At the end, only two stayed awake and the rest had dozed off. We had a grand rehearsal of Tumhari Amrita with an audience of 10 friends at Prithvi Theatre. Success can paralyse growth and change but I knew I had to reinvent myself to remain relevant.ĭid you consider your appearance on stage before Tumhari Amrita (to help the audience settle down by telling them not to expect anything more than two people reading letters to each other), an attempt to redefine the “fourth wall narrative as we know it”?
This was an uncharted and treacherous terrain pregnant with the possibility of a monumental failure. It was about time that I challenged myself. I realised I was getting ensconced in my comfort zone and the fear of stagnation and repetition was distressing. My journey from the minimum to maximum has been very unsettling. In terms of style, your work has been conceived and generally understood as minimalist, why then the grandeur of an epic drama? The love story is a metaphor, where Anarkali symbolises the power of a woman to rebel, question and defy the most powerful man of his time. It is the voice of the oppressed against the imperial power demanding justice and equity.
Asif’s timeless cinema Mughal-e-Azam is a very humane piece. For someone who admires films of directors like Satyajit Ray, Ritwik Ghatak, Akira Kurosawa and Guru Dutt whose work is generally associated with humanism, what attracted you to re- create K.
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