Milestones
Extramural Lecture
Indian Institute of Technology (IIT) Palakkad, 2017The confluence of engineering, martial arts and learning methodologies in my inter-disciplinary practice of the performing arts
Best Actor, Best Overall Production
Short+Sweet International Theatre Festival, Bangalore, 2012"A No Play" by Sarah Provost
Best Actor
Saarang (IIT Madras), Unmaad (IIM Bangalore), 2008"Yes Minister" by Antony Jay, Jonathan Lynn
Training
Performing Shakespeare
John Bashford, HOD Acting - LAMDA, 2012Workshop
Voice & Text, Shakespeare
Veenapani Chawla, 2013Residency at Adishakti
Source of Performance Energy
Adishakti Theatre - Veenapani Chawla, Vinay Kumar, Nimmy Raphel, 2012Kalaripayattu, & derived physical forms. Voice training. Rhythm patterns & breath practices for vocal & psychological expression used in Koodiyattam, as prescribed in the Natyashastra
Performing Shakespeare
Tim Supple, 2014Text interpretation, character creation and physical realisation through King Lear, incorporating the Adishakti performance pedagogy
Shakespeare soliloquies
Tim Supple, 2013Residency in London
Voice Training/Solo Performance
Anmol Vellani, 2013-14Multiple workshops with Toto Funds the Arts
A Bit Of My Story
I was born some months after Top Gun came out. This is relevant because my rather daredevil-ish youth - cycling, swimming, climbing, often falling, and the scars on my elbows and knees suggest that this was the most seminal event that influenced my being. But I can only surmise in hindsight. The nomadic childhood of an Air Force brat meant that I was added to the list of my closest friends, and we often spent time taking things apart at home, occasionally even successfully putting them back together. It also meant developing punning as a tension diffuser when facing exasperated parents. I therefore concluded expertly that I was predisposed to being an engineer, so I went and became a Mechanical one, thereby corroborating a posthumously grateful Charles Darwin.
While I was always an avid reader, uni allowed me to also explore my creative and literary side on steroids, um, figuratively. I started making ambigrams, solving cryptic crosswords, making word puzzles, learning HAM radio, you name it. While there was no dearth of intellectual stimulation, my problem solving cravings needed a physical arm too. And though immersing myself in sports was always an option, what courted me a tad bit earlier was theatre. Darwin, once again, albeit posthumously, sighed in relief.
Soon, I was acting, directing large-scale productions, getting sponsors, recruiting people, becoming aware that I was tapping into and nurturing a creative leadership side of me that I hadn't known earlier. I could also now inflict my puns upon the actors I was working with. What more could a 19-year old possibly want!
Post-graduation, I balanced a career as an R&D engineer with evening theatre for a few years, before plunging into full-time acting. While the CV section has details of this phase of mine, I'll keep the meatier anecdotes for my blog.
So, long story short, I've now been a part of some amazing productions. Notable roles include:
Lord Shiva/Narrator in Shikhandi by: Faezeh Jalali
Werner Heisenberg in Copenhagen, dir: Prakash Belawadi
Thomas Novachek in Venus in Fur, dir: Arjun Sajnani
Randle Patrick McMurphy in One Flew Over the Cuckoo's Nest, dir: Arundhati Raja
I've found some wonderful mentors, colleagues and friends in Anmol Vellani, Veenapani Chawla, Prakash Belawadi, Ashok Mandanna, Tim Supple, Sharanya Ramprakash, Vinay Kumar and Nimmy Raphel. I've now read a bunch of Shakespeare's works without Sparknotes...yeah, lowkey-flex.
And I've discovered that I now actually even have one of these - an:
Acting Philosophy
Fairly simple - do the grunt work. Take pleasure in the safety of repetition. Do not subject your cat to half-prepared monologues. Keep the craft sharp, the brain running, the core engaged. Then enjoy the playfulness of imagination and improvisation. Experiment un-apologetically, stay present, do the job, then go home, get some sleep, and live ardently outside of it.
I'll end with a couple of thoughts that have profound significance in the practice of performance. One is a random quote from Reader's Digest that I read many years ago. The other is by Margarethe Bohr in Michael Frayn's Copenhagen, as she finds a philosophical implication of Complimentarity. You may guess at which is which.
When it is not necessary to make a decision, it is necessary not to make a decision.
and
If you're doing something you have to concentrate on you can't also be thinking about doing it, and if you're thinking about doing it then you can't actually be doing it.