Ninad Samaddar teaches theatre studies at the Department of Performing arts, Theatre Studies and Music at Christ University Bengaluru. He’s also an actor who pursued MA Acting from Drama Centre London. Ninad is also the Indian Coordinator for Flute Theatre.
In an exclusive conversation with Asian Voice, he spoke about his time in the UK, the future of arts and tips for aspiring students of acting.
Q - How was your experience studying arts in the UK?
I had an incredible experience studying arts in the UK. The main reason for this was witnessing first-hand the advantages of having theatre identified as a primary profession. The advantages of a Union, equity pay for cast and crew allowing students and practitioners to partake in part-time jobs, thereby respecting time schedules and allowing for the possibility of working with different people/spaces in the course of the day. Furthermore, the innovations and discoveries are facilitated by tutors as there is scope for implementation and research publications.
Two experiences that come to mind almost instantaneously are the teachings and classes with Kelly Hunter MBE and Ita O'Brian.
Kelly taught us our Shakespeare module and invited us to join her Hunter Heartbeat Method shows with Flute Theatre. This took the theoretical and performance guidelines directly to the practical space where we physically felt the information seep into our beings and not just understand it in our minds. It was learning through experience. The work gave us so much more than what we put in and allowed us to develop significantly as thinking actors. Especially with Kelly I was able to bring her to India; conduct several workshops with leading theatre spaces and educational/research organisations and take the work forward as her India Coordinator.
Ita on the other hand taught us the importance of choreography for intimate scenes. We've all heard several cases of exploitation in the industry and Ita's words of Intimacy choreography being as important if not more than fight choreography still echoes in my mind. Again learning through experience, here is one of our teachers who was successfully teaching us what was assigned from the course point of view but also bringing her own research/initiatives to the working space. We got to experience first hand the processes of what is becoming recognised by the Industry all over the world. Safety in the intimacy space. I think we were the first batch at Drama Centre to exercise these principles for our shows and showcase which was such a unique experience for the batch. I hope I'm able to bring her to India and show her work to the audience here as well.
I envy the audience support that theatre gets in the UK. The general audience is excited to watch shows and that's something largely missing across the demographic here. The norm of hanging out after watching a show, around a theatre space is so vibrant that it leads to the government confidently investing in the craft.
This just furthers my point that there are brilliant ideas simmering among the youth. The industry is changing and we are all adapting but it's just, unfortunately, happening in Western spaces before the youth here in India get a global audience for their initiatives due to the lack of recognition of theatre as a primary profession.
Indian teaching methods
I had shy of two decades of Martial Arts training as a National level Kickboxer growing up. The movement principles we explored at Drama Centre, especially the ones where animals evolving into humanised animals for characterisation work was fascinating. I was able to use the 'quans' and 'katas' to my advantage of understanding the flow. I think being in the space of discourse about these styles in London and further in Moscow the similarities were surreal. It's been quite a challenge trying to put them all together and have a coherent thought process. I still feel like I'm exploring this area of identifying similarities and differences. It's unfortunate that I haven't had enough Indian traditional style theatre training just yet to make an informed comment on these discoveries, however, that's the plan!
Q - I understand you teach theatre studies now. What kind of interest and understanding do you see among your students and how supportive do you think their families are in pursuing this course (considering Indians are obsessed with sciences)?
Yes, I teach theatre studies at the Department of Performing arts, Theatre Studies and Music at Christ University Bengaluru. The students at the department show such an incredible tenacity to learn that it moves you every single day. The advantage that they have is that it's a triple major program, it's combined with Psychology and English. I feel like this is more for the parents than the students. It gives them the pleasant relief that even if their children are unable to 'make it in theatre, there are fallback options. However, in the department, we treat them no differently from a drama school setting.
One of my favourite questions to ask the students is "What do you do on a regular basis to call yourself a theatre artist?" The intention is not to scare them but to inform them as early as possible that this is a craft that requires a very strong sense of discipline and responsibility to one's own instrument, i.e,, your voice and body. If you are not doing your vocal training, movement practices and reading regularly, you're shying away from the rigour that will make you an asset in any working environment.
The interests of the students range from acting, directing, production management, make-up, costume design, singing, choreography, light design, sound design and quite literally everything under the larger umbrella of theatre. I wish we had the capital and investment to have degree courses and masters for each of these subjects. We're getting there. In terms of support from the parents. I think the biggest advantage of the OTT's have been bringing awareness to parents that there is a scope of employment out there. They have been the backbone of support. It takes so much courage to voluntarily train your child for a profession with almost no guarantee. I remember when I was a student I began my first year as a History, Eco and Pol Science triple major candidate. I knew within the first month that I wanted to drop out and join the brand new theatre studies program. My parents forced me to complete that year because…"We want you to complete this year with a good GPA as though you would be continuing in these three subjects for the second year. If you get the marks and still decide to drop out we will allow it. This would mean that you really want theatre and not that you can't cope with what you have now." Lo and behold! The day I got my final marks I dropped out and the next day applied for theatre. This just goes to show that the parents have been strict only because they care enough to see us succeed. If we power through and prove our love for something, they would never stop their children from being in a space that's making them happy.
As a teacher, I cherish my PTA meetings nowadays because parents with genuine curiosity want to understand where these starry-eyed kids can complete their training through Masters and options for further growth which is so refreshing!
Q - How can people pursue arts and also make a decent living out of it in the post-pandemic world?
Short answer: Work your ass off! There is no shortcut to hard work. Go watch more theatre! Talk to the artists, tell them your thoughts, express your desire 'to be in the room' and spread the word for shows that are happening. It is not necessary that every show you watch has to be the best show known to man. Watch bad shows! It's so much fun to talk about it after. It does you a world of good as an artist. The unique advantage of not having to commit that mistake to learn from it. That is GOLD.
I was very fortunate to have the likes of Quasar Thakore Padamsee, Vivek Rao, Toral Shah and the entire THESPO family as mentors growing up. They were hard on me when it was needed, they taught me production/theatre ethics that I will never forget and literally made me who I am today in the theatre.
In the post-pandemic world it's going to be difficult but find people who love the craft and aim to work with them. Theatre is the most inclusive art form I know and there will always be a spot to sit, watch and learn. Like everything there is a process, we just have to learn how to respect it and trust it.
Q - What according to you is the future of theatre (considering live performances are key)?
As John Stienbeck said "The theatre is the only institution in the world which has been dying for four thousand years and has never succumbed. It requires tough and devoted people to keep it alive."
I have learnt from tough and devoted people all my life, I have friends who are tough and devoted and to my heart's content I have trained incredibly tough and devoted people as a teacher-practitioner. Theatre is Live and will always be. We'll just find a way to get back to it and when we do... it'll be enviable, incredibly enviable.
Q - Would you please give a few tips to our young readers who may want to pursue a career path like yours?
Dear young theatre enthusiasts,
Read plays. Don't read them alone. It's very boring. Theatre is a communal art form. Get friends and family. Select a script and play! Use voices, use makeshift props and make it dramatic.
Volunteer with youth theatre movements, for me it was THESPO, find the closest one near you. It's generally completely free or very nominally priced. They give you the gift of workshops, conversations and mentorships otherwise unfathomably expensive.
Watch plays! The pandemic has opened up resources from across the globe making plays accessible to the general public. It's not the same as a live theatre but it's still theatre being brought to the comfort of your homes. When things open up, watch everything possible. Ignite the culture of watching plays and talking about them.
'Be in the room' Just because you aspire to be an actor or director doesn't mean you can only learn by being one. Volunteer as a rehearsal assistant to a production process. Observe the talent and work in front of you.
Ask questions! Just make sure the intent behind the question is curiosity and not to shame. Ask questions in the comment sections, ask questions after plays, send emails and participate in your classroom experiences. There are no silly questions ever.
