Bollywood to Brecht and beyond

human emotions and social relationships. “But our aims are far from fixed. We want to experiment on all levels of filmmaking, not just themes, but cinematography (not to forget sound), editing and narrative styles as well, and thereby invent new prospects of presentations’” he added.

Acclaimed India-born independent filmmaker Sadashivam Rao has made his mark in the Australian performing arts scene with two parallel productions. Rain of Ruin and Tom Stoppard is Dead have both been nominated in the Top 100 at the 2010 Short+Sweet festival. Shortlisted from over 2000 submissions across the globe, the two plays have been directed by Rao.

In its ninth year now, Short+Sweet Theatre is touted as “the biggest festival of ten minute theatre in the world.” The event climaxes with a Gala Final and Awards night later next month.

Talking to Indian Link in between hectic rehearsal schedules ahead of the opening night, Rao said that the directorial experience has been an enriching one. More so, given that he is still finding his feet down under. The Randwick-based Rao migrated with his anthropologist wife not long ago from Germany.

“As a director, you are the driver of a whole project, liaising between the scriptwriter, cast and technical team, guiding their thought processes, amalgamating their diverse energies into a harmonious whole. It is that of a father figure, who can keep his cool at all times or the whole family goes under”, he explains.

So, what has his Aussie experience been like so far?

Radically different from the Continent, Rao quips. “The local drama scene is modelled more on the British and more recently American influences. Their role models obviously are Cate Blanchett and Mel Gibson. But I found my peers very cooperative and insightful. Initially they were not open to my Brechtian ideals and orientation. Obviously one can never impose too many new concepts overnight but rather attempt to slowly persuade them”, he hopes.

Soon after his arrival in Sydney, Rao completed a short course from the premier academy NIDA. “It certainly sharpened my understanding of structure, techniques and communication as well as the local rehearsal processes. Likewise, it also opened up new networking pathways.”

Performing arts definitely runs in his veins. And his long stint in Germany, which has a strong theatrical tradition (particularly the theory of alienation through disturbing sound and heightened forms of expression), only served to heighten his sensitivities. Having worked on major Bollywood projects like Sailaab and Haftha Bandh as Assistant Director to Deepak Balraj, he moved onto documentaries, parallel cinema and eventually theatre.

“I can remember even as a child, I would often bunk classes to watch a movie,” he laughs. Rao’s passion for the theatre prompted him to be an active member of drama groups at Delhi Public School and St Stephens thereafter.

However, as is the case for most “Indian” boys, drama as a career option was a definite no-no. Rao moved to Germany for post grad degree in Physics and Maths (Heidelberg Uni), but continued to dabble in documentary and feature filmmaking.

It was then he realized his life’s true calling, prompting him to abandon his scientific pursuits to take up film making and editing. He eventually opted for a Masters in multimedia authorship from Halle UniWittenburg in 2005, while working under leading directors there.

Rao also founded a production company Mercury Films to support experimental films emerging from India.

The basic idea behind it, Rao explained was to explore new territories in filmmaking by producing projects, which entertain without losing sensitivity to the portrayal of

His first feature film, an Indo-German production, Sanyogita or the Bride in Red (2003) has been well received at international festivals in Europe. Awarded the audience prize for best new Asian feature film at the Lyons fest, it stars Bollywood actors Divya Dutta, Milind Gunaji and Amardeep Jha.

Following the Brechtian tradition of “Episches Theater”, the film explores relationships on many levels that involve the audience to form independent judgements and decipher the narrative strands. The audience is almost an inherent part of his cast, actively involved in decision making.

Sanyogita is a Rajput bride, whose life takes a catastrophic turn when her bestial husband is arrested for murder even before she can enter his household. Though surrounded by her new family, she is lonely at heart. Focussing on her inner struggles as she grapples with loneliness and alienation (another classic Brechtian characteristic), it is a remarkable journey of a naïve young woman who is faced with difficult life changing decisions. And the sheer barrenness of her life is poignantly mirrored in the desert beyond, creating cohesive imagery.

According to Rao, “Sanyogita is an effort to present a different narrative style, that manages to not only concentrate on narrating a story but to evoke levels of reflection in the audience, which open up swirls of possibilities”.

While Rao’s works predominantly focus on relationships, he is passionate about gender issues of contemporary India, particularly the insecurity of a new bride as she hesitantly gropes to understand her new world order.

Likewise, the Rain of Ruin (currently showing) is also a study of difficult relationships. Set in Hiroshima, it is a love story of an American girl and a Japanese boy, with a war scarred past. The young couple traverse a rollercoaster relationship, eventually culminating in an educated

Rain of Ruin was a true challenge because of the multicultural cast, says Rao. Yet it was an enlightening experience all the same. To deal with cross cultural baggage surcharged with emotional twists, was a wonderful experience.

In contrast, Tom Stoppard is a black comedy about angst. Based on the classic 1966 play Rosencrantz and Guildenstern are Dead, it yet again explores relationships that are in crisis. When Rosencrantz and Guildenstern enter the study of playwright Tom Stoppard, they are prepared for an honourable reception and even more. What they encounter makes their blood curdle and turns them against the new master.

Besides filmmaking, Rao has also donned grease paint for a number of local stage productions. Acting has helped Sadashivam Rao better understand the theatre genre in all its entirety. Despite being typecast because of his ethnic background, Rao has boldly trialled variety of risqué roles, including that of a mainstream gay person in Day Care. “It was a challenging role because of explicit references and obvious violence but I enjoyed it. NIDA encourages people to take up acting. It develops lateral thinking,” he stated.

Rao has other projects in the pipeline. This July, he is India bound once more scouting for actors for an upcoming feature film.

“I hope to experiment simultaneously with several genres through the life of a kabaadi”, he reveals.

Rain of Ruin and Tom Stoppard is Dead are part of Short+Sweet Festival. Details visit www.shortandsweet.org