Arundhati Nag interview: ‘Ranga Shankara embodies a middle-class dream’

Ranga Shankara was established as a tribute to Shankar Nag’s vision. How did that personal connection influence your approach to theatre and the space?

The foundation of Ranga Shankara was deeply personal for both Shankar and me. We began our theatre careers together in Bombay, united by a dream to create a venue for quality theatre. When we moved to Bangalore in 1979, the city had very few venues, with only Ravindra Kalakshetra available. Inspired by Prithvi Theatre, we were determined to build our own space. After Shankar’s sudden passing, it took some time to regain focus, but we managed to secure land from the Bangalore Development Authority (BDA) and embarked on this journey. Nearly a decade of fundraising and collaboration with architects followed, and now, 20 years later, Ranga Shankara stands as the realisation of that dream.

Looking back on these 20 years, what moments have resonated with you personally?

What stands out most is the generosity of the people of Bangalore. The city has a strong, educated, middle-class backbone, and Ranga Shankara embodies a middle-class dream. We maintain affordable ticket prices, ensuring accessibility for all. With a daily rental rate of Rs 2500, Ranga Shankara is likely one of the most affordable theatres globally, and we’ve kept these rates stable for two decades, despite inflation. This commitment to affordability is crucial for making the space accessible to everyone.

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So, where does the funding come from?

We certainly aren’t printing money. Fundraising is an ongoing effort. It’s heartening to see individuals in the city, like the Murthys, Nilekanis, and Kiran Mazumdar-Shaw, who feel a responsibility to support the arts and culture in the city. Their contributions help make this possible.

How do you balance Shankar Nag’s legacy with your own creative vision? Does carrying forward his name feel like pressure?

We don’t feel the weight of Shankar’s name heavily on our shoulders, which is why we chose not to call it ‘Shankar Nag Ranga Mandira.’ We wanted the space to earn the right to his name, and after 20 years, I believe it has. Initially, we opted for the neutral name, Ranga Shankara — ‘Ranga’ meaning theatre and ‘Shankara’ representing the god of performing arts. This serves as a tribute to Shankar Nag. His spirit is alive here, and the space reflects his welcoming, boundless energy. There are no gates or doors —just life.

How has the theatre scene in Bengaluru evolved since Ranga Shankara’s inception?

While progress has been made, financial challenges remain in theatre. Many performers struggle to earn enough, even with five shows a month. They engage in theatre out of passion, performing works by Brecht, Tagore, and Kalidasa, rather than for fame or political backing. Unlike Broadway, where actors receive substantial pay and productions have large budgets, Ranga Shankara’s performers often come from everyday backgrounds — auto drivers, bank employees, and constables’ children. It’s truly a people’s space. While the younger generation is doing intriguing work, the richness of Kannada theatre in the 1970s, with its renowned writers and directors, poses a challenge today as social media and OTT platforms change the landscape of education and acting.

Do you feel that in recent years, and specially post-COVID, there has been a shift towards fame and money over art?

Yes and no. This trend has always existed to some degree. COVID acted as a sledgehammer, amplifying feelings of insecurity about the future. People are now more focused on survival and financial stability. There’s a Hindi proverb, ‘Bhukhe bhajan na hoye Gopala,’ which means one cannot pursue passion on an empty stomach. People need security before they can engage in theatre. At Ranga Shankara, we do what we can — we pay for daily rehearsals, provide snacks, and compensate actors Rs 2,000 per performance, but that’s our limit. Few like Naseeruddin Shah manage to continue producing high-quality theatre while also engaging in cinema and OTT, but they are rare.

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You’ve emphasised affordable ticket prices. Why is accessibility so important to you in the arts?

We believe that high art should not be exclusive to the wealthy. Theatre belongs to the people; it’s about real human experiences, not just money. It’s a platform where folk and classical theatre can reach the masses, and everyone deserves access to that.

What are some memorable plays or performances at Ranga Shankara that have shaped its identity? Any personal favourites?

It’s nearly impossible to choose. We’ve hosted around 8,000 performances, from first-time performers to seasoned veterans like Naseeruddin Shah. Picking just a few favourites is incredibly tough.

In an era of shrinking attention spans, how can theatre continue to capture the mindspaces of younger audiences?

We, from the older generation, need to understand what’s on the minds of today’s 10 to 15-year-olds. They are growing up in a world vastly different from ours. Everything, from communication to food, is evolving rapidly. While technology and social media dominate their lives, we must ensure they don’t lose sight of human values —compassion, truth, and responsibility. Theatre can be a powerful tool to address real issues, but we need to nurture their awareness without compromising their childhood.

What unique challenges and opportunities does Bangalore offer for theatre compared to cities like Mumbai or Delhi?

Karnataka boasts a rich theatre history. A century ago, figures like Gubbi Veeranna were as iconic as Bal Gandharva in Maharashtra. By the 70s, when I arrived in Bangalore, an active Kannada theatre scene was thriving with legends like BV Karanth, Chandrasekhar Kambar, Prasanna, Girish Karnad, and Lokesh. The amateur Kannada theatre movement was flourishing, supported by cultural clubs in public sector companies like HAL, BHEL, and BEML. Unlike today’s corporate giants, these clubs played a crucial role in nurturing the arts and creating opportunities that other cities lacked.

As Ranga Shankara turns 20, what do you envision for its future? Are there new directions or dreams you hope to realise in the coming years?

I would love to see others step up to create similar spaces in different parts of Bangalore, especially in North or West Bangalore, where travel can be challenging. The city has grown significantly, and for someone living in Whitefield, making the trip to Ranga Shankara can be tough. While we have Jagriti in Whitefield, more small, affordable theatres need to emerge throughout the city. This way, the plays can travel, not the people. However, these new spaces must share a similar mission to Ranga Shankara. If they are merely multipurpose halls, they won’t fulfill the specific cultural mission we uphold. Otherwise, they risk becoming just another space devoid of the soul of Ranga Shankara.

Shankar is often remembered for his grounded approach to storytelling. How do you think he would view the evolution of Indian theatre and cinema in today’s digital age?

Oh, I think he would’ve had a ball! Shankar loved technology — he was always fascinated by gadgets and gizmos. I think he would’ve been one of the first to make the leap into the digital age, probably even starting the trend before it became what it is today. He was someone who always saw the potential in the new.

If Shankar was to direct a play today, what genre do you think he’d pick —drama, comedy, or something totally experimental?

You have to be pragmatic when you think about it. He would have aged by now, and with that comes a certain wisdom and perspective. But he loved anything that involved technology, so I believe he would have explored that avenue extensively. He would have gone to any lengths to bridge gaps using technology. I also believe he would have given the younger generation a platform, encouraging them to show their talent and ideas.

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What’s your go-to snack at Anju’s café before watching a performance?

Dahi Batata Puri. It’s my absolute favourite at Anju’s Café.

What’s your favourite place in Bengaluru to unwind when you’re not working on theatre?

Home. There’s no better place to unwind.

If you could remake any one of Shankar Nag’s iconic films today, which one would it be, and who would you cast in the lead roles?

Honestly, I’m not too familiar with the current heroes and stars in cinema today. After Shankar passed, I hardly watched movies.

What are you working on currently?

Right now, I’m focused on succession planning for Ranga Shankara. I’m looking for someone who can hold this place together, and I’ll just be there to offer advice when needed. It’s time to pass the torch.