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The Hindu, New-Delhi, Thursday, Jan 10, 2008Out of the circleArash Absalan talks about his recent production and theatre in Afghanistan andIran.The Caucasian Chalk Circle” by Bertolt Brecht is written to provide freedom to thedirector. Director Arash Absalan, from Afghanistan, “misuses” this freedom in a recentproduction staged at the tenth Bharat Rang Mahotsav.Performed in Dari, this is the first time that a play from Afghanistan is being shown atthe National School of Drama festival. While the nuances were lost on the audience, itcompelled attention in its use of simple props with stunning effect. It was performedwithout subtitles as the director believes that “subtitles distract the audience”. The roleof a narrator has been added for the Indian audience.While this is the first time that director Arash Absalan ventures into Brecht’s epic theatre,he believes that this play has continued relevance. “What is the old and holy meaning of‘mother’ is a question that is timeless. It is relevant to all times and all people,” heexplains, through a translator. This “play-within-a-play” explores whether a mother isshe who gives birth or she who nurtures.Written in 1944, “The Caucasian Chalk Circle” is one of Brecht’s most frequentlyperformed plays. How can such a famous play be done differently? He says, “This epicplay is episodic and that gives the director a lot of freedom. It wasn’t a question of daringto be different; instead one has to be different.”Absalan says he didn’t love epic theatre initially. “I had never experienced it. But when Iwas given an offer to direct “The Caucasian Chalk Circle”, I realised it was very near mydesire.”This Iranian director is an established thespian in his home country. Wishing toexperience theatre in different countries, he moved to Afghanistan two years ago.Problems of censorship with the Iran government prompted this move.He explains that both the countries have an ancient theatre tradition. More familiar withthe traditions of Iran, he says that religious theatre, black comedy and puppet shows areintrinsic to the culture. Afghanistan has theatre based on old heroism and even shadowplays. However, he says with thirty years of conflict, theatre in both the countries hasbeen a difficult practice. While there is a ready audience and willing talent, auditoriumsand theatres are few. At the recent National Theatre Festival in Kabul, forty productionswere staged, proving the vibrancy of the theatre scene. There is an urgent need forsupport, however, especially from international bodies like UNESCO, asserts Absalan.But plays from the region are slowly garnering attention. The Aftaab Theatre, fromKabul, which staged this production, has already been invited to a festival in France, andis looking at returning to India.NANDINI NAIR