ABSTRACT
In your intensely private rehearsals, which I was privileged to watch and question, I saw you grope towards a new idiom of acting, specifically rooted in the Indian psyche, and yet exposed to diverse influences and tensions. Rarely have I experienced a more meaningful collision of distinct cultures. In the very juxtaposition of your plays, I was made to confront two psyches, two dramaturgies, two languages, two histories, all joined through one person, one being on stage.
