Skip to main content

The end (Interview of Amit Sahu-Anubhuti)


Thirty minutes before his talk show goes live, the blind host decides that it will be his last show. It’s an intriguing decision considering that the show has been pretty successful and thus begins a series of questions in the minds of the viewers.

In the midst of all this, there’s an ongoing interaction between the host and the co-host of the show (both played by Amit Sahu). “The host has been helped by various people to reach this stage. So he remembers all their gestures and unravels their stories, by playing those characters,” explains Sahu.

A one-man show, Anubhuti was staged for the first time in 2016. It was the result of Sahu’s quest to push himself as an actor. “I wanted to do something to push myself out of the comfort zone. I have acted in ensemble plays, co-acted and so on. So I thought why not do a solo show and see how it goes,” says Sahu.

Sahu, who has also scripted and directed the predominantly Hindi play, put together six stories of various characters. He needed one ‘connecting story’ and that was how he thought of the talk show host. “In 2015, I had written one monologue so I included it in this play. After each performance, I used the feedback to improvise the show. After the Kolkata show, I was told that while the back stories of the rest of the characters were clear, the one of the co-host wasn’t and I needed to work on it. So in Bengaluru, where the show was held in August, I included this story of being a single parent,” adds he.

A Ruh Manch production, Anubhuti doesn’t hold a spotlight over media, so much as that on social issues. “I play eight characters, each having a social issue to tackle — disability, illness, loneliness faced by senior citizens and so on. I switch between these eight characters on stage, keeping the audience on their toes. There is no prolonged stage presence of any character. My aim was to talk about social ills and the talk show host happens to be someone who brings all these stories, via the characters, in public domain,” he explains.

When asked if the blind talk show is used as a metaphor, Sahu admits that initially he had not seen it as such. “In hindsight, when the talk show host becomes those characters, he lends his own vision to those people — how they must have thought, walked, behaved etc. It’s his perception of how things are,” says Sahu, “All this eventually adds up to the question — why he wants to stop the telecast of the show? And that’s revealed at the end,” he says.

Comments

Popular posts from this blog

Portrait of a poet

This has already been published in the Sunday supplement. Krishnaji Keshav Damle also known as Keshavsut --- Poetry never really appealed to me. And, so it was with great reluctance that I agreed to my husband's plan to visit Keshavsut Smarak – a memorial raised in memory of 'Father of Modern Marathi Poetry', Krishnaji Keshav Damle – in Malgund. We were in Ganapatipule at that time and decided to go to Malgund, a 10-minute drive (a kilometre) from the popular tourist destination. A sign-post told us to take a left turn and what greeted us, at the end of the lane, was tranquil silence. No security guards, no tourists, just a plaque announcing that Damle, popularly known as Keshavsut, was born in the red-roofed house, surrounded by green shrubbery. Keshavsut's house in Malgund  A poem by Keshavsut  The house, renovated in the old style, was near-empty, except for Keshavsut's portrait that was hanging from the wall in the front room. In the

Many ideas of ‘self’ (Review of Pratibimb, Marathi play)

With Mahesh Elkunchwar’s name as a writer associated with Pratibimb (Reflection), you know nothing in the play will be at face value. Nothing is what it seems. It is difficult for commoners to get into Elkunchwar’s mindspace, which is precisely the subject of the Marathi play, which was staged earlier in August and will now be performed again on Friday, September 15 at Sudarshan Rangmanch, Shaniwar Peth. While watching the play, it’s evident that the viewer has to peel various layers to get to the core of the story — Who are you? What does ‘self-identity’ mean? Is it so bad if your reflection goes missing or if you have no identity? Thokale (a white-collared office goer) wakes up one morning and finds his reflection missing. Enters Bai, his landlady, who tries to assure him that nothing is lost. In fact, it could be a ‘breaking news’ for the newspaper. This perhaps could have led to a lot of chaos physically. Instead, we are led to the darkness looming large in our dystopian minds

Valu and more

Visited Poman Pimpale village where Marathi picture Valu was shot. --- Documentary la chala… came the shout and Poman Pimpale villagers slowly started gathering at the village square. The children were already there, jostling each other, eager to see the ‘documentary’ – Marathi film Valu, which was shot in this village, some 14 kms away from Saswad. On the occasion of the film completing 50 successful days, the cast and crew of Valu, decided to host a special screening for the villagers on Saturday as a tribute. As Umesh Kulkarni, the director of Valu says, “ The movie is a collaborative venture of the villagers and myself. Valu is theirs as much as it is mine.” You just need to mingle with the crowd to find out what Umesh says is true - it’s their movie that the villagers have gathered to see. Pradeep Poman, a village elder, says that they enjoyed the whole film making process. “It had become a past time for us. Whenever we had some time to spare, we just went to see the shooting.