Bengaluru, known for its vibrant theatre scene, is seeing a decline in attendance and college involvement in the arts. Factors such as shifting cultural interests and reduced focus on theatre programs in educational institutions contribute to this trend
Published Dec 13, 2024 | 4:00 PM ⚊ Updated Dec 13, 2024 | 4:00 PM
Bengaluru’s theatres are struggling for relevance in the OTT era.
Bengaluru has long been known for its lively and diverse theatre scene. From intimate performances in small venues to grand productions in established auditoria, the theatre has been a cornerstone of the city’s cultural identity.
However, in recent years, the city has witnessed a concerning trend: Fewer people are attending performances, and colleges are scaling back their involvement in the dramatic arts.
This decline can be traced to a variety of factors, including changing cultural interests and the reduced emphasis on theatre programmes in educational institutions.
Sandeep Jain, a seasoned theatre practitioner and educator with over two decades in the field, is well-positioned to reflect on these changes.
Jain has worked across numerous platforms, including as a visiting faculty member at Valley School and as a theatre trainer at the Indian School of Business.
Through his work with children and corporations, Jain emphasises how theatre fosters imagination and sensitivity, qualities that have grown scarce in an increasingly digital world.
“Kids today are consumed by mobile phones and video games. Theatre provides them with an opportunity to reconnect with their imagination,” says Jain.
However, he highlights a notable reduction in theatre courses in Bengaluru’s educational institutions.
Colleges that once boasted active drama departments and theatre groups now have fewer programmes and less engagement with the art form.
“When I was in college, there were clear spaces to explore theatre, and it was encouraged. Today, those spaces are shrinking,” Jain laments.
In the past, students could join vibrant theatre groups or choose from a range of theatre-related courses, but this is no longer the case in many colleges.
This shift is a reflection of a broader cultural change, where the performing arts, including theatre, are often overshadowed by more commercially viable pursuits.
The reduction in college-based theatre groups is further exacerbated by the rapid growth of digital media, which offers instant access to entertainment, making it harder for live theatre to compete for attention.
Despite these challenges, Bengaluru continues to be home to a range of both small and large theatre spaces, each struggling in its own way to adapt to changing audience demands.
Venues such as Ranga Shankara, Prabhat Kala, and MLR Convention Centre have long been staples of Bengaluru’s theatre circuit, offering a mix of classic and contemporary performances.
Additionally, smaller alternative spaces like Untitled Arts and Black Box have carved out niches for experimental and intimate performances.
Footfall at these venues has been dwindling. Jain reflects on the stark contrast between the past and present, noting that in his early years, performances at Kalakshetra would draw 80 to 100 attendees, with queues stretching outside the venue.
“Back then, people would queue up for tickets. Now, the numbers are significantly reduced. It’s not like Pune or Mumbai, where theatre is ingrained in the culture. Here, post-COVID, we are still working to rebuild the theatre audience,” Jain explains.
He also points to the challenges of drawing audiences in a city where the cost of attending a performance is high — between the price of tickets, transportation in Bengaluru’s infamous traffic, and the time investment, many people opt out.
“People are now looking at the cost of time and money. The ticket price is just one part of it. If they have to spend hours getting to the venue, it deters them from attending,” he says.
In today’s digital age, the ease of access to online content through streaming services like Netflix and Amazon Prime has further diluted interest in live performances.
Jain acknowledges that the rise of on-demand content has impacted theatre footfall.
“Theatre is an experience that demands time and attention, something that digital media doesn’t require. People have the option of watching content at their convenience, which doesn’t happen with theatre,” he explains.
However, he remains hopeful that the intimate nature of live theatre could eventually turn the tide.
“Theatre is the only medium where you see the actor as a human being, not a larger-than-life character like in cinema. It is this connection that will slowly bring people back to the theatre,” he says.
Jain’s experience with local theatre groups reveals a common problem: The sustainability of productions and the commitment of actors.
He believes that theatre performances truly thrive when they are repeated multiple times, with the actors becoming more attuned to their characters. However, the frequency of performances has dropped, as many new groups struggle to maintain consistent casts and committed audiences.
“After a few shows, it becomes harder to draw audiences. A play actually settles only after a few performances, and it is becoming harder to sustain that number of performances,” Jain asserts.
While some veteran theatre groups in Bengaluru have maintained a solid foundation over the years, many newer groups face challenges in sustaining their actors and audience engagement.
Despite these obstacles, there is hope. The visibility of theatre groups has increased, with platforms like Instagram and Facebook making it easier for audiences to find performances.
Jain believes that the key to revitalising Bengaluru’s theatre culture lies in cultivating a new generation of theatre-goers, something that can only be achieved through better engagement in colleges and through increased public awareness.
“The younger generation today is exposed to so much content. It’s not about the competition with film or television; it’s about creating spaces for people to experience theatre. Once they do, they’ll want to come back,” says Jain.
In conclusion, while Bengaluru’s theatre scene faces challenges in terms of footfall and college engagement, the city’s rich history of drama and its passionate theatre practitioners offer hope for its revival.
Through a combination of innovative programming, increased access, and a greater focus on engaging younger audiences, Bengaluru can once again reclaim its place as a hub for live performance in India.
(Edited by Rosamma Thomas)