The invisible Theatre Personality in my family-My Father

Drama was a colloquial word in usage for long time synonyms to Natak or Natakam. Today, one comes across  the world Theatre a lot and sounds better to use. However, many find it unacceptable to use interchangeably both Drama and Theatre.

Born in an orthodox conservative Iyengar Brahmin family in 1936 Shri. T. Rangarajan was exposed to religious and spiritual readings, Shloka recitation, listening to Ramayana, Mahabharatha and Thiruppavai upanyasam  discourses from younger days.  His mother  Rajammal fondly called by all as ‘Chitti’, use to tell short funny stories  with proverbs and Tamil language saying  based. So, from the beginning he was open to  more of listening skill “Shravana”. As most of the discourses were oral in nature, this helped in developing listening skill. As always, his emphasis on youngsters to listen and develop this skill well. As he grew older, he developed an inclination towards reading rich scripture books, short stories, novels in Hindi, Sanskrit, Kananda, Telugu. Tamil and English languages. High school days participated in Kannada and Sanskrit drams during school   day function.

Then it was his high school senior students Shri  N. B. Narayana is  also known  as Drama Narayana and fondly called by all as Nani. Then he became makeup Nani.  It was Nani the main  influencer towards theatre, dramas and plays. ‘Aliya Devaru’ was the play written and directed by Nani and Rangarajan accompanied him to watch the rehearsal practices. Then slowly was part of Nani’s theatre group. Got a chance to perform in his plays. “Bandavala Badaiya”- a play  directed by Nani as a welcome drama to Sri  Kamarajar Nadar Chief Minister of Tamil Nadu, when he visited Bengaluru in 1954-55.

However, there was a break in his drama career after joining college for his graduate studies.  Every year Thiruppavai upyasam discourses was being organized by various sabhas across Bengaluru for one whole month from Dec 15^th - Jan 14^th every year during Margazhi month.  During Thiruppavai discourses, many scholars would narrate various unheard sub stories and  short stories  from the epics Ramayana, Bhagavatha and Puranas. He then used to narrate the same with the same zeal, theatrical gestures and voice modulation to his mother.  This was the stepping stone for storytelling.

Then after joining Indian Railways posted at Mysuru, his colleague Sri C. Ankappa  took him to watch dramas on  ‘Veera Shaivisms’ theme based. Here, he learnt about the Veera Shaivism philosophy, about the Basaveshwara, Akkama devi and was exposed to lots of Kannada Vachana Sahityas.  Later he was posted to  Hubli Railways in North Karnataka region.  There he was part of Tamil Sangam, Kannada Sangam and so on. Sri. Kannan Garge- was the director of  Tamil Dramas, Sri Shivappa Mahadevappa Hulamai, Shiva swami, S.N. Srinivas, Ramaiyya, directors of different Kananda drama groups. All were senior colleagues in railways and staged  dramas in Kananda, Tamil, Telugu, English and Hindi  for Railway week celebration. His inclination towards the spiritual path made him to be part of all the mathas of Vaishnavas, Shaivas, Madhavas, Veera Shaiva and so on. One of his senior colleague and friend- Sri Vaidhya- used to tell him stories from Maharashtra-Saint Ramadas, Bhakta Tukarama and so on.

 It was in 1966 that one of his colleagues Sri  R.J Chilakwad introduced him to All India Radio, Dharawad  for audition.  He was selected in the audition test and then acted in the various Kananda dramas directed by Smt Yamuna Murthy, Sri Vaman Rao, Sri Kamat and many others. Sri Kamat  who used to direct Sri Girish Karnad’s plays. In the ’Hayawadana’ play Rangarajan’s performance was well appreciated by the legend Girish Karnad and others. His AIR drama journey kept him busy for 20 years with around 20-30 plays he played in various roles.  

Then after joining Indian Railways posted at Mysuru, his colleague Sri C. Ankappa  took him to watch dramas on  ‘Veera Shaivisms’ theme based. Here, he learnt about the Veera Shaivism philosophy, about the Basaveshwara, Akkama devi and was exposed to lots of Kannada Vachana Sahityas.  Later he was posted to  Hubli Railways in North Karnataka region.  There he was part of Tamil Sangam, Kannada Sangam and so on. Sri. Kannan Garge- was the director of  Tamil Dramas, Sri Shivapp

          Here, both drama and theatre is used interchangeably. It was a sudden, shocking surprise to me to know from my brothers that my father's drama recording was going to be aired on Radio during my childhood. Those days, it the dramas would be aired after 9:30 0r 10:00pm. Sometime it would be one hour drama and some time it would be one and half hour programme. Luckily, we had a radio set at my home and the aerial would run from the backyard to the veranda where radio was kept.

          On the radio I now recollect, Our hometown being a cold region with good rainfall, We had a pleasant climate fluctuating between 22 to 27 degree Celsius. Of course, it is no more the same. We also had lots of cats reared in my home at a time. They would rest on the radio and  the long fluffy tail laying down and tapping to the music and musical notes coming from the radio. It would be quite warm for the cats.

          Again, two of my brothers are born engineers who could do-undo anything and everything with a tester, screw driver, soldering machine, and connecting and disconnecting electric connections. If anything would go wrong with the radio, then they both sit with their equipments and open the radio set and start repairing them. Most of the time, they would rectify the problems, and there would be every possibility that we could get to listen unknown and foreign stations. A glow in my mothers face could easily be seen if accidentally, some Tamil station gets connected with carnatic vocal by those days great maestros would be heard.

         Well, back to drama.. As soon as the date/day/and time of drama going to be aired over AIR DHARWAD/BANGALORE would be announced, we all would get ready from morning, completing all our homework/studies early (I remembered homework and use to forget the assignments. My brothers would then check the aerial is perfect or not, inform all our neighbours about the same, have an early dinner and sit before radio. At my place lots of uninvited guests-floating guests visited every day with open invitations. Some stayed for some time, others stayed till dinner and some for a few days too. This did not irritate us in normally as we had got used to it, but yes, I would get irritated at times, as it would disturb us from listening to the radio.

         I am being the youngest among all, would unknowingly go to sleep and my brothers would wake me up and then we would listen to the drama. Again, we would have bets in guessing my father's role played and remember his dialogues. Mostly he has played the roles of a second lead in the drama.

         I am trying to recollect the drama 'Channa' directed by Smt. Yamuna Murthy (I am not very sure about the director's name) and the dialogue version between a younger kid and older kid on the demise of a mother or so... as the story goes ''Alabyada kampi, Naninga pepe kodusthini, chandamama torusthini, nanu ninu sere kuntalpi adolu'' this dialogue was learnt by all spontaneously and more similar ones. We did the recital of the dialogue for weeks together and so on.
        
         Then, I explored that he was also a theatre artist who has staged in more than five languages. Unfortunately, none of us have seen the live performance. Though he was serving in a government department, his passion for this theatre was so severe that, he would totally forget family, wife and children and get involved with theatre. This is what happens with all theatre lovers.

       During his earlier days he was a voracious reader, good information gatherer, study about culture, cultural practice, body language, language usage, diction, pronunciation, and study the script thoroughly. He would also discuss about the play and script at length. He also has good command over Tamil, Telugu, Kannada, Hindi, English and Sanskrit. He is highly creative and has a unique way of presenting. Perhaps, these are the essential qualities for any theatre artists.

       Once he was referring to me that, all the artists would know each others dialogues and act. If anyone fell sick or failed to appear on  the set, then the others had to play their role too. All were involved in stage designing, costumes, set designing and all aspects of drama. This working in groups and collectively gives more scope for learning. Most of the members of the drama were either serving in government or the private sector. Very few, who were totally dependent on drama for livelihood. As he had an upper edge to play in more than five languages, the drama troupe would also vary from one group to another. Live dramas he staged till 1975. Late1980s, even his dramas over AIR also reduced. Then, his drama troupe members also moved from our home town on transfers, promotions and so on and thus the troupe got disintegrated.

      Then, there was a change in his role too. He started associating with spiritual discourse and rendering discourse. I had the opportunity of listening to his discourses which had a dramatic effect. Perhaps, this could the reasons that after listening to him, I find to listen to the discourses of others. May be I am prejudiced too.

      I have heard from others who have watched his live performance, appreciating my father and his roles played. Now he is 75+ and mostly glued to different T.V Channels. He has occupied his chair on evaluating and of the audience. He enjoys watching daily soaps in Tamil, Kannada.... and recollects his days, makes and comparisons on scripting, and everything related to the play.

        Even today, one can notice the spark in these old eyes when someone talks about drama or theatre. Nobody in my family took up theatre or drama after him. Somehow, one faulty genes entered with me by default and I am associated with my puppet theatre..... not a full fledged theatre artist.

         Of course, my mother was not very happy with him as a theatre artist. She has all together a  different story to share.....

This is a tribute (I have used the word tribute as it can also be used for living person, if anybody is not comfortable, please refer to the usage) or I would like to dedicate this post in honour to my Father Sri T. Rangarajan-Retd Senior Section Officer, Account Department, Divisional Office South Central Railways, Hubli and theatre personality. I have given a new name to him- 'TV ', as these days he is glued to TV all the time)