It is a pleasure to me that the NSD Repertory is completing its 40 years. Started with merely 4 members in 1964, it gradually grew to 6 to 8 members finally transforming itself into a full-fledged Repertory in 1977. During the initial years the Repertory and the National School of Drama presented works together. Generally artists from the Repertory were cast in the main roles and the students of the school supported them by playing small roles. Working with senior graduates was highly benificial to the students who could learn a lot try watching them perform. With the passage of time both the Repertory and the school grew and they began to give independent performances. However, a desire to make a presentation in which the Repertory artists and the students of 3 years work together, still floats sometimes in the heart. If a joint performance is not possible then the students of the three years must make such performance atleast once in three years, Looking back we find that it used to happen before but this practice gradually ceased since atleast 20 students began to be taken in every class.
A similar congregation was made in 1990 on the completion of 25 years of the Repertory. Both new and ex-students of the school participated in this. Some parts of the old performances were presented by those actors who were not there in the Repertory that time. Two noticeable incidents took place then. Firstly, a book titled 'Rang Yatra' based on the history of 25 years of the Repertory was published. Secondly, an exhibition of 25 years of the Repertory was made through photographs, models and costumes etc. This exhibition was later held in various cities of the country.
Exactly 15 years later, the Repertory has covered yet another milestone. As a result, a "Summer Theatre Festival' has been organised in memory of the first member of the Repertory - Om Shivpuri. It is for the first time that the Repertory is presenting its 15 works in a single festival.
Taking statistics in account, the Repertory has presented 125 plays directed by about 65 Indian and foreign dierctors and around 300 artists have enacted various characters. But this occassion rises above the 'play of figures'. It should more importantly be percieved as an attempt to look back and asses its work. With its different presentations the Repertory has undoubtedly been setting marks through its artistic excellence and concept. These have not only influenced Hindi theatre but have also made deep impressions on the entire Indian theatre. The most important question now is: In what direction should the Repertory be progressed in the next 10 years? Is the non-terminating presentation of plays, one after another, the only motto of the Repertory or an appropriate selection of plays, useful in establishing the identity of the Repertory also crucial? Should not we consider the fact that we have not yet been able to perform 365 days an year and work on new plays every morning? Isn't it possible to have a suitable number of artists so that the Repertory can function in two groups, one working in Delhi and the other outside Delhi, which could alternate between preparation and performances? Efforts should also be made to invite senior graduates and other famous and established actors to play major roles in the plays. The Repertory, undoubtedly, is a completely professional unit. It is however required to relate this professionalism to artistic excellence rather than economy. Some plays should be regularly repeated to keep them fresh. We should also remain interested and keep the audience engrossed. Therefore, it is necessary to evaluate our work and evade being too mechanical.
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