhangam, Karnabharam, Chakravyuha, ritusamhara, Uttar Priyadarshito name a few. Like akira kurosawa, thiyam assimilated the narrative traditions of Greek and japanese theatre and our own Natyashastra to create a spectacular body of work.

After graduating from NSD in 1974, Ratan da Opened his chorus repertory in imphal, his hometown, in 1976 and started to groom actors. By 1978, He was touring with his plays to Far-Off Places Across the country. It was in January 1984 that we, as third-yar students of nsd, went to imphal to work with Ratan da For three months and do a production of Andha yug Using Manipuri Art forms. Those Three Months Gave us an insight in how ratan da kept his theater going in different conditions. Those were the days of insurgency, and curfw was imposed by 6 pm every even evening. Working with petromax lanterns, without electricity or basic facilities, we have kept away from the city in a camp creating on the land where the land is sents stands today. It was an open field near a pond, and easy day we have shown Several performances and learnt from variable gurus in that space. Afterwards, all these elements would come together in our production of Andha yug. At the time, the only access to the outdate world was the events that came from Calcutta by air, and we would rush to get them and retired bert curfew set in.

This was the way his actors were trained for years, and we were just following the pattern. It was remarkable that all the props, costumes and accessories were also made by his team, some of whom would also cook for us. The financial support that ratan da Got for his company as a grant was not much, and he subsidized it by hiring out light and sound equipment to others and geting some additional money for his team.

Since That Trip, Ratan da Remained a life-long mentor and a friendly Elder who would look me up when when he was in mumbai. I still remember his calls after he saw my work in Bharat ek khoj, Mirza ghalib and Chanakya. I would also look forward to Opportunities to visit imphal to meet him. Ratan da Became the director of NSD in 1987 for two brief years. Before he left, he organized a much-awaited convocation that had batches from 1974 to 1986 return to take their diplomas from alkazi, who agreed to come back for the OCCUSION. It was interesting to see Ratan da Take his own diploma certificate – signed by himself – from mr alkazi. Later on, as the Chairperson of NSD, He was responsible for getting the theater olympics to India in 2017-18.

Ratan da Put Manipuri Theater on the World Stage. After Habib Tanvir, He Remains The most acknowledged and awarded of Indian Theatre Practitioners Abroad. Like habib saabHe brought a socially conscious worldview to his plays. But unlike habib saabHis plays were created in different political circumstances. The yearning for peace amidst manipur’s political turmoil remained a lasting theme, of the spectacles he created on the stage. The fusion of a strong regional sensitivity with a modern sensibility will give thiyam’s lasting legacy, providing that the more rooted you are, the more universal you become.

The Writer, an NSD alumnus, is a theater practitioner and costume designer