Theatre performers celebrate being in a unique category of theory, technique, madness and the constant need to not be categorised.
This initiative of establishing a training studio solely for theatre is to be able to encourage the unperturbed growth of the craft. Let’s face it - theatre needs the category , the definition, the funds, the hype and the status of ‘vocational’.
The challenge is and always has been the homogenisation of every other craft but theatre.
The stage door aims to enable performers to learn their craft and be realistic about aims and challenges revolving around this creed- this way of life and this profession.
Theatre sometimes suffers the predominant guilt. The guilt of silently wanting to be mainstream yet digging up the scraps of a historically acclaimed concept- ‘theatre cannot be your mainstream entertainment source’
Is that true? Yes - is that true? Also a resounding NO.
It is a misconception that theatre cannot wilfully take up space as a craft , as skill, as profession.
This warped concept is to suit the agenda of a society that time and again… blissfully forgets the need to reinvigorate theatre.
But it is also true that the ways of the dogmatic society is not the way of an actor.
Theatre - is a boiling pot of renaissance altogether- the go getter, the agent of change , the ever evolving status quo, the sharp hiss that shakes up foundations, the messenger.
Can theatre also entertain the ones who just want to enter the auditorium ‘to chill’? Answer is yes. Really depends on how you are using theatre to cater to the mass.
What medium are you using to be able to reach out as an actor? How and why are you doing so?
Theatre shreds into pieces the idea of self importance- in theatre we are simply tools. We are actors, we are directors, we are also the stage itself, we are the technicians, we are the dissenters, the pleasers , the shock factor and also the soothing lullaby.
The stage door aims to celebrate the fraternity of this otherness as well as the totality of what theatre is.
The training will mainly aim at learning and bettering the skill- on stage or even beyond.
Theatre is multidisciplinary - at the stage door we will focus on each and every aspect of the multitudes.
Rijita Chatterjee is an actor, director and theatre trainer of repute with a rich experience in the field of acting and singing. After a substantial experience in Dramatic arts in Kolkata she had been to the University of Surrey, UK, for a special training in acting and theatre. Thereafter, she had been to the premier institute of Music and Drama in London, LAMDA, for an in-depth understanding of musicality and performance. Recently, she had an opportunity to explore Activism via Theatre at the University College Cork in Ireland. She has worked with many renowned directors in theatre.
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