Kannada theatre: Staging Comedy

The play-watching culture of the city is seeing a different shift, that of comedy ruling the roost — hold your breath — especially in Kannada theatre scene. Simply because with the stresses and strains making life a tad-bit melodramatic, people want to "sit back and have a hearty laugh". Of course, it is full paisa vasool, if the play leaves you with a belly ache — thanks to all that non-stop laughing. And theatre professionals are recognising this need for "wholesome comedy" or "drawing room comedy" and giving the audience what they want.

Hence, the spurt of comedy plays. But, some would tell you that comedy has always been an integral part of Kannada plays, "It has always had a strong comedy culture, even if it isn't an out and out comedy, the sub-plot will explore the comic theme," says Laxmi Chandrashekar, founder, Kriyative theatre. The teacher-writer-actor points out why Kannada comedy is a quick hit with the audience, "Humour is a cultural thing. Unless you grasp a joke immediately its flavour is lost, and it most definitely has to do with culture of that place." Hence, while we may not find as many English comedy plays being enacted in the city, there is a good amount being played out in the Kannada.

But, then it isn't a new thing for many. Gauri Dattu, principal, Abhinaya Taranga, a theatre school, says,"Long back 'drawing-room comedy' was enacted in Kannada theatre, then there was this thought that 'serious theatre' should also be performed, only then comedy took a back sit." Echoing similar sentiments as her peers, she says, "People want comedy, everytime we have a performance, we get calls inquiring if the play is a comedy." Theatre groups are realising the potential of a good 'wholesome comedy', the pit-falls surely are the 'below the belt' kind of comedy that is easy to churn out, but professionals say there is a section that such comedies appeal to — families want something some substantial and they are getting it. 

Yet, it is incomplete without Master Hirannaiha, referred to as the 'One man army' he is one comic artist, stand-up comedian generations have grown up watching.

Master Hirannaiha, a veteran stand-up comedian, who is recovering from a slip disc, did not mind talking about his art. He feels that the two forms Sringhara and Haasya can never die, recalling the famous lines of the bard he says "Life's a stage," adding that while the former is needed to maintain a certain appearance to conform to the society, the latter is "the safest weapon to approach the toughest of situations."

Often known to take on the politicians, his comedy drama — Lanchavatara — exposes every form of bribe — and to this date it is a comedy that is etched in the minds of young and old alike.

So much so, that the doctor who came to wait on the comedian couldn't resist mentioning that he has a DVD of the drama. In his long career, though, he says he's maintained one thing — "Humour should not be used to hurt anyone’s feeling." Speaking of the power of wit, he says, "As a humourist, my profession gives me an opportunity to point out the wrongs of the society — even politicians and the working of the government." He has used his art to get the message across. Political satire is his forte. But, he warns humourists to not misuse it.

And he says a true humourist is one who is able to laugh at himself. But, today, with so much going wrong, even a humourist can do so much.

Sheer entertainment that humour or comedy generates is what appeals to the masses at large.

All's not well though, scripts are hard to come by, but Balaji says, "A playwright can't be blamed for it, because there is no culture of commissioning a play, hence, most of what is being used is either written a while back or improvisions are done to fit the present scenario." TP Kailasam's writings are time tested, his writing mirrored the society, it is a kind of criticism of the society that is connects with the audience.

In fact, Chandrashekar says, "If a Kailasam play is being performed, it is enough to draw the crowds." Balaji says it is the "touch of nostalgia that also draws people, if your parents have watched it, they want you to watch it with you."

So, what is it that clicks in Kannada comedy theatre and may be a struggle in English. "The timing is of prime importance," says Chandrashekar. Balaji adds, "it has gone beyond just timing — which of course is important, but today it is also about the text, context and the references you use." He puts it in perspective with an easy example, "If we were to use Nithyananda or the political scandals after three years, they will lose the context."

Well, its good while it lasts, but another interesting aspect is some of the groups are trying to capitalise on a larger crowd, producing bi-linguals or even doing translations. "It is about good comedy, and with a translation, we are able to draw non-kannada speakers." One of her plays Aadaddellaolithe is a hit and the translated version — All's well also got great response.  To keep the humour, which can be lost in translation, she says, we try to keep a few phrases in the original language that way, it doesn't sound flat. And non-Kannada speakers can still grasp the meaning because of the stage setting or the context."