Chakresh Kumar

Chakresh was born in a humble family to an army-man. He is the eldest of three siblings. He did graduation with Bachelors of Arts from Panjab University, Chandigarh. It was during this time that he established the theatre group Alankarto serve and aware the society. In order to support his college fees and theatre expenses, he shuffled between jobs like taxi service and several BPOs. He completed Masters in Theatre from Panjab University, Chandigarh (Department of Indian Theatre ). In the final year of his post graduation he directed a play Macbeth, which became so popular that it was shown in seven different states on regional television channels. Moving forward he served as a faculty in ITFT College. During this period he left his job and began serving as a directorand acting trainer in his theatre group.

Chakresh’s approach to work is entirely actor-oriented. He goes to the extent of saying that the theatrical elements such as lighting, make-up, costumes should only serve to enhance the connection between the actor and the audience. He believes the engagement between the actor and the audiences’ to be the ultimate truth and all the aforementioned technicalities as only serving as a catalyst in it.

In his early years of acting, Kumar studied the theories of Antonin Artaud, Bertolt Brecht, Jerzy Grotowsky and acknowledges their influence in his work. Combining the years of studying of the renowned theorists and his own experience in the field, Chakresh is evolving his own method which has a lot to do with an actor’s SELF, a person’s essential being.

Regarding direction, he strongly emphasizes that a director must leave the ‘director’s chair’ or the confinements of his/her own luxury. In order to achieve the truth of the situation being portrayed, the director needs to be one with the actor(s). He does not believe that an actor is subordinate to the director or as some would believe- a puppet in the hand of the latter. Whereas he feels that it is the director who is the reflection of an actor’s work and Kumar invests immensely in the actor. In his process, he observes the actor and spends time and energy knowing the person that the actor is. He then fabricates exercises, methods that are tailor-made for the artist and work best for finally being able to enact the character to the minutest of detail.

He treats the subject he is dealing with utmost importance and believes in talking about and bringing to fore the lesser-known or neglected part of our society. He expresses his surprise on how even love has become a taboo in our lives. His work has been primarily about empowering the despised such as daily wagers, laborers and transgender people, whom he believes are all an indispensable and equal part of our society. In his own words, ‘God forbids if one day all (the neglected ones) join forces, owing to the increasing insensitivity towards them, the modern day society would be bound to suffer…’

He is known to be collaborating with actors ageing from 8-80 and thoroughly enjoys the same. He says- “the zeal with which one takes up a task, in this context, the passion with which a person ventures into acting (or the purpose of one’s life) should remain intact and withstand the storms of time and eventual disappointments to come. That zeal must always grow stronger with time and it, combined with the inner liveliness or in other words, the childishness of that person, does achieve miracles”

Chakresh has directed and acted in many plays under his own production Alankar Theatre .

• Macbeth
• A Mid Summer Nights Dream
• One Or The Part Of Two
• Thought For The Day
• Clerk Ki Maut
• Nail Cutter
• Dibiya
• Apraath
• Kafan
• Taam Jhaam
• Koshish Jaari Hai
• Raja Resham Laal
• Andher Nagri
• Bade Bhai Sahab
• Shatranj Ke Khiladi
• Gagan Da Mama Bajiyo
• Rashmeerathi
• Ji Aya Sahab
• Andha Yug
• Ram Sajivan Ki Prem katha
• Sukhia
• Natak Ka Naam Kyu Rakhein
• Mandir
• Phatee Gulaab Jamun
• Poster
• The First Teacher
• Ek Ladki Paanch Deewane
• Aawaz Ka Neelam
• Bolti Deewarein
• Jhopadpatti
• Chaada Ho Gya
• Thiru Nangai
• Inna Ki Aawaj
• Lower Depth (Rodent)

Chakresh has been working with kids since 2006. Chakresh says, 'It amazes me every time to see children in action, they always have something different to bring to the table. It is surreal to see kids, as little as they are, without the baggage of societal pressures, achieving or exploring creative terrains that our adult, 'trained' minds cannot even fathom.'

After directing a number of plays with kids namely 'A Mid Summer Nights Dream', 'Phatee Gulaab Jamun', Chakresh has learnt to set the children free, especially on the stage, where he feels that children weave magic like no one else can. He refrains from inculcating the technicalities of drama into them as in his own words, 'theatre for children is not (only) to make maestros of an actor or director or designer out of them, instead it should focus on letting them grow with a clarity of mind, a genuine curiosity towards life which is otherwise, sadly, elusive to the grown-ups.'

He has done following plays with children:

• A Mid Summer Nights Dream
• Little Bitiya
• Ji Aaya Sahab
• Phatee Gulaab Jamun
• Koshish Jaarii Hai
• Kalyug Ki Raamlila
• Pollyraja