The more you ban things, the more regressive the mindset becomes: Radhika Apte

It's been a good week in what seems to be an already promising year for Radhika Apte. Following her turn in Sujoy Ghosh's 14-minute short Ahalya, she wrapped up the last show in Pune for Uney Purey Shahar Ek, the Marathi version of Girish Karnad's acclaimed Kannada play Benda Kaalu on Toast. This was topped by the news that Leena Yadav's Parched, in which Apte stars alongside Adil Hussain, Surveen Chawla, Tannishtha Chatterjee and Sayani Gupta, was selected for the World Premiere in Toronto International Film Festival's (TIFF's) Special Presentations section.

And then there were reports that Apte may star in a film opposite Rajinikanth. But she pipes the murmurs down – for now. "It's not confirmed. I'll let you know if it is," she smiles.

Apte's roster currently spans 33 films in six languages and 13 plays. Her upcoming releases for 2015 include Ketan Mehta's Manjhi: The Mountain Man, Nila Madhab Panda's Kaun Kitne Paani Mein and Sudhish Kamath's X- The Film. The 29-year-old actress, who's trained in kalaripayuttu and contemporary dance, chats about theatre, her love for travel, the most challenging roles she's essayed so far, and haywire connotations of the terms 'bold' and 'feminist' in India. Edited excerpts:

Mohit Takalkar (director of Aasakta Kalamanch theatre troupe, of which she's part) once said that experimental theatre is languishing. Do you agree?

I'm not a staunch theatre practitioner, but yes, many repertories in India don't do well. There's hardly any experimentation – even in Bombay.
Experimental theatre is not like commercial theatre, where you get paid to do 25 shows a month. Then again, just because you don't get money doesn't mean you're actually experimenting. It's the same with independent films. A film isn't great just because it's 'indie'…

'Indie' is an often-misused, umbrella term.

Right, as is the case with theatre. Few productions experiment with form, content or physical theatre. Mohit really tried to do different things. The experimental theatre movement has lost pace, but it's still on. It's been holding on for the past 13-14 years – which isn't bad.

Will you alternate between cinema and theatre despite your film itinerary?

Yes, I'll be acting in an English play. Hopefully by year-end or Jan 2016.

I don't want to give up one for the other. In fact, if I'm doing films, four more people may get to know me and come for a play. Also, people like Kalki (Koechlin), Neil (Bhoopalam) and many others act in films and plays too. That's great.

Do you think theatre, compared to cinema, is more progressive when it comes to both, subjects and audiences?

Not necessarily. People are more attracted to film because it's more glamourous. I've realised over time that audiences needs more focus and patience to watch plays.
There's no dearth of people who think progressively or have different ideas in cinema. But to make those kinds of films is difficult. There's less at stake when it comes to plays. If a film doesn't work, you lose crores. So finding a producer who'll take such risk is difficult.

People use that clichéd term – 'bold' – to describe your roles. Isn't it silly that playing an 'everyday' person is considered 'bold', while escapism is normal?

Absolutely! I totally agree. That's what I tell people. In the case of Hunterrr, for instance, everyone said Tripti (her character) is 'bold'. You think that's 'bold'? No, it's normal. It's the everyday. I gave an interview few days back, and I said that where I come from, the characters I essay aren't considered 'bold' at all. Because I live that life, meet people like that every day.

The other thing is that some almost always use this word in the sexual context. Being bold is about so much more than 'sexual boldness'. It's about living an independent life, exploring new things, taking a stand. Boldness is courage – it's something positive. But the term is sometimes used negatively in our society.

When I did Ahalya, people asked, "Why do you always get seductive roles?" But that was the first such role I'd ever played! So I asked, 'What 'seductress' role did I do earlier?' Someone mentioned Badlapur. That scene they were alluding to was molestation, for crying out loud.

Looking back at your trajectory from Gho Mala Asla Hava (in Marathi – her first feature film as lead actor), has your approach to acting changed significantly?

My approach changes from project to project. Yes, when you're new, you just do as you are told and don't improvise or know what's going to happen. But my experience in Gho Mala Asla Hava was amazing because (directors) Sumitra Bhave and Sunil Sukthankar, and later, Krishna DK and Raj Nidimoru (Shor In The City) really let me be. I love both those performances.

Any film in your repertoire that you feel didn't get its due?

Gho Mala Asla Hava. That's the only one. In fact, internationally-acclaimed Hungarian filmmaker Márta Mészáros once saw Gho Mala… at a film festival and wanted to cast me as a Spanish gypsy in her film. I was even learning Spanish at the time. But the project didn't take off because she was aging (Mészáros was over 75 at the time) and it became increasingly difficult for her.

Speaking of far-off places... your love for travel is well-known.

Yeah, I have two bases – Bombay and London (where husband Benedict Taylor is based). I hate travelling for work though. You flit between the hotel and the location. But I like outdoor shoots.

I'd backpacked alone across Europe in my formative years. It's crucial, because you get to see and appreciate the world outside your country. You observe, question and eventually get comfortable with your way of life. I still travel alone sometimes.

What places would you like to visit?

Newfoundland (Canada). I have friends there who surf. Oh, and South America. I have so many friends there. I really, really want to visit that continent.

Back to cinema. You've been part of anthologies or 'shorts', right from I Am and Pendulum to Ahalya. What's the most challenging and liberating thing about acting in such films?

I feel really bad after doing a short film because it gets over so fast (laughs). Short films are easier to make and promote. But I've never limited myself to anything, be it theatre, shorts, features, digital, TV. Actors abroad are open to working in all mediums. It's high time we have that here too.

TV has a bad reputation, especially when it comes to shooting schedules. Did you experience that during the Chokher Bali segment in Stories by Rabindranath Tagore?

I'd heard about the odd hours and working conditions in TV. But we had none of that in Chokher Bali because Anurag (Basu, director) treated it like a film. We worked eight hours every day for around two weeks, and it was done.

Between observation and research, what are you inclined towards while prepping? Especially for a literary character like Binodini in Chokher Bali.

I haven't seen any versions of Chokher Bali or read the novel. Of course, I did basic research, like reading about the living conditions of widows and the cultural norms of that era. But the final outcome of Binodini was just my interpretation of what Anurag and I had discussed. At the end of the day, Chokher Bali is about the psychology of different relationships.

A character that's demanded a lot out of you?

The one in Anurag Kashyap's segment (in the international production, Prada), because the story was so complex. And Lajjo in Parched.

You'd voiced your concern earlier about how Parched may have to be edited for an Indian release...

It may be bad, looking at the Censor Board now.

Does the concept of having a different cut for India due to 'sensibilities' worry you?

I understand that India is huge and encompasses many cultures. And I know the exposure to something 'atypical' all of a sudden may make people go crazy. But some of the cuts that are asked for aren't logical. The more you ban things, the more regressive the mindset becomes. I'm against banning anything.

They say films reflect society. But do you also think it's the other way round?

It's both. It's a vicious cycle, which is why progress is slow. Films reflect society, and society reflects film. So there has to be a shift from both sides.

In an interview last week, you said you refuse to call yourself a feminist. But also that while some people find the word 'cringeworthy', you don't. Sounds contradictory...

Ah, I wasn't quoted properly. I'll tell you what I said.

I am a feminist. But 'feminist' is a maligned word – similar to how 'bold' is a word with too many connotations. I don't know why. Of course, 'feminist' is cringeworthy only for a certain section of the industry, not everybody.

In that context – since 'feminist' isn't looked at kindly, I avoid describing myself as one, but only in that environment. Once outside it, I uphold that identity with pride.
Saying 'I believe in equality' works, but saying 'I am a feminist' doesn't. It's that foolish. That's what I was trying to say in that article. It didn't come across.

Lastly, anything you'd like to strike off your wishlist?

I really want to sing. And I want to write. But I don't think that will ever happen (laughs).