Later, Sarasa Vinodini Nataka Sabha, an amateur association started by the famed D. Krishnamacharlu of Bellary early in the eighties, staged its first plays in Kannada language before it switched over to Telugu language plays. A number of amateur associations like The Art Lovers' Association and Joladarashi Mitramandali frequently appeared in Bellary and strove to follow the great traditions of theatrical art established by D. Krishnamacharlu and Bellary Raghavachari. A study of the careers of some of the amateur troupes will reveal the major drawbacks from which the troupes suffered and which proved to be their undoing many a time. Even very influential and well organised troupes like the Amateur Dramatic Association the Literary Dramatic Association, and the Chaya Artists seem to have revolved around individuals. Normally, an amateur troupe, has no reason to fade out after the death or defection of one member, however important he is, for, it is not a proprietary concern working on a one-star one-proprietor sort of system. That amateur's troupes all the same did fade out this way proves that they were in no better position than the professional companies so far as their dependence on a "star" or two was concerned. A second drawback from which the amateurs suffered was the inevitable transfers of actor-members of the association from one place to another, as happened in the case of the artists of the Bharata Kalottejaka Sangeeta Samaja. The worst drawback, inevitable as it is perhaps the lack of training and rehearsals, for unlike as in the professional companies, there is no obligation on the part of the artist, who is educated and who knows that the troupe is helping him in no way to rehearse rigorously and carefully. More often than not, a member, though a poor artist, was to be given the leading role because he enjoyed a high social status. This lack of propriety and the foolhardy self-confidence that the players exhibited now and then naturally came to be criticised bitterly. The troupes had to realise that acting, like any other art, needed able directors. They needed training in the art of make-up. They needed a willingness to study and emulate the techniques of the West. Many an amateur troupe came into being merely because of the enthusiasm of an individual and soon disappeared for want of stage technique and histrionic ability. It was true that many troupes failed for want of financial stability, but even more than money, they needed faithful, understanding and painstaking artists, who could sacrifice their individual pleasures and conveniences for the sake of the team. |