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Helping Theater Find a New DISHA

Sonia Chopra

Two artistes have created a theater group -- called DISHA -- to enable themselves, and encourage others to also find the path that leads to fulfilling work.

The idea is to pool resources, network and share their knowledge with all South Asian actors in New York City.

"I wanted to create more challenging work for myself as an actress... a place where the color of my skin and my unusual name doesn't have to mean I play small parts," said Purva Bedi, one of the co-founders of the group. DISHA means direction in Hindi.

"We at DISHA are artists looking for work and looking to tell our unique stories. DISHA is a vehicle by which we can do that and in doing that, reach our own community."

Bedi and fellow actor Rizman Manji started the theater group eleven months ago.

"Our hope is that South Asian actors will come to the group share their talents and help us make an impact in the acting world, no matter where we work, in plays, films or on stage," Manji said.

The idea of the group is to develop an outlet for actors, writers and directors of the South Asian Diaspora to showcase their talents, hold performances and educate people about their culture.

Recently, DISHA had its inaugural production On Caring for the Beast, and the group's future plans include running a full-length play for several weeks, hosting a series of readings and film screenings and conducting artists workshops where film/theater artists come together for a day to work on their acting skills and to network.

It is only with groups like these that 'ethnic' actors get challenging, complex roles because the writers who visualize the characters are from the same culture.

Bedi explained she gets two kinds of roles: In Hollywood films and network television, she gets small roles, which add color to the work. And then there are the meaty roles -- the work which has been nurtured and matured in the roles written by South Asian actors, examples include American Desi, East is East, and Rice Boy.

Others concur.

"With nothing but hard work these creative individuals who have worked around the clock have managed to circumvent obstacles in funding and manpower and produced a fantastic product. People are amazed to see a story, people, lives that are universal in human failings, desire and need that transcend race," says Sean T Krishnan, who played a prominent role in On Caring For the Beast.

"The backdrop is South Asian, the stories are human. I see great things for a company with the courage to do material which is untested and considered by commercially tested theatre companies and 'too ethnic specific'. As an actor it was a pleasure to do this role because it was so three dimensional and complex."

There are other theater groups in Manhattan and rather than competing, they complement and support each other.

"It is groups like DISHA and SALAAM that are at the forefront of satiating a hunger within the South Asian Diaspora to see the complex stories of our people in theater and films, stories that are specific...universal," said Deepa Purohit, an actress who has also co-founded a theater group called The Rising Circle.

Perhaps because theater has a unique outreach and transcends culture. Geeta Citygirl Chopra, Artistic Director of the New York based non-profit Theatre Company, SALAAM (South Asian League of Artists in America) strongly feels that performance practice, in this case theatre, is more than just people imitating life.

"Theatre is revolutionary, magical, organic and in the moment. It is a source of wisdom that sheds light on the unpredictable changes of life. It can educate as well as entertain. Looking at the origins of performance practices, dating back to the two great texts of ancient dramaturgy, Aristotle's Poetics and Bharata Muni's Natyasastra, one can see that performance practice is part of life. Both dramatic theories speak of the incredible transformatory power of performance," she says.

"Whether it's purging certain emotions or causing an emotional response, both portray drama as dealing with a ubiquitous and sacred truth. Having South Asian American theatre companies was bound to happen and the more the better. I'm thrilled to say that SALAAM Company members have acted and directed for DISHA and we have had DISHA and Rising Circle artists in SALAAM productions so there's a good support network."

The groups raise the profile of the community: "DISHA provides an amazing opportunity for South Asian performers, directors, writers and others, who love theater, to work together... since I have become familiar with their work, I have become even more proud of all the work South Asian artists are doing in New York," says Gita Reddy, who has worked with Peeling, the Asian American writing and performing ensemble for the past four years.

For Bedi and Manji, the evolution of DISHA runs parallel to their own career growth and they hope to make their group an indispensable part of the actors' community, at the very least.

"When I come out on stage and act and receive the applause, it makes me feel alive. The appreciation, my initial nervous, the excitement at the end of the performance, all feed into it," Manji said.

Manji has worked in theater and in film. His most recent roles were Romeo and Juliet onstage where he plays the lead and in the new film American Desi where he plays a Muslim room-mate.

Bedi is a classic example of what a good actor can accomplish. With dexterity and ease, she slips between playing roles on NBC's ER , The West Wing, Rice Boy or American Desi or Varasma's lovers.

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