Curtain call for change: The fight for LGBTQ+ stories in Indian theatre

Indian theatre, with its rich heritage and diverse regional forms, has grappled with the challenge of portraying LGBTQ stories on stage. Despite some notable exceptions, these narratives have largely remained on the fringes, struggling to find mainstream acceptance and recognition. But, what are the factors that have contributed to the marginalisation of LGBTQ narratives in Indian theatre? And how can we pave the path forward for greater inclusivity and representation?

“Mohini, Ila, Narad, Agni, Shikhandi, Saamb, Budh gruh, Bhagiratha — Indian mythology is full of queer characters and stories. But proscenium theatre history is intertwined with our colonial past and colonial ideas like censorship — which ensured a certain heterosexual framework — while traditional forms of Indian theatre have been closely linked with mythology,” says Sapan Saran, theatreperson and the writer of BE-LOVED, a play that focuses on queer joy and the impact of the Supreme Court’s Marriage Equality judgement.

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Saran explains it is within this framework that queer representation has happened in Indian theatre, and despite its rich heritage and diverse regional forms, portraying LGBTQ+ stories on stage is still a challenge. “Perhaps the folk arts have been freer and cleverer in their ability to celebrate queerness,” she says.

There has been a gradual shift towards more progressive representations in India, but societal and cultural barriers continue to impede the widespread acceptance and production of LGBTQ+ stories in Indian theatre.

Theatre director and actor Lillete Dubey tells indianexpress.com, “It was only in the last decade that significant changes regarding LGBTQ rights began to take place in India, such as the decriminalisation of homosexuality. This is a very recent development, not something that occurred 30-40 years ago.”

In a climate where homosexuality was “criminalised”, it was challenging for people to find “inspiration to write openly about these themes”. Some underground works might have existed, she says.

Theatreperson and creative producer Sameera Iyengar concurs. “If you’re discussing urban theatre in India, its legacy doesn’t directly stem from rural forms. Instead, much of it comes from British influence during the colonial period,” she says. The first modern stage for native Indians was introduced in Kolkata in 1795 by Russian singer and theatreperson Gerasim Lebedev, marking the initial foray of Indians into theatre with a public proscenium. Prior to this, proscenium theatre was predominantly a British activity, performed by and for the colonisers.

As a result, India’s understanding and practices of theatre are significantly shaped by this colonial heritage. Within this framework of theatre, there are very few scripts that explore themes of gender and sexuality.

Role of audience preferences and market dynamics in influencing the selection of themes in Indian theatre

Saran highlights how the Indian theatre audiences are a “mixed group”. Significant sections of it are uncomfortable with any kind of open expression of sexuality. Organisers of festivals as well as curators are all aware of this discomfort, she reveals. A festival invitation to a queer play very often depends on the organiser’s willingness to take risks.

The commercial viability of productions is a significant concern, and many producers and directors may opt for safer, more mainstream subjects to ensure financial success.

Atul Satya Koushik, theatre writer, director and producer notes, “In the end, it all comes down to the people who are doing theatre. Some people are absolutely audience driven and others are driven by their desire to tell unique stories.”

Dubey, however, asserts audiences do not care much about the theme of the play but how well written it is. “The subject is secondary, how good, how well are the characters, how well is the story told, how good is the critical word.”

Funding and institutional challenges

Chinmay Das, director repertory, Shri Ram Center for Performing Arts highlights that while LGBTQ narratives do face significant problems in funding and institutional support, many theatre productions in general face the same issues.

Saran strongly agrees with Das, “Theatre in general suffers from this problem. Formal institutional funding for contemporary theatre practice is minuscule in India. There are some private arts organisations, like the IFA in Bengaluru, that fund theatre practice, and even encourage theatre to look at alternative perspectives. However, this is still a small number.”

For BE-LOVED, the act of collaboration helped. Gaysi Family, a queer organisation, invited us to create a play, and partially funded it. Since the play’s opening we have collaborated with several queer and feminist organisations, including Maya Sharma’s Vikalp, to be able to travel with the play to various cities. Such collaborations are a vital coming together of two worlds — progressive arts practice and social activism.

Audience preferences and market dynamics play a crucial role in determining the themes explored in Indian theatre. (Image credit: Sapan Saran)

Impactful LGBTQ+ productions and the way forward

Despite these challenges, there have been some notable LGBTQ+ themed productions that have made an impact in Indian theatre. Plays like BE-LOVED, Loins of Punjab Pruned, and Humsafar have garnered critical acclaim and sparked important conversations around gender, sexuality, and inclusivity.

Vijay Tendulkar’s Mitrachi Goshta has a lesbian protagonist. Though considered a flawed representation by many, it was a radical play for its time. Sunil Shanbag’s Dreams of Taleem, based on Chetan Datar’s 1, Madhav Baug, contemporary adaptations of Vijadan Detha’s Dohri Zindagi, Ismat Chughtai’s Lihaaf, Mahesh Dattani’s Dance Like a Man, performances by a traditional tamaasha troupe like Bin Baicha Tamaasha (a Tamaasha without women), and amongst the more recent ones – Nava by Sharanya Ramprakash and Queen Size by Mandeep Raikhy are some of the pieces that come to Saran’s mind as prominent LGBTQ-themed plays.

However, for LGBTQ narratives to become truly mainstream, a significant cultural shift is needed.

Saran and Dubey think there needs to be a shift in gaze. “That’s a much larger societal problem deeply connected with systemic patriarchy. Theatre cannot overturn this overnight,” Saran says.

Dubey adds, “They are real people, which is how we should perceive them, real people. There’s a sexual orientation, that’s all.”

Increased representation and visibility of LGBTQ individuals in various spheres of society, including the arts and entertainment, can help normalise these narratives and challenge existing stereotypes and prejudices.

Stronger support from government and private organisations in the form of funding, resources, and policy changes can encourage more theatre groups to explore LGBTQ themes without fear of backlash or financial constraints.

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