‘Aim of Theatre Olympics was to build bridges’

The main problem the plays deal with is conflict. The first play of the triptych was the conflict in power, second was the conflict in society and the third in Encore is the battle between the male and female. There are a lot of issues inside this conflict, like the relationship of love with death. The two bodies try to communicate and understand each other as well as the relationship but, in trying to do so, they lose the energy. They are like actors in virtual reality. This is the message that I have tried to bring forward — if we are enclosed within this virtual reality, we are blocked. In the end, one can sense that there is no connection. The message is not optimistic but pessimistic. I don’t know how life is here, but in Europe life is like that.

What was the inspiration behind this play?

Everything is lost in this period of globalisation. There are a lot of catastrophes in this globalised life, which include technology and the conditions in which we are working. The dream is lost as one is not allowed to dream. Everything is schematic and we have lost the depth. This is the problem.

With what vision did you set up Theatre Olympics in 1993?

The aim was to build bridges between culture and modern life. These days, we have lost the basic and the fundamental traditions. The traditions are more like folklore that we see on the first level. We have to refine everything, including our traditions and memory because a lot is lost.

Theodoros Terzopoulos

How will India benefit with such a large-scale festival?

I think education is very important. Maybe, we need to have a follow up with institutions like the National School of Drama, be more open to both traditional and modern forms and schools, to Indian artistes and the world.
Earlier, the International Committee on Theatre Olympics had put out its decision to not participate in the festival.

Why did you change your mind?

We tried to have a collaboration. There were a few spatial difficulties but it was okay. We had very good communication.

With a budget of Rs 51.81 crore, the Theatre Olympics is a huge investment for a country like India.

The money involved here is not too much. In India, this is the first time that theatre has arrived big time and has received support. Theatre needs support because without it, we are only theoreticians who speak. Now, we have realised something very important with money and it would have been impossible without the support. This is now the time for theatre.

Many of the top directors in India are not a part of the festival, either because they have not been invited or because they have refused to participate.

It is not under my purview. I do not choose the directors, I don’t know the reality. I hope that many Indian directors are invited. If everybody was invited, we would have needed two years. I trust the committee here and the work they made. I trust Ratan Thiyam (Artistic Director of the festival) and Waman Kendre, Director, National School of Drama.

Foreign artists in the festival are being paid twice as much as Indian groups would have been paid otherwise. What are your views on it?

I don’t know the situation. I am here for the main concept.