Physical Theatre: Its Possibilities and Limits

Physical Theatre: Its Possibilities and LimitsA Conversation with Tushar Pandey, Ashwath Bhatt and Vivek Vijayakumaran, moderated by Anmol Vellani Sunday, 22nd November, 7.30 p.m. - 9.00 p.m.About the ConversationPhysical theatre communicates primarily, though not solely, through the language of gestures, facial expressions and movement. The exception is mime, which is non-verbal by definition.In this session, three theatre artists will speak about what attracted them to physical theatre and describe the nature of their involvement in the teaching and practice of this stylised form of performance. As their work as directors and actors has also extended beyond physical theatre, they will reflect on the reasons for their divergent artistic choices.Physical theatre has many strengths. Most notably, it can overcome language barriers, express what words cannot, connect with audiences at a visceral level, harness the ideas and creativity of the whole group, and rely on minimalist scenography. But equally, it is constrained by the very characteristics that set it apart from other theatre styles. This session will conclude with a discussion on the limits of physical theatre and the creative strategies that can prevent style from overshadowing substance.About the ParticipantsAshwath BhattAshwath Bhatt is a Mumbai-based screen and stage artist, who has worked with acclaimed filmmakers and reputed theatre companies both in India and abroad. He has acted under the direction of various Indian and international theatre luminaries, and conducted workshops on various aspects of acting worldwide. He serves on the selection panel of LAMDA in India as well as for the Inlaks Theatre Awards, of which he is the co-creator. He teaches at various prestigious institutions in India and overseas. He is widely known for his work on the ‘Red Nose Clowning’ in India. In 2007, he established a nonprofit trust called the Theatre Garage Project. His work is guided by the idea of finding something in nothing. He recently directed the play Paladin based on the best-selling book When Breath Becomes Air by Dr. Paul Kalanithi.Tushar PandeyTushar Pandey is an actor, director and theatre educator with over two decades of experience in performance, teaching and devised theatre. He is a graduate of the National School of Drama, India, and has trained in physical theatre and Lecoq pedagogy at the London International School of Performing Arts (LISPA), London.His work has involved acting, directing, devising and teaching across theatre and film, with a particular interest in movement, physicality and the relationship between text and performance. He has worked on projects in India and internationally, including in England, Scotland, Greece, Dubai and China.Tushar serves on the Board of the Drama Schools Foundation Mumbai and has been a guest faculty at the National School of Drama, Delhi and Sikkim. His screen work includes Chhichhore, Pink, Hum Chaar, Lost and Aashram.Vivek VijayakumaranVivek Vijayakumaran is a Bengaluru-based theatre director, actor, and pedagogue with over 15 years of experience in performance, embodied research, and actor training. Trained under masters including Heisnam Kanhailal, Guru G. Venu, and at the Workcenter of Jerzy Grotowski and Thomas Richards, his practice integrates traditional Indian performance frameworks like Navarasa with contemporary physical theatre. His paper on his pedagogy of training contemporary actors in Navarasas has been selected for publication.As Artistic Director of Our Theatre Collective and Studio, Vivek leads experimental, research-driven performance initiatives. His original stage work includes directing the contemporary physical theatre piece The Thumb and acclaimed productions like IT IS YOU. He has acted in the feature film, Pada. Vivek has served as visiting faculty at Drama School Mumbai and Azim Premji University, and trained over 300 performers in India. He was named one of Forbes India’s 12 Boundary-Pushing Theatre Innovators.About the FestivalPLAYINTERPLAY is a theatre festival with a difference. It celebrates 50 years of the Inlaks Shivdasani Foundation, bringing together its theatre awardees and scholars to show their work, share their experiences, skills and learnings, and converse on matters of common interest.PLAYINTERPLAY presents plays that are new to Bengaluru. What is different, however, is that it looks back as well as forward, featuring a work of theatre that has been specially revived for the festival and readings of plays that are still to become the finished article.PLAYINTERPLAY does more: it forges connections between its constituent parts — performances, workshops, conversations and experience sharing — emphasising the interplay between thought, learning and practice.See the plays! Apply for the workshops! Join the conversations! Soak in the magic of theatre.About the Artistic DirectorAnmol Vellani is the founder and former executive director of India Foundation for the Arts, the first independent philanthropic organisation in India devoted exclusively to supporting the arts. He is also the co-founder of Toto Funds the Arts, which nurtures, encourages and rewards new voices and emerging talent in the arts.Anmol did not, however, aspire to become a professional in the field of philanthropy. His early fascination was with the arts, especially theatre and music, and also philosophy, which he studied at the Universities of Poona, Oxford and Cambridge. He taught ethics, logic and the history of philosophy at Elphinstone College, Mumbai, in the 1970s.His writing and talks — on arts entrepreneurship, the creative economy, cultural policy, the role of grant-making foundations, culture and development, arts collaboration and the performing arts, for example — have reflected on the insights he has gleaned from his long engagement with the arts and philanthropy.Anmol has been associated with nearly 50 plays as a director, designer or actor. He has directed theatre productions in different languages and cities. His last two plays — Innocence (2024) and Apne Ghar Jaisa (2022) — have been lauded for their sharp and critical look at contemporary social and political realities in India.