SEVERAL WITTY OBSERVATIONS (á la Gombrowicz)


NY ARTS, May-June 2007
by Lisa Paul Streitfeld

The present hope for integration was made visceral through the idiosyncratic U.S. debut of a delightful Polish avant-garde troupe engaged in a self-aware flirtation through movement. Dada von Bzdulow Theater's "Several Witty Observations" at La MaMa E.T.C. seduced through the engagement of character even before letting audiences through the lobby doors to experience a spirited gender juxtaposition of two air mattresses.
The highly expressive and individualistic bodies and faces of this trio spoke legions about how dance today remains regimented in its quest for newness. Why not just let go and express oneself in the "costume" of everyday street clothes, they seemed to be asking as they became ever more interactive with the audience. Coming from an expression turned inside out they made a point of dancing to their own rhythms even as they revealed a transparent struggle for integration.


TIME OUT, November 23-29, 2006
by Helen Shaw

Sussing out the difference between dance and dance-theater is like asking the how-many-hairs-make-a-beard question—it's not an exact science, but you can still tell scruff from a goatee. And while the Polish company Dada von Bzdülöw calls its work theater, and vows repeatedly that its American debut is based on Witold Gombrowicz's short stories, the astute observer will notice that a total absence of text, characters and scenes makes this production entirely dance.
Luckily, it's also entirely delightful, borrowing from the Polish ironist his humor and puzzled attitude toward etiquette. Three casually dressed dancers frolic through various movement styles under a massive, inflatable mattress, ignoring boundaries (they perform in the lobby) and perplexing one another with loose-limbed collapses. To Mikolaj Trzaska's stunning jazz score, they bounce on a giant ottoman, perform virtuosic solos and then hang out in the audience, content to watch the light cues. Even at the piece's most difficult moments, the performers are adorable: When Dziemidok strikes a rippling Christ-on-the-cross pose, he still looks around, hoping for a pat on the head. Simply hold Gombrowicz's famous stories (a rude stalker lusts for correction, a piqued police examiner manufactures a murder) lightly in the mind while watching Leszek Bzdyl's choreographic sketches. And even if you haven't read Gombrowicz, the dancers' effervescence crystallizes his dogma: Let yourself be unenslaved.


THE PHILADELPHIA INQUIRER, Sept 14, 2007
Polish dance troupe hits the mark
by Lisa Kraus

Several Witty Observations (á la Gombrowicz) The stamp of Polish writer Witold Gombrowicz - absurdist, experimental and disturbing - is all over this production by the group Dada von Bzdülöw from Gdansk.
Through solos and shared encounters, the piece portrays attempts by its three idiosyncratic characters to find connection.
Beginning on the cobblestones outside the venue on North American Street, Leszek Bzdyl riffs on watching and being watched, taking silly poses, some with his head or feet in a garbage can, like a slow-motion street performer/philosopher. Bzdyl plays the most complex of the show's three characters, eliciting chuckles with his clownlike awkwardness and telegraphed expressions of indecision or disappointment. He's a springy, fearless mover, too.
Once in the theater, with its white floor and cyclorama and clear-plastic set pieces lit in lurid color, Katarzyna Chmielewska dances a heroic toga-clad solo, which is comically reprised by Bzdyl. Her dancing is the best I've seen in this or perhaps any Live Arts Festival - like liquid gold, infinitely articulated, and eminently watchable.
Rafal Dziemidok, completing the triangle, has a bouncy burliness. One solo focuses on his wildly bobbing head. His regard is imperious, adding to the perceived distance between himself and the others.
Closeness looks just plain uncomfortable here; bodies are hunks of flesh to be groped, or oh-so-briefly joined in momentum and lifts.
The work's formal construction and smart development satisfy. But, whether manic or cheerful, futility in so many guises grows a tad tiresome.


New York Theatre Wire, Nov. 18, 2006
Polish Playfulness
by Jack Anderson

The Dada von Bzdülöw Theatre of Gdansk has made its American debut with Leszek Bzdyl's "Several Witty Observations à la Gombrowicz." No one need know anything about Gombrowicz to enjoy these choreographic observations, presented in association with the Polish Cultural Institute.
But Gombrowicz was an interesting figure and 20th-century Polish culture is worth investigating. Poland has long been trampled over or sat upon by one political power or another. So it is not surprising that, perhaps in self-defense, much modern Polish literature became worldly and sardonic, including the novels and diaries of Witold Gombrowicz (1904-1969), who lived much of his life in self-imposed exile in Argentina and France, producing irreverent commentaries on social conventions. Other Polish writers, including the poets Zbigniew Herbert, and Wislawa Szymborska, remained in their native country writing poetry notable for its satire and irony, parable and paradox.
" Several Witty Observations," a product of this general cultural tradition, began in the lobby before the theater doors opened when Bzdyl, a man with lots of dark hair and wearing a dark suit, sprawled on the floor, stuck his head into a wastebasket, and moved spectators about as if he were choreographing the audience.
Once people entered the auditorium, they beheld Katarzyna Chmielewska in an imposing red gown raising her legs in impressively high slow extensions. Her costume and dignity made her resemble someone from a dance by Martha Graham. The taped accompaniment was an ingenious score by Mikolaj Trzaska that combined jazz riffs, melancholy saxophone tootlings, and drumming rhythms with street noises and occasional bits of unidentified and untranslated speech, presumably in Polish. No translation was necessary. The choreography spoke for itself in these encounters between Bzdyl, Chmielewska and Rafal Dziemidok, a burly balding dancer.
Events occurred, as if following their own kinetic logic. Nothing made literal sense, but neither did anything look out of place and eccentricity seemed the norm.
Here are some of the things that happened:
Dziemidok sidled cautiously up to Chmielewska and she tugged at his ear. Bzdyl came between them, she left, and the two men fought battles that included martial-arts kicks.
While Dziemidok watched, Bzdyl and Chmielewska danced an agile duet that prompted a possibly aroused Dziemidok to remove his belt. What followed was not a bit of Polish porn. Instead, Dziemidok tied his belt around his head.
After Bzdyl entered in the Grahamesque robe, he stripped to his underwear, crawled on the floor, spread his arms in a cruciform pose, and rose to dance, sometimes lightly, but sometimes battling the air, and finally wrapping the robe around him like a sarong.
Chmielewska and Dziemidok danced solos with their backs to the audience, as if there were an unseen audience at the rear of the stage.
Chmielewska wiggled through what looked like a sassy cabaret routine that caused the two men to embrace each other in increasingly complicated entanglements that eventually turned hugging into wrestling.
All three performers presented dancegoers with slips of paper filled with rows of zeros and ones, plus two words in English: "the calf." Who knows why? Yet that seemed appropriate at that time.
So did everything else that happened in this hour-long collection of eccentric, but never strident, nonsense, all of it born from the idiosyncrasies of human behavior.


The New Yorker, November 23-29, 2006

In international Dance circles, there's a lot of buzz about what's happening in Poland lately, but little of that action makes it to these shores. For its U.S. debut, this Polish trio brings "Several Witty Observations", which finds inspiration in the writings of the Polish ironist Witold Gombrowicz. Like those writings, the dance feels both impudent and gnomic. Although it approaches slapstick, the absurdity is subtle, as the dancers lounge on air mattresses and watch each other, trying on each other's costumes and personae


www.culturevulture.net, November, 2006
Big Apple Bites / mini-reviews from all over NYC
by Susan Yung

This Polish company, just three performers, offered a good example of making a lot from a little. They focused and got the audience's undivided attention in the lobby pre-show, where we were moved around politely so one dancer could pose in our midst. Two clear inflatables (one round, one rectangular) comprised the set, refracting the atmospheric lighting, and providing an apt show-ending metaphor upon deflation. The movement ranged from Laurel & Hardy antics to slouchy, gravity-bound pedestrian stuff, but it was secondary to the overall mood.


www.boilingpoint.nl, Nov 27, 2006
Kunst & Opinie, NYC
by Remko Caprio

The dance company of the Dada von Bzdülöw Theatre was founded in 1993 in the Polish harbor city of Gdansk - the former seat of Solidarnosz - by artistic directors Leszek Bzdyl en Katarzyna Chmielewska. With the performance ‘Several Witty Observations' Dada von Bzdülöw has its American debut in La Mama Annex Theatre in New York.
The performance ‘Several Witty Observations' was inspired by the writings of Polish author Witold Gombrowicz. His work is characterized by theme's like the immaturity of youth and the paradoxes that exist between the norms of the social conventions from which the indivual struggles to liberate itself.
Leszek Bzdyl, the most talented and passionate dancer of the performance, opens with an act in the lobby, where the patient group of spectators is shuffling silently. He directs the docile spectators to make room after which he positions himself in flat, spread out poses on the floor. Dessed in a purple corduroy suit, he directs the space in the shape of a circle with a elongated Montiglianian neck that has been created in front of him, as if he is preparing to speed of into the room. Instead he picks up a blue, metal trash bin with thick, transparent plastic inside, spreads his legs wide to support himself, places his shoulders on the edge, head down into the bin, spreading his arms like a blind eagle. The dance by Bzdyl is being created out of the impulse of the moment. The first act continues with a similar intuition that creates the space and places the body within spontaneously. Such acts confront both the spectator and the dancer with the social conventions that separate audience and performance.
The deep roots of Leszek Bzdyl in theatre determines in large measures the performance that follows on the main stage. Katarzyna Chmielewska on the other hand was classically schooled and although she gratiously moves around with a self-conscious presence, it is obvious that Bzdyl is the leading dancer in many ways.
(...) But the design, the choreography, the music and the input by Bzdyl make ‘Several Witty Observations' worth while to go and see. The design of the stage centers around the lighting in the open space, in which only two objects form the architecture. Two transparent and inflatable objects, one in the shape of a pouch and the other in the shape of a matras, give form to Bzdyl's principal approach of dance as a movement determined by tension and relaxation. The choreography makes use of these two principles. Regularly, one or two of the dancers sink into the air filled plastics or stand behind the performers, relaxing, as the main performers execute a tense dance. The lighting is colorful with primary, but soft colors, exchanged with hard white lighting. Bzdyl's theatrical training is not only expressed in his expressive facial displays, which in contrast to most dancers, form an integral part of his performance, but also in the greater role of character and the interaction of characters in the dance. This aspect inserts a certain measure of concrete drama into the abstraction of modern dance, that makes ‘Several Witty Observations' convincing and inspiring to watch. The excellent music for the performance was created by ‘yass' musician Mikolaj Trzaska and is a mix of freestyle sax and bass clarinet, drums and noise mixes.


The New York Times, November 24, 2006
Is It Dance? Does It Matter?
by John Rockwell

All kinds of people, trivially and profoundly, have tried to pin down dance, to define what it is and is not, and some of them get quite feisty if you challenge their definitions. So let us relax a little and pay heed to what artists are actually doing. Manhattan (and the rest of the city and the country and the world) is awash in artistic performances that may derive from dance, may be billed as dance, but are just as easily described as a hybrid of dance and something else - or as something else entirely.
Looking back over the season since September, in my perambulations through the world of dance, I've encountered all kinds of hybrids. One of them, the Polish Teatr Dada von Bzdülöw at La MaMa, continues through this weekend.
(...) Most recently, last weekend, there were Teatr Dada von Bzdülöw's "Several Witty Observations (à la Gombrowicz)" and Claude Wampler's "Performance (Career Ender)" at the Kitchen.
(...)The Polish von Bzdülöw troupe bills itself as a theater and played at La MaMa, which is primarily devoted to experimental theater (as in its sobriquet E.T.C., meaning Experimental Theater Club) but has long been refreshingly loose about what it presents. "Several Witty Observations" is billed in a news release as dance-theater, and compared with most of the performances mentioned above, this was more unambiguously dance than any of them.
Maybe it was different back in Poland. I am not familiar with the writings of Witold Gombrowicz, the dissident playwright and novelist during the Communist years on whose diaries this piece is based. At the outset of the performance a man whispers in Polish, untranslated. Perhaps in Poland there are more such verbal interpolations, pushing the work toward a true blend of dance and theater. But even the Polish reviews refer to it as primarily dance.
As such it is interesting without being sharply distinctive. Leszek Bzdyl, dark-haired and handsome, is the choreographer and troupe leader. He is first seen in the lobby, lying on the floor and placing his head into a trash bin. Onstage he is joined by Rafal Dziemidok, big and bald, and Katarzyna Chmielewska, who provides the female erotic element.
They interact with two large inflatable sculptures, one a large mattress, the other a large footstool or round sofa. There is atmospheric music by Mikolaj Trzaska and a foray into the audience to pass out enigmatic slips of paper. The dancing is purposeful, energetic, sometimes sexy and funny, but never quite convinces as dance or dance-theater. But maybe it means more for connoisseurs of Mr. Gombrowicz.


www.ghunka.com, Friday, 17 November 2006
by George Hunka

Witold Gombrowicz is one of those Central European writers, like Stanislaw Witkiewicz, Bruno Schulz and Jaroslav Hasek, whose clocks were striking 13 and rooms were absurd decades before Ionesco's. Leszek Bzdyl's new dance theatre production Several Witty Observations ... takes the audacious step of translating Gombrowicz's painfully uneasy language not into English (difficult enough) but into gesture.
Identity is uncertain. In society (though not in self, at least not in the potential for recognitions), we are who we are in the eyes of others: the subject/object dichotomy, the relationships between us and the world, the I and the Other, are not simple things. All moments are tentative moments in the eyes and presence of others, and our bodies become tentative instruments of discovery as well:
Mankind is accursed because our existence on this earth does not tolerate any well-defined and stable hierarchy, everything continually flows, spills over, moves on, everyone must be aware of and be judged by everyone else, and the opinions that the ignorant, dull, and slow-witted hold about us are no less important than the opinions of the bright, the enlightened, the refined. This is because man is profoundly dependent on the reflection of himself in another man's soul, be it even the soul of an idiot. ... To brush against a higher and more mature realm and yet be unable to penetrate it, to be but a step from refinement, elegance, wisdom, dignity, from mature judgments and mutual respect, from hierarchy and acknowledged values, and yet to merely lick those sweetmeats through the shop window, and have to access to these matters, to be superfluous? To associate with adults and still imagine, as at sixteen, that you are merely pretending to be an adult? ... To join publicly, as an artist, the merciless fray for the survival of your true "self," while at the same time covertly siding with your enemies? (Ferdydurke)
And not only as an artist: as a lover too. The love triangle anatomized in Several Witty Observations ... is an eternal locus of trembling insecurity; in the very first scene the seeming security of Katarzyna Chmielewska's repeated, slow movements is undermined by her endlessly trembling and restless fingers. (This is Schopenhauer's body-as-will, all desire and grasping and in conflict with itself.) Bad luck for her: with the entrance of the stoic and secure, rooted Rafal Dziemidok and the self-doubting intellectual Leszek Bzdyl, competition for her attention arises, the playful stoic's willingness to look silly and take on "feminine" movements that mirror the woman's at least demonstrate a security in his own body. The poor intellectual only looks on; when later he takes on the woman's garment in superficial imitation of her appearance, he can't look more graceless. Only after a hilarious imitation of man-to-man attraction and repulsion (a pas-de-deux of singular, shamelessly comic, thudding clumsiness; self-recognition in the arms of another has its absurd laughter too) do the three characters integrate into one ambivalent set of gesturers, confident, stepping to the intellectual's three shouted "Hey!"s.
Well, those shouts don't convince anybody, not even themselves: they have just proceeded to deflate even the plastic air-filled world, represented by Maciej Chojnacki's set pieces, to be replaced by ... well, you can never be sure. Mikolaj Trzaska's evocative jazz-laced score, a montage of original music and found sound objects (scratchy 78s, street noises), certainly doesn't provide purchase either.
Do they find joy? Of course they do: in laughter, even in self-doubt. Katarzyna Chmielewska as the woman is confident, but even she lets herself go among the bodies of the men when they sweep her between them (she always, though, lands quite securely on her feet). Even the two men, as they hilariously explore each other, have completed some communication by the end of their tussle.
The productions of the Dada von Bzdülöw Theatre, visiting the United States for the first time with this production (the company was founded by Bzdyl and Chmielewska in 1993), originate in theatrical conceptions and texts, "while their basic language of communication is rooted in contemporary dance," as a program note has it. Several Witty Observations ... is a disciplined, poignant, and profoundly comic demonstration of the fertility of cross-tradition integration of dance and drama. I used to think I wasn't a "modern dance guy." But watching this show, I think I might have been misinforming myself. Gombrowicz wouldn't be surprised.


www.nyc.flavorpill.net, Flavorpill NYC
November, 21-27. 2006

Gdansk-based Dada von Bzdülöw Theatre makes its US debut with a whimsical dance piece inspired by the writings of celebrated — and for decades, banned in his native Poland — author Witold Gombrowicz. Several Witty Observations begins in the theater's foyer with director/performer Leszek Bzdyl carrying out a series of yoga-like positions instilled with a wry dose of humor. Once onstage, the dance style is highly idiosyncratic and ranges from introspective solos and highly physical duets to the dancers' comical appropriations of each other's personalities. It's an arch, intellectual approach that's not for every viewer, but one that would have made Gombrowicz proud. (SP)


www.nytheatre.com

Dada von Bzdülöw Theatre make their U.S. debut with their dance-theatre piece, Several Witty Observations, inspired by the writings of Polish author Witold Gombrowicz. The following description is from the show's press release: Created as a series of intriguing character portraits, Several Witty Observations delves into a subversive display of the human condition and the writer's obsession with paradoxes—how self-identity is formed through the eyes of others, the complex nature of the adult self embracing immaturity, and the ideologies, conflicts and contradictions that define the individual in the world. The highly charged, idiosyncratic dancing is imbued with emotion and wry humor, as the dancers navigate a mischievous playground of confrontation and alienation in search of human connection.


www.theatremania.com

Created as a series of intriguing character portraits, Several Witty Observations delves into a subversive display of the human condition. Inspired by Witold Gombrowicz's writing, the director's (Leszek Bzdyl) interest here lies in the writer's obsession with paradoxes - how self-identity is formed through the eyes of others, the complex nature of the adult self embracing immaturity, and the ideologies, conflicts and contradictions that define the individual in the world. The highly charged, idiosyncratic dancing is imbued with emotion and wry humor, as the dancers navigate a mischievous playground of confrontation and alienation in search of human connection.


Los Angeles Times, 23 Oct 2005
by Lewis Segal

Among the discoveries in Stary Browar's first year: the dancing iconoclasts of Teatr Dada von Bzdülöw. This group from the city of Gdansk performs the collaborative "Several Witty Observations," a propulsive, free-form exploration of themes from the writings of celebrated Polish author Witold Gombrowicz.
Using large, transparent air mattresses as props and sometimes as partners, the three dancers increasingly focus on the theme of identity theft — not merely the act of stealing credit cards or an identification number but appropriating someone else's personality, even if that means assuming a new gender.
Along the way, all sorts of deliberate fake-outs take place involving disruptive lighting and sound effects, and the cast's passing out slips of paper to the audience and even deflating the air mattresses. But the forceful, technically sop histicated dancing is never anything to laugh at. That is, not until the men lumber through a brilliant parody of that new cliché of contemporary dance, the oh-so-sensitive male duet — here, a disastrously clumsy, sweaty gymnastic tangle.
" This piece is full of meaning, with lots of levels," Leszek Bzdyl, the company's charismatic firebrand, says at lunch the next day. "There are technical levels, dramaturgy levels, levels of emotion. Some people look at it as a game involving the techniques of dance. Others see Gombrowicz. The rest might see it just as a crazy time. That's how we built it. Because at this moment, we are for everybody”.


Reviews from India:

The Pioneer, New Delhi, 12 Jan 2007
Abstract dance
by Mamta Upadhyaya

That Witold Gombrowicz, the Polish writer, was an interesting figure of the 20th century whose poetry and writings were full of satire and irony, parable and paradox was depicted best by The Dada von Bzdülöw Theatre of Gdansk, Poland recently.
In India for the first time, the group led by Leszek Bzdyl presented a dance theatre Several Witty Observations à la Gombrowicz at Bharat Rang Mahotsav. Though most in the audience didn't know anything about Gombrowicz but it did not stop them from enjoying the choreographic observations, presented by Katarzyna Chmielewska, Rafal Dziemidok and Leszek.
The performance based on the writings and diaries of Gombrowicz saw dancers presenting their observations of daily life. They focused on theft of identity - stealing credit cards, or an identification number, appropriated someone else's personality, assumed a new gender - all in the struggle to dominate others. In the process they spied, copied, seduced, manipulated and even fought with one another.
Said Leszek, "When I was 18, I read Gombrowicz's diaries. They were like the Bible to me. A specific emotional dance emerged in my mind whenever I read his poetry. He loved paradoxes and in his universe, the real changed into the poetic and poetry transformed into abstract. He mastered the technique of creating humor out of nothing and engaging the audience in his games."
The dance began in the lobby before the theatre doors opened when Leszek, wearing a dark suit, sprawled on the floor, with his head stuck in a wastebasket, and moved among the spectators as if he was choreographing them. Once the audience entered the auditorium, Katarzyna in an imposing red gown appeared on the stage. She danced to music which was a combination of jazz, saxophone, drum rhythms with street noises and occasional bits of incomprehensible speech.
Gradually, there began an encounter between Leszek, Katarzyna and Rafal. Scenes occurred without any logic. Nothing made sense and eccentricity seemed the norm. The audience laughed as Rafal, the bald dancer with a paunch, came up cautiously close to Katarzyna and she tugged his ear. Leszek came in between them, she left, and the two men fought. In another sequence, while Rafal watched, Leszek and Katarzyna danced an agile duet that aroused Rafal to remove his belt. But he did not do anything to the two and tying the belt around his head walked away. Just after this, Leszek dressed in a red robe, walked again on stage but stripped down to his underwear, crawled on the floor, spread his arms apart, and rose to perform some Indian dance. Finally, wrapping the robe around him like a sarong, he left the stage. Again Katarzyna and Rafal danced solos with their backs to the audience. When Katarzyna danced what appeared like a cabaret, the two men watched her and out of anxiety embraced each other that eventually resulted into a wrestling. As part of the game and dance, the performers presented the audience pieces of paper filled with rows of zeros and ones, plus two words in English "the calf". Why? No one knew. But then Leszek said, "This is scene 14 of the play but sorry this is in English" and the audience laughed.
" Everything that happens in the dance may appear eccentric, nonsense, but all of it is born from the idiosyncrasies of human behavior and our observations of them," said Leszek.


The Hindu, New Delhi, Jan 19, 2007
Witty and weighty
by Diwan Singh Bajeli

"Comedy is not mere clever manipulation of gags. It is a serious genre of theatrical art that conveys profound philosophy and comments on the paradoxes of human life", says director-actor-dancer Leszek Bzdyl from Poland who was in the Capital this past week in connection with the presentation of his "Several Witty Observations" at Sammukh Theatre that was part of National School of Drama's Bharat Rang Mahotsav.
An artistically sophisticated work, it amused the audience with its sardonic look at life. Based on the fictional work by Witold Gombrowicz (1904-1969) director Leszek and his creative collaborators Katarzyna Chmielewska and Rafal Dziemidok read the original work several times in the course of composing choreography. For him the text is not sacrosanct.
The essence
What is vital is the essence of the work to be conveyed in artistic terms. Witold is a writer preoccupied with the existential paradoxes of man and the element of grotesque that affect intellectual and moral life of human society. Commenting on his production director Leszek says that three characters tell their story and dilemma through choreographic patterns. "On the one hand you need people to communicate and to define you and when you interact with people your identity is destroyed. There is a perpetual struggle to dominate others, to appropriate the identity of others and assume a new genre." "Several Witty Observations" has been presented in several countries after its premiere in Poland. In India it was its 40th show. Different cultures have different sense of humour and audiences in different countries responded in different way. "In most of the countries like France, America and Poland the audiences responded with laughter but in Germany the audience watched in complete silence. I am happy that in Delhi the audience reacted the way people reacted back home in Poland."
Born in 1964, Leszek studied history at the university of Wroclaw and later undertook training in a theatre school that taught Grotowski's concept of theatre acting and then switched over to pantomime and contemporary dance. Founder of Dada von Bzdülöw Theatre, he began his professional career in 1987. Apart from working in his theatre as a director, dancer and choreographer, he participates in the production of other theatre groups in Poland. He has participated in more than 40 productions. For his artistic excellence he has been honoured in the country with several awards.
Artistic freedom
Talking about the status of artistes and artistic opportunities during communism in Poland and in the post-communist period, he says, "The status of artistes during communism was that of a star. The state made them available whatever fund they needed but they had little artistic freedom.
Today artistes are treated like any other professionals. They have to work to earn a living.
You have artistic freedom but not much state assistance. It is a free market of culture, you have to sell your creation as a commodity. The audience as a buyer has the freedom to accept you or reject you."
Leszek feels that everywhere in the world television has become more popular. "In Poland people generally watch television for four hours a day. They do not read books nor watch serious art forms."
Is there any further scope for the theatre?
" From the glorious days of Greek tragedy theatre has witnessed many ups and downs and faced many crisis but it has survived, developed, mirroring the dilemma of human society. As far as I am concerned I believe in theatre because this is my life and everything for me. Some people may consider it as illusory but for me it is real."