This is an archive article published on November 16, 2019

Theatre veteran Tripurari Sharma’s Roop Aroop discusses gender stereotypes

Performed by Delhi-based Unicon Actors Studio at IAPAR theatre festival in Pune recently, the play has been part of numerous national and international festivals.

Face Off A scene from Roop Aroop

Written by Mitali Dhar

He stares, entranced, at his sari-clad reflection. “I am in love with this form,” he tells the mirror, watching his slender arms, adorned with bangles, and his shapely legs ringed with anklets. When a woman appears, he hates her because, according to him, she is everything that a lady shouldn’t be. It annoys him that when she can’t coordinate her voice to his singing, she tells him to lower the scales. What happens when the two performers meet is the subject of the play Roop Aroop, written and directed by Delhi-based theatre veteran Tripurari Sharma.

Performed by Delhi-based Unicon Actors Studio at IAPAR theatre festival in Pune recently, the play has been part of numerous national and international festivals. It also won Happy Ranajit the Best Actor award at Mahindra Excellence in Theatre Awards 2010.

Even as it takes up sensitive issues such as gender bias and the notion of a real woman, Roop Aroop brings together live singing, dancing, power-packed performances and humour on stage. Actors Happy Ranajit and Gauri Dewal, as the two protagonists, explore a range of human dimensions and the collision of gender stereotypes. “I did a lot of research initially and saw a lot of interviews. The role is also very personal for me because, when I was young, I was very beautiful with pink lips. I used to get a complex: ‘do I look like a girl?’ This play has been like a catharsis for me that everything is fine. I just tried to be real,” says Ranajit, an alumnus of National School of Drama, Delhi.

The play also draws from the popular performing tradition of nautanki. Till a few years ago — and in some parts of India even now — men adorned female persona in plays. It was only towards the middle of the 20th century that women set foot on stage among these communities of traditional singers and dancers. For the women, till then, enacting on stage was a distant dream, and the play explores how they began to share space.


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