An Interview with David Praties -
Straight from the Festival
Discover the power of
the sign language, of body movements and the non-verbal form of communication, through
this exclusive interview wi9th David Praties as he tells us about the Common Ground Sign
Dance's Distance Sisters - Borders & Freeway, featured at the International Prithvi
Theatre Festival 2000
1.Can you provide us an insight into your play.
Well, it is a dance piece rather than a play, with a story expressed in words and basic
movements. The play revolves around two characters, Marlyne Maroe, the well-known film
star and Peter Carlow, a Mexican artist who died in the 1960s, known much more as a pure
artist. The play is about the mythical meeting of these two people in heaven, who never
met in real life. It goes on to highlight the similarities between the two of these very
different characters.
2. How has been the audience response to your plays?
People have been very nervous about the shows because it has been very open and is full of
emotions. I don't think people in India are nervous about the kind of shows, but the kind
of response that we expect. They don't know whether it is a play to laugh or to cry. But
in general we have had a wonderful response.
3. Which has been the favorite play of the masses, till date?
That's a bit difficult to say, because both the plays are different. One is emotionally
charged and the other is really funny. And we have had a very positive response to both
the plays.
4. Where do you usually perform?
We perform in a variety of places. In Britain, we perform in middle scale theatres and art
centres. We have also performed in schools. And whenever we can travel abroad, we do, such
as festivals as this.
5. Does performing in bigger theaters give you a better chance of being successful?
Because of the nature of our company, it's no better for us to perform in big theatres
than in small ones. We like to perform before a wide variety of audience and sometimes big
theatres don't have that. For example, if you perform in a large theatre in London, you
will only get a theatre-going audience who goes every week to the theatre. But if we do
something in a small place, it will attract people who may have never gone to theatre. So
we don't have a goal of performing in bigger theatres.
We have done in a lot of big theatres, like the BBC and for Television in Channel Four. So
we have quite a high media profile. What we look forward to is to keep our work open to
all kinds of audiences.
6. How do you rate the Indian audience against the American?
Americans don't respond terribly well. They are very concerned about their image. They
come from a much more tight culture, where they tend to sit very quietly and clap at the
end of the show. You don't get the same response from the Indian audience. They are much
more open.
7. How has been the overall experience of performing in India?
It's been wonderful. It's nice to talk to a culture that we don't really know. We found
that the people are very open. We have already arranged to come back again - to Bangalore
next year.
8. What do you've to say about the scene of contemporary theatre in India?
We have been here for one purpose and we've been working so much that we actually haven't
seen
any contemporary Indian theatre; which is one reason we are coming back again. But we do
have seen some dance forms - the Kathak dance which was staggering. We were just stunned
by it. We have also seen Yakshi gana, the traditional story telling dance which was a
lovely experience, as well.
9. How far will plays help in creating public awareness?
In Britain, there's a perception that theatre is not for the deaf and that it is very
verbal. When we produce a show, we make it totally accessible to the deaf people by
building sign language. We have made it part of a movement. So there are no linguistic
barriers to enjoying our works. It's in the English/British sign language. And even if you
don't understand any of them, the movements have complex meaning.
10. Do you feel that there's more artistic freedom on the big screen than on stage?
No, I don't think so. In fact, on the big screen, artistic control is tightly held by the
director in his own very personal style. Whereas, in our style of theatre in particular,
we have a lot of improvisation and a lot of talking. So I think there's more artistic
freedom in our form than on the big screen.
11. With your company's vast array of plays, how do you determine what to play when you
are on tour?
We generally do two separate plays. Sometimes we book ordinary theatres just to perform
the repertoire pieces, which we do. But another big part of the company's work is doing
workshops with groups of people. And from those workshops we have shows with the
participants and then we put that show along with our repertoire piece and that is not
competed anywhere.
12. What would you say to those who are bringing their plays to the Indian theatres?
We see plenty of theatre happening in India. But it's very different; technically, as well
as the way people respond. So people shouldn't bring any pre conceptions or prejudices
with them. They will enjoy it if they like it, not if they don't. People should come here
determined to have a good time, because they sure will.
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