As the human race fights a battle for survival against the novel coronavirus, a unique theatre activity in Assam almost faces extinction. Known as mobile (or touring/roving/bhramyaman) theatre, these groups go around the state presenting plays with all of their artistes, artisans and others. The commercial theatre session normally starts by August and it continues till the middle of April.

After the Bohag Bihu festival, the groups halt production for three months and regroup by July every year. Even though Assam faced socio-political disturbances in the last few decades, the mobile theatre groups sustained its successful journey. As the virus started affecting millions of people with a huge number of casualties across the globe, the Union government declared a compete lockdown initially up to 14 April and then extended it till 3 May so that the chain of infection could be prevented in the country.

By now the pandemic has infected more than 21,000 people in India and over 600 have died. Assam has also reported over 30 infections with one casualty. The life-threatening virus has put the theatre movement in an uncertain situation. First, the groups couldn’t finish the session this time because of the nation-wide lockdown, and second, nobody knows whether they can start their new session on time. Third, even if they prepare a little late, who can assure the participation of viewers in their shows.

Theatre-goers in Assam today support more than 30 active theatre groups. Each group comprises around 150 performers and other workers. At an average, a theatre group performs two evening shows a day. More than 1,000 people can enjoy a play where the ticket costs from Rs 150-500 per person. The owner normally charges Rs 100,000 per show from local organising committees across Assam. The groups share some similarities with the jatra parties of Bengal, but mobile theatre units are technically more advanced and entertaining.

The groups carry their pandals, multistages, seating arrangements, lighting and sound equipment along with their performers to every location where they exhibit shows. Owners have to feed all the people, arrange necessary lodging and also take care for illnesses during the nine-month session. Most of the plays of these theatre groups are based on Assamese literature and folk tales. But sometimes mythological themes are also adopted by the playwrights. Many times, they have also adopted contemporary themes based on the lives of Lady Diana, Benazir Bhutto, Osama bin Laden along with dramatic versions of the Titanic, Jurassic Park, Othello, Hamlet, Anaconda, Kargil War, et al.

Though Assam has a long history of theatre movements starting from the great Vaishnavite saint Srimanta Sankardev in the 15th century, the present day mobile theatre groups came to exist in the early 1960s. A creative cultural personality, Achyut Lahkar took inspiration from the mobile theatre model of Natyacharya Brajanath Sarma of the 1920s and launched the Nataraj Cine Theatre in 1963. Lahkar, from Pathshala town in lower Assam. developed the traditional way of presenting a play in the Assamese language.

He started using modern systems of light and sound to enrich the productions and even went to showcase his plays in neighbouring states. Today, the mobile theatre industry comprising Kohinoor Theatre, Awahan Theatre, Sankardev Theatre, Hengul Theatre, Theatre Bhagyadebi, Theatre Binapani, Saraighat Theatre, Bordoichila Theatre, Ashura Theatre, Debaraj Theater, Nataraj Theatre and Pragjyotish Theatre among others, does a business of around Rs 10 crore annually where celebrated artistes earn handsome amounts as remunerations.

Many glamorous Assamese film actors have joined the theatre groups as the state’s film business faced a shrinkage in the recent past. Now the theatre groups arrange splendid advertisements announcing the engagement of popular film personalities prior to the session. Hard times started for mobile theatre groups last year when the state witnessed a massive public outcry against the Centre’s citizenship amendment initiatives. Brahmaputra valley, which is the roaming ground for mobile theatre groups, witnessed a series of protest demonstrations. The situation even turned volatile on some occasions. So the groups had to cancel shows last winter.

Once the situation became a little normal, the novel coronavirus struck in the beginning of March. “Mobile theatre groups support thousands of Assamese families with a dignified livelihood. But deterioration of the socio-political situation in Assam put everyone in trouble. Now Covid-19 has emerged as a monster for the movement,” said Tarali Sarma, a National Award-winning singer from Assam.

However, she admitted that mobile theatre had lately lost its popularity because of low-quality plays with unnecessary doses of cheap entertainment. Even then, Sarma believes that the ailing mobile theatre groups deserve necessary support from the government. She also did not forget to appreciate the state government for a few recent schemes covering a large number of artistes and artisans.

Associated herself with the movement, the talented music composer pointed out that if the situation does not improve in the next few weeks, the groups would not be able to start their preparations. Moreover, if theatre lovers don’t get to enjoy the plays, because of various administrative measures against the deadly virus, the entire movement would definitely face an uncertain future.

(The writer is the Guwahati-based Special Representative of The Statesman)