Amal Allana, former chairperson of the National School of Drama (NSD), who recently wrote 'Ebrahim Alkazi: Holding Time Captive' (Penguin), told IANS that of all these associations, her relationship with the father of modern Indian theater was the most important. Changed, thus his insight into various aspects of his character, personality and aesthetics.
Alkazi was not only the founding director of NSD, but also the man who gave new metaphors to Indian theater and transformed it through his unique vision, through the production of Girish Karnad's 'Tughlaq' at Delhi's Purana Qila in 1972. , which is considered one of the finest theater productions of all time and has trained a generation of theater personalities who have been instrumental in breaking new ground in every sense of the word.
Allana said that in writing this biography, she has had the opportunity to study her father's life and work in greater detail, albeit more objectively. She added, "In addition, another aspect of my research has been the study of his artworks. Study is also involved, due to which I had to prepare many projects on them." “Working on these projects has helped me clarify and gain a fuller, holistic perspective on what he aspired to and achieved throughout his life.,
One wonders whether the daughter was under some 'pressure', as she was writing about such a big personality. She confessed that she may have unconsciously felt pressure, although her father gave her the greatest freedom to discover herself as a theater artist.
“Once I left NSD, she never criticized my work, but supported it from a distance. On the other hand, it was my mother who had a lot of input into what direction I was taking creatively.” She took an interest in me and kept asking me about my work. I think my father's attitude of a certain distance helped me develop independently," said Allana.Not much is known about Alkazi's Arab ancestry, but the daughter did so by interviewing her father's immediate siblings, the father himself, and some recent material from some academics on Arab merchant families that settled in India, primarily Bombay. This book has been created by exploring. ,
"Many of my cousins were born in Bombay and migrated to other countries in the late 1950s and early 1960s, staying there for a full decade after Hameed and Maryam Alkazi, my grandparents, some of their Left Bombay post, with children -Partition,'' Allana remembered.
"My cousins and I studied in the same school in Bombay
, I grew up with and around them and experienced how Arabs lived in India, which was completely different from the way my parents lived. We lived as Western-educated Bombays and artists!" she said smiling. Recalling that theater was not just a profession for Alkazi, but an essential part of her existence, Allana said: "Even That even at home, the practical aspect of the growing productions, as well as the deeper meaning of the plays and rehearsals were integral to our air." Sighed. As you know, our house in Witha Court also doubled as my father's workplace."
Many of his students describe Alkazi as a strict disciplinarian, but Allen remembers him as a very kind, loving and generous father figure. He recalled, "Art became incorporated into our daily lives in a simple, organic way, becoming a pleasurable activity in which we all participated."
Emphasizing that his outlook towards life was positive and he was always optimistic, believing that great things could be achieved through simple means, Allana explained that for Alkazi it all came down to hard work, discipline, It was about focusing on.She also says that he had a great sense of humor and was adept at communicating deep, complex ideas in an effective simple way. As someone who has dedicated his life to theatre, she feels that the country needs not only more theatre, There is a need for schools, but also professional theater companies in all languages, so that trained students can find employment.
“Well, we all know, most of the NSD graduates head to Mumbai and get absorbed in the film industry,” Allana said. “Others return to their home states and struggle to do theater in mostly deplorable conditions. Certainly, after almost 80 years of independence we should have understood that the performing arts need to be subsidized on a large scale.,
Emphasizing the importance of introducing art appreciation curriculum in schools, Allana said that art broadens our horizons and helps us build sensitivity towards other cultures. However, Allana quickly added: "Remember, appreciation is enough. There is a need to practice. We should understand that subjects like dance, music and painting are not given the attention they deserve. Talent and skill for art comes naturally to us Indians.,
He concluded with a timely reminder: "There are few countries like India where we have rich traditions in painting, architecture, sculpture, dance and folk performance traditions. Most Indians are artistically inclined; it is our genes. We should do so " Special schools dedicated to the arts of India, which will allow children to create and fashion art from an early age so that the traditions are not lost."
Alkazi was not only the founding director of NSD, but also the man who gave new metaphors to Indian theater and transformed it through his unique vision, through the production of Girish Karnad's 'Tughlaq' at Delhi's Purana Qila in 1972. , which is considered one of the finest theater productions of all time and has trained a generation of theater personalities who have been instrumental in breaking new ground in every sense of the word.
Allana said that in writing this biography, she has had the opportunity to study her father's life and work in greater detail, albeit more objectively. She added, "In addition, another aspect of my research has been the study of his artworks. Study is also involved, due to which I had to prepare many projects on them." “Working on these projects has helped me clarify and gain a fuller, holistic perspective on what he aspired to and achieved throughout his life.,
One wonders whether the daughter was under some 'pressure', as she was writing about such a big personality. She confessed that she may have unconsciously felt pressure, although her father gave her the greatest freedom to discover herself as a theater artist.
“Once I left NSD, she never criticized my work, but supported it from a distance. On the other hand, it was my mother who had a lot of input into what direction I was taking creatively.” She took an interest in me and kept asking me about my work. I think my father's attitude of a certain distance helped me develop independently," said Allana.Not much is known about Alkazi's Arab ancestry, but the daughter did so by interviewing her father's immediate siblings, the father himself, and some recent material from some academics on Arab merchant families that settled in India, primarily Bombay. This book has been created by exploring. ,
"Many of my cousins were born in Bombay and migrated to other countries in the late 1950s and early 1960s, staying there for a full decade after Hameed and Maryam Alkazi, my grandparents, some of their Left Bombay post, with children -Partition,'' Allana remembered.
"My cousins and I studied in the same school in Bombay
, I grew up with and around them and experienced how Arabs lived in India, which was completely different from the way my parents lived. We lived as Western-educated Bombays and artists!" she said smiling. Recalling that theater was not just a profession for Alkazi, but an essential part of her existence, Allana said: "Even That even at home, the practical aspect of the growing productions, as well as the deeper meaning of the plays and rehearsals were integral to our air." Sighed. As you know, our house in Witha Court also doubled as my father's workplace."
Many of his students describe Alkazi as a strict disciplinarian, but Allen remembers him as a very kind, loving and generous father figure. He recalled, "Art became incorporated into our daily lives in a simple, organic way, becoming a pleasurable activity in which we all participated."
Emphasizing that his outlook towards life was positive and he was always optimistic, believing that great things could be achieved through simple means, Allana explained that for Alkazi it all came down to hard work, discipline, It was about focusing on.She also says that he had a great sense of humor and was adept at communicating deep, complex ideas in an effective simple way. As someone who has dedicated his life to theatre, she feels that the country needs not only more theatre, There is a need for schools, but also professional theater companies in all languages, so that trained students can find employment.
“Well, we all know, most of the NSD graduates head to Mumbai and get absorbed in the film industry,” Allana said. “Others return to their home states and struggle to do theater in mostly deplorable conditions. Certainly, after almost 80 years of independence we should have understood that the performing arts need to be subsidized on a large scale.,
Emphasizing the importance of introducing art appreciation curriculum in schools, Allana said that art broadens our horizons and helps us build sensitivity towards other cultures. However, Allana quickly added: "Remember, appreciation is enough. There is a need to practice. We should understand that subjects like dance, music and painting are not given the attention they deserve. Talent and skill for art comes naturally to us Indians.,
He concluded with a timely reminder: "There are few countries like India where we have rich traditions in painting, architecture, sculpture, dance and folk performance traditions. Most Indians are artistically inclined; it is our genes. We should do so " Special schools dedicated to the arts of India, which will allow children to create and fashion art from an early age so that the traditions are not lost."
