Six hours on stage, two at home

Theatre has experienced notable changes in terms of light, sound and other technical aspects. People are same; however, the taste and interest of the audience has changed to a great extent due to modernisation and digitalisation. Even so, it cannot be said that theatre has experienced a major downfall.

Where were you born? Tell us about your family?

I was born in Letekupukhuri of North Lakhimpur, where Shri Shri Madhavdev was born. I am the son of Prafulla Bhuyan and Kunjalata Bhuyan. My family consists of my parents, my sister, two younger brothers, my wife and two children. We currently stay at Gorsuk in Guwahati.

What is your educational background: I never completed my studies. I joined the ULFA while I was undergoing my studies. After returning from the ULFA, I stepped into the world of mobile theatre.

Give us a brief walkthrough of your journey in theatre.

I started my journey in theatre in 1993 with Hengul Theatre. Previously, I used to perform in Bhaonas and during Raax in our village. I was used to hearing the sound of horu taal since I was young. I played the role of Daivaki, Kongxo and many others. Since 1993, I have been associated with the world of theatre but had never ventured into acting in films. I first acted in the film, Bukur Majot Jole and recently I played a role in Longkar Kando. Longkar Kando received a lot of appreciation and I even received an award for the Best Action Hero in that film. I did receive many offers in films, but as I was mostly busy with theatre, I had to turn them down. Recently, Pulak Da wanted to do a film with me titled Uki. However, he couldn't do it due to his health and now he has passed away. Hitherto, films have not really been my field of work.

Except Kohinoor, I have been associated with almost every theatre of Assam. At present I am involved in Itihakh Theatre. I was a part of Hengul, Bhagyadevi, Bordoisila, Sankardev, Brindabon, Awahon, Itihaakh, Rajtilaak and a few others. I spent most of my theatre life with Awahon and Bhagyadevi. I spent almost six years each in both these theatre production houses.

Which are the plays of yours that you like the most?

Every character that I have ever performed is like my child. We try to give life and colour to every character that we play. However, there are certain plays that helped me a lot in gaining the audience's acceptance and love. They are Matalbhor by Bhagyadevi Theatre, Hoikhobote Dhemali, Bhul Nubujiba Bhupen Da, which was the play that led Dr. Bhupen Hazarika to shed tears on watching it and many others. I was blessed to be a part of two plays revolving around Bhupen Da's life. Both Hoikhobote Dhemali and Bhul Nubujiba Bhupen Da are plays that revolve around Dr Bhupen Hazarika's life. Maya Mathu Maya, Smaxan Jatra, the most recent Morom Bisari Jaon Bola, received accolades from the audience and had a major impact on my life.

Please share some memorable experiences of your journey

My most memorable experience in my theatre journey is that Bhupen da once hugged me and showered me with affection. He used to call me, "Tamil hero" instead of Mridul. The first time we met he told me that I looked like a Tamil actor and ever since he used to call me, Tamil hero. That's how he loved me. After watching, Bhul Nubujiba Bhupen Da, he shed tears, called me and hugged me. He even invited me to his house in Nijorapar. I went there along with my family and spent almost an hour with him. On that day, I took idlis for him. He used to love idlis a lot. This is one of the happiest experiences of my life as we were in the same room for almost an hour with Bhupen Da. I am proud of this memory

Other than that, my journey also includes some bad times. My younger sister passed away, while I was in theatre. That entire time started with getting my sister admitted in a hospital to being declared dead and then carrying out her last rites to going back to the stage with a very heavy heart. I brought her body home in the back of an Ambassador car. My mom was beside me and she was constantly asking me where my sister was. I was lying to her that she was being injected with saline and that she would be released soon. It was around 1 pm at night and I told one of my uncle's that our sister's body was in the back of the Ambassador car. After that, I wanted to escape from this environment and felt like running away from our home that night. I didn't want to stay to hear the cries and screams that would follow after her body was taken out.

Other than that, the theatre has provided me everything from livelihood to survival. I don't how much I have contributed to theatre but I am grateful for everything that I have received from it. Thus, my survival depends on the theatre audience of Assam.

Tell us a little about Morom Bisari Jao Bola

Morom Bisari Jao Bola is one of the most recent of my plays that has received that has received widespread praise from the audience. It was a raw play involving raw human emotions. It doesn't involve much elements of music, accessories and skills. The only skill being used and demonstrated is the story and the performance. We see everything except human emotions. To keep our hearts happy and content, we do certain things in our life. Sometimes we are able to do these things and sometimes we are not able to do them. There are times when a couple is sitting beside each other or sleeping on the same bed, yet their thoughts and souls stand far apart from each other. Some such sensitive elements gather together to form Morom Bisari Jao Bola. It demonstrates the human search for love in its truest essence. I am blessed to perform in such a realistic play. I have received around four Best Actor Awards for this play.

What are the changes that you have noticed in the theatre industry ever since you joined to the present times?

Several major changes are perceived between the theatre in the 90s and the present-day theatre. The interest and quality of the theatres that people were attracted to in earlier times is different from the scenario at present. The essence of plays back then differs from the present-day plays. In today's date, duration of theatre has shortened to two to three days. Previously, even plays were longer and lasted for about three hours and ran for four days. The stories narrated back then by Mohendra Borthakur, Munin Baruah, Dr Bhabendranath Saikia, Hemanta Da, Ugreman Sir, Bhramen Sir differ in large extent from the stories narrated at present. Likewise, the audience has changed too. Theatre has experienced notable changes in terms of light, sound and other technical aspects. People are same; however, the taste and interest of the audience has changed to a great extent due to modernisation and digitalisation. Even so, Even so, it cannot be said that theatre has experienced a major downfall. This is because there are many people who prefer to watch live performances such as theatre that cannot be experienced by watching TV. The themes have also experienced major changes in the present day. Change is constant but it should be positive and we all are responsible for it.

What are the challenges that you have faced in your journey?

I have survived for 29 years in the theatre world. In these 29 years, lakhs of people who have watched my performances in plays have embraced me in their hearts and showered me with love. Apart from theatre, I haven't received anything from anywhere else. For 29 years, if I have spent two hours at home in a day, I have spent six hours on a wooden stage. Likewise, if you measure this time on a weighing machine, the time spent on a wooden stage will be much heavier than the time spent at home. I am content with this. I will keep on performing as long as I can. There have been some challenging times for sure. There was a time when people from the film industry came and offered me many films. However, I had pledged to myself that I would always be a part of that community which would keep theatre and drama alive. Thus, for 29 years, the audience has kept me alive.

Awards and recognitions

In 29 years, I have received about 27 different awards. Assam Government started an award and I was the first one to receive that award. The Award was called Bhramyaman Award, which I received for the play Matalbhora. Apart from that, I have received the Best Actor Award from various organisations and associations such as Mulen Media, Yesmon Media, Rodali, Rohomanob Premoda Kanta Award, Assam Kriya Hongho, Asom Hatro Hongho, Asom Hindu Mahasabha and others. I am grateful for the all the love that I have received from the audience through these awards.

With whom did you have the best experience?

Late Prashanta Hazarika was a director associated with Hengul Theatre to whom I'll forever be grateful. He was one of the first persons that I worked with. Apart from him, I have worked with other renowned personalities in the theatre world like Rina Ba, Parag Da, Rameshwar Da, Biju Da, Bishnu Khargoria Sir. Thus, I have strong bonds with most people from Assam's theatre industry and I have experience of working with almost all of them. The experience has been different with different producers and directors. From Mahendra Borthakur Sir, Munin Baruah Sir from the 90s to present day Abhijeet Bhattacharya and Dhrubojyoti Sarmah, I have gained and learned different experiences and different aspects of presentation from all of them. Everyone is a genius in their respective styles.

Advice for upcoming generation: If you notice properly in the Theatre world, the maximum number of people leading and taking forward Assam's theatre industry are people who were created and crafted by Prashanta Hazarika Sir. If we look back, we will realise that the number of people who took the responsibility of taking theatre forward in Assam can be counted on one's fingers. This is a negative sign. The people who are working at present will retire very soon. In many places, new generation enthusiasts to carry theatre forward are almost zero. This is a matter of concern. Thus, whoever wants to come to the theatre world should come with full enthusiasm and dedication. It's high time that we pass down the responsibility of Bhramyaman to the next generation. I have been working for 29 years and maybe I will work for another 5 years. After that, I might not be able to perform anymore. Most importantly, if one plans to enter the world of stage acting, they shouldn't come for a one year visit . They should come with the aim that they will contribute something to Bhramyaman. Moreover, it can be noticed that for people from theatre, TV and even films, Bhramyaman stands as a major source of income. Thus, they should come for both the money and to keep theatre alive.

How did you deal with the Covid-19 pandemic?

Theatres were shut down during the pandemic. However, Itihaakh theatre reopened last year. Obviously, people from the theatre had to experience the aftermath of the pandemic like everyone else. It was then that I mentioned that we need to find an alternative path. Theatre was our path for a long time and we never faced a day where we had to cry for money in the theatre industry. However, when the theatres were closed, we didn't have any alternative to resort to. I tell people now that an alternate path is very necessary. As for myself I have started two shops at Gorsukh. There might be another pandemic situation or other obstruction, and in such a scenario, even the people in theatre should have an alternate source of income survival.

Upcoming Projects: For the next year, I will be performing with Surjya Theatre. The name of the play is, Mur Kesuai Kandise. The story revolves around the mental state of a father during the 9 months of pregnancy. It focuses on the mental and physical state of a father during that time. I have signed up for two more plays with Surjya.

Future Plans: I have started a business and along with it, even if I quit performing in plays, I will be associated with Bhramyaman as a writer and director. I will write and direct plays in the future.

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