LIFESTYLE
As veteran actor Amol Palekar returns to theatre after 25 years, he and his wife Sandhya Gokhale, who has also co-directed the play, talk about their fascinating journey of working together
Amol Palekar is all set to return to stage after almost three decades for a play directed by his wife Sandhya Gokhale.
Earlier this week, veteran actor-director Amol Palekar returned to theatre after 25 years with a Hindi play titled Kusur (The Mistake). Presented by BookMyShow, the play is thrilling real time drama has been written and co-directed by his wife, Sandhya Gokhale, along with Palekar. It is adapted from the Danish film, Den Skyldige (2018). In a candid chat, the duo share their thoughts on the play, working with each other, and more.
Excerpts:
This is your 75th year and you have returned to theatre with a limited show play. Was it a coincidence or was it preplanned?
Amol:
No, it wasn’t preplanned, nor was it all of a sudden. For the last few years, I have been thinking about the kind of love and affection the audience keeps showering upon me. It is overwhelming. Not having acted or not being seen (as they call i for over 25 years a still people keep walking up, saying
“We miss you, we need your kind of performances.” So then, Sandhya cam up with this idea. S said, when you turn 70 you went back to your first love — painting. Now, when you turn 75, why don you go back to your second love, which is theatre? She showed me what she had, she told me to read it, and said, we can take it up it. I read it and I found it absolutely fascinating. I decided to take up the challenge. And this could be my way of giving it back to the audience. I am conveying my gratitude in this way.
So, this was the best way to convince Amol? How easy or difficult is it to work with him? Sandhya:
It is very difficult to convince him to act. This is not because he is fussy, he has no frills and he is very simple. However, he has the most basic approach, the project has to excite and challenge him. When I saw the Danish film, Den Skyldige, I thought maybe this could work. When I wrote Samaantar (2009), I first had Girish Karnad in mind. But when Amol read it, he snatched it. He is very easy to work with. Wes have a similar thought process, aesthetics and sensibilities. He is truly a contemporary man and you never feel the generation gap. But, at the same time, it gets difficult as he has his own ideas. He wants certain things in a particular way. If you cannot convince him rationally, then there is no way out.
Amol: I would like to add. In theatre and in films, one of the fascinating areas I find and keep exploring is interpretation. For example, a writer’s lines, it’s his/her way of looking at it and exploring. I try to, without changing that line or comma, say it differently and at least equally if not more convincingly. I find that journey very satisfying. In this process, arguments happen, sometimes even fights. But that’ the beauty of the whole ourney. It goes to show hat the end goal for oth is the same — to chieve something and make it as effective as ossible. At my energy evel, I need an bjective assessment f my work. I need omebody like her. We ave worked together s a team for eight lms, we know how to omplement each ther and get the end esult from erformances without ego hassles.
out give and take from your coactors and the
audience. What is your process and does it differ with new actors?
Amol: Though I like the compliment that I am contemporary, I belong to the old school of discipline. I believe in working regular rehearsals. I don’t believe in last minute inspirations. It’s a group activity, so, the entire group has to be on the same page. These are the lessons I have learnt from my gurus. They drilled these lessons in me that, ‘It is the impression of being happening now that you create during a play’. This is how, in fact, you get to know how great or good an actor is. A great actor will own his lines and will never make it feel like its the writer’s. He will also make you feel like it has been said for the first time, despite months of rehearsals. The hallmark of a great actor is that he will convince you that this is the only thing that can happen with the story. I don’t know whether I am a great actor or not, but I try and reach that frame of work.
For an actor, playing varied roles comes with the job. In Kusur, you are playing an ACP police officer, did you have to research or work on anything specifically?
Amol:
I have been observing and interacting with cops for a long time. Yes, for this particular play, I had my interactions with the police. We did a lot of research. It wasn’t difficult. Having said that, I don’t have the mindset of a serviceman, so it was challenging to put myself in that role.
It is very difficult to convince him to act. This is not because he is fussy, he has no frills and he is very simple. However, he has the most basic approach, the project has to excite and challenge him.
SANDHYA GOKHALE, WRITER-DIRECTOR
What about being a painter has helped you in your journey?
Amol:
It has always been a part of me. Being a painter has given me only advantages as a performing artiste or director. As things take shape in terms of colour, form and texture, I try and fill the space, meaningfully. Similarly, as an actor, I fill the space of the auditorium meaningfully. And, there should not be even one stroke that looks out of place for me. It is my own requirement. I don’t want a single strike which I may find unnecessary later. This process is what I have carried out in all my fields throughout my career.