An institution within…

With most of its members post graduate in various streams including theatre and fine arts; Bodhi Foundation – true to its name -- is enlightening young artists and shaping new wings to Nagpur’s theatre

Young team of Bodhi Foundation Group (Pic by Satish Raut)

THEY used to wander around the Nagpur, working with different teams before the ‘conventional’ city artists forced Salim Sheikh and his friends to form their own group to bring alive their innovative concepts. Six years ago, theatre wing of Bodhi Foundation (noted cultural and social organization) was constituted. Since then, the group is leading the cultural scene in the city with methodically, technically and aesthetically rich presentation of novel themes on current social issues. At present, large number of young artists is attached with the group.

"For us, theatre is not occasional, seasonal, or year-long, but a life-long event," expresses Salim Sheikh (now, Prof Salim Sheikh, as he teaches theatre at Nagpur University). Truly, many from ‘Bodhi’ are building careers in this field. Pooja Pimpalkar, Manjushree Bhagat and Prashant Likhar are popular names in Jhadipatti theatre. They get jam-packed open theatres, enthusiastic crowd and good money in Jhadipatti. "The experimental theatre we do here rejuvenates us," Pooja says, explaining the reason why she takes out time from her profession for group activities.
"We meet frequently, discuss numerous themes for months, write scripts together, decide the direction points, technical innovations, and then start the rehearsals. However, anything and everything decided is subject to change during rehearsals," laughs Salim, the director and writer, guide and leader for the youngsters. "Right from actors, technicians, to the one who is handling back stage -- everyone has the freedom to ask questions and share ideas. I welcome it," he adds. Probably this is why they named their open theatre as ‘Muktangan’ (Free Space).

‘Muktangan’ was developed in the front yard of Rajaram Sitaram Dixit Library at Gokulpeth by its Secretary Bapu Chanakhekar, a guiding force for Bodhi members. "Bapu had a dream of having a rendezvous for artists. We are free to use the hall for practice and open theatre for shows. He is a motivator, who has solved the primary problem of practice hall," mentions Salim. Dr Lalit Khobragade is playing a permanent role of producer and is the driving force for the group, he adds.

The Bodhi Foundation team has Mithun Mitra, son of noted theatre activist Sapan Mitra, as their lightman while Fine Arts graduate Manoj Rangari designs sets. "Here I am free to look for new concepts in lighting. I get the freedom to think which is most precious for any creative artist," says Mithun, winner of a number of certificates and awards for his outstanding light effects. "I am not against the faith factor, but wasting important time before the presentation in praying and worshipping is unwise," he says, while explaining that theatre itself is a form of the Almighty and a flawless show is the best prayer.

True to this word, Bodhi Foundation team is offering the prayer of flawless presentations since the last six years. Maybe these prayers will help them to secure a membership of Akhil Bharatiya Marathi Natya Parishad, which has been their single-minded focus for the last few years.



(Cutting of the same article that was published in The Hitavada on July 11, 2011)