Seema Pahwa, who made her directorial debut with Ramprasad Ki Tehrvi in 2019, wants to tell stories that are a slice of life. She also wants to explore her directorial skills and chose Koi Baat Chale as her sophomore project. A series of dramatic readings by Zee Theatre, Koi Baat Chale features six stories, the first two of which, Toba Tek Singh and Hatak, will be aired on November 19. The two stories based on the acclaimed writer Sadat Hasan Manto’s short stories stars Manoj Pahwa and Sadiya Siddiqui. Ahead of the release, The Telegraph caught up with the theatre veteran and actor-director to talk about the challenges of working with the medium, her favourite Manto story and more. Excerpts:
You made your directorial debut with Ramprasad Ki Tehrvi which was critically acclaimed. And while that was a feature film, Koi Baat Chale has a theatre style. How different or challenging was this as a director?
It’s definitely challenging because this is a dramatic reading. Ramprasad Ki Tehrvi had 27 actors, a big set up and we had time in our hands to tell the story. So, unlike a feature film, the actors work solo here with no interaction with other actors; it was a challenge to picturise it, primarily. When we do a short film on the screen or do a play on the stage then we have a lot of options in terms of visualisation. Also, since this is a solo reading of 30 or 40 minutes it’s a challenge to hold on to the listener’s attention. When it’s happening on the stage the audience is with you inside an auditorium but with a format like this where the audience has the freedom to opt out at any time they want, is certainly challenging. Also, Ramprasad Ki Tehrvi was my story and I could tweak it as per my liking but this is not. These are stories of well-known writers with very less scope of changing things. However, it is this challenge that I enjoyed along with the stories which are so interesting. So, it was as challenging for me as for the actors.
How excited were you when you got this project?
I was a lot excited as I am attached to theatre and I love doing theatre as it’s a different kind of experience. Also, not very often do we get a chance to do something like this. It helped me explore my skills as a director and I want to do more such work.
We are sure the act demanded actors with a different set of skills. What were you looking for in the actors while casting them?
As this is related to theatre I had cast actors who are from this industry because I knew that they would understand it better. Screen actors’ training and life experience is completely different from a theatre actor and for dramatic reading it’s essential to understand the ecosystem of theatre and know the story thoroughly. And I knew theatre actors can only do it.
Which is your favourite Sadat Hasan Manto story?
I have grown up reading Manto, Ismat Chughtai and Premchand and I have been a great fan of these writers. It’s hard to choose a favourite because there are so many stories that touch you equally. Hatak and Toba Tek Singh were among my favourites and I am glad I did it with this series.
If you were offered to play a Manto character, which one would that be?
Hatak has been my favourite and I wanted to do it but when I was offered to direct it I chose Sadiya Siddiqui for the lead. She is a sorted actor and she was there with me in my first film as well.
Manto’s stories have been adapted in different formats. Did you have a reference point while working on the series?
I am not from the school that takes reference; I have never been in favour of that. You can take reference from people around you but not from someone else’s work.
Where are we seeing you next?
There are a couple of web series that I have done and they will release soon. There are feature films as well but it’s too early to talk about them.
And in film direction?
I am trying to pursue producers for a couple of stories that I have. I hope they will materialise soon. I want to tell stories related to life; stories that I have experienced and are a slice-of-life... not something like science fiction.
