Actor Abhinav Grover Uses Yakshagana to Change Theatre

Actor Abhinav Grover spent seven years learning Yakshagana, a traditional folk art. He is now using these skills to create new theatre performances.
By Newsroom | Arts, Theatre |

Actor's Path Forged by Yakshagana Immersion

Abhinav Grover, a contemporary theatre artist, has found a profound connection to the traditional Yakshagana folk art form, crediting its rigorous discipline and expressive nuances with shaping his acting capabilities. His journey into this Karnataka-based theatre style involved a significant period of dedicated study, spanning seven years at the Yakshagana Kendra Udupi and Yaksha Sanjeeva Yakshagana Kendra. This deep immersion, often in a gurukul setting, has evidently provided him with an insight into the art form that transcends mere performance.

Grover, who also holds a degree in software engineering, appears to see Yakshagana not as a relic of the past, but as a vital source for revitalizing present-day artistic expression. His work frequently aims to bridge this traditional form with modern sensibilities, re-purposing Yakshagana elements and translocating epic narratives into contemporary contexts. This effort suggests a deliberate attempt to keep the folk art relevant and accessible to urban audiences, a goal he articulated after his return from Udupi.

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Bridging Eras Through Performance

The actor's commitment to this fusion is evident in his collaborative projects and theatrical ventures. He has been instrumental in productions that explicitly introduce Yakshagana to viewers unfamiliar with its intricacies. One such initiative, noted in reports from 2018, involved staging performances like 'Krishna Sandhaan Yakshagaan' with the express aim of acquainting urban theatre-goers with the folk art of Yakshagana.

Furthermore, Grover has engaged in educational outreach, conducting workshops designed to impart Yakshagana techniques to fellow actors. These workshops, held at institutions like Castiko, the Play Shed, indicate a broader mission to disseminate the art form's principles beyond his own performances. His involvement with theatre groups like BeTaal, which he co-founded, underscores this ongoing exploration of blending traditional and modern aesthetics in theatrical creation.

Roots and Resonance

Abhinav Grover's deliberate engagement with Yakshagana follows a trajectory that sees him return to his roots after extensive formal training. While the specifics of his initial exposure to Kannada and Yakshagana are described as being guided by "destiny," his subsequent seven-year immersion in Udupi points to a dedicated pursuit. His collaboration with Yakshagana teacher Sanjeev Suvarna, who later became his guru, further solidifies the deep, personalized connection he has forged with the art form. This period of study under a mentor has clearly been foundational to his development as an actor and director.

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Frequently Asked Questions

Q: Who is Abhinav Grover and why is he important?
Abhinav Grover is a theatre actor who spent seven years learning the traditional Yakshagana folk art in Udupi. He is now using what he learned to change modern theatre.
Q: How did Abhinav Grover learn Yakshagana?
He studied for seven years at Yakshagana Kendra Udupi and Yaksha Sanjeeva Yakshagana Kendra, often living and learning in a gurukul style with his teacher Sanjeev Suvarna.
Q: What is Abhinav Grover doing with Yakshagana?
He is blending Yakshagana's traditional style and stories with modern theatre. He wants to make folk art relevant to today's audiences and teaches its techniques in workshops.
Q: When did Abhinav Grover start using Yakshagana in his work?
His efforts to introduce Yakshagana to urban audiences were noted in 2018 with performances like 'Krishna Sandhaan Yakshagaan'. He has also co-founded theatre groups like BeTaal to explore this fusion.
Q: Why is Abhinav Grover's use of Yakshagana significant?
It shows how old folk art can be kept alive and made exciting for new people. His work helps bridge the gap between traditional Indian arts and contemporary performance.