The Grips Theater in Berlin, Germany is a well-known and well-respected theater for children and youth located at the Hansaplatz. Originating out of this is the Grips Theater Movement that has been providing room for self-expression, to children across nearly 50 countries. It is a special method meant to look at the real problems of children and present plays to find a solution for young audiences. These are realistic plays that have an optimistic ending and the roles of children are enacted by amateur or professional adult actors. This movement completed 25 years in India in October after it was first brought to Pune in the mid-1980s by actor Mohan Agashe. Present on the occasion to celebrate this event was Volker Ludwig (73), the founder of the movement. Excerpts from the interview:

The beginning
It took roots in the 60s when the students’ movement in Europe was very strong. I was part of it and our agenda was to challenge the traditional systems and introduce new ways of education. In fact, some of the pioneering leaders were opening their own kindergartens and there was a lot of talk about making education free for all. I was involved in political satire theatre then and got this idea of doing children’s theatre differently which was then mostly about myths and fairy tales. So I formed a group and we started with plays that reflected the real problems children face. For example, we did a play that revolved around the lack of playing space in a school. The kids began to love it and the movement flourished.

The global reach
There were long periods in each of the 50 countries where it did well. However, it’s only in India that the movement has survived for so long. Elsewhere, it has been slightly on the wane. As for example, in Brazil it did well for a decade when it was done under the patronage of the Goethe Institute but now the interest has begun to fade. In India, it was Dr Mohan Agashe who took the initial trouble of making it happen and the team has worked really hard to keep it going. Agashe is now my grandson’s godfather. We have named him Caspar Mohan.

Why it worked in India
The prime factor that worked in its favour was that experienced theatre personalities in India like Shrirang Godbole, Prasad Vanarase, Vibhawari Deshpande and others began to script the plays for the Indian audience rather than continue with the direct adaptations of German plays. This had always been our intention. We don’t want the world to see German plays written and staged for German audiences. A good play must be adapted so as to fit the local context. In India, the subjects are completely Indian – only the method is that of Grips.

The challenges
I have personally observed that theatre still continues to fascinate a young audience because it’s always a new experience for them. It’s real, unlike the rest of it which is virtual. It may be difficult to convince an adolescent to go and watch a play. But once he or she does it, the experience is certainly enjoyed and the next time it will be easier to attract the person to watch a play. We have many testimonials from people who say that Grips’ plays have completely changed their attitude to life.
Like any other theatre, it has to face the constraint of funding. While corporates and institutions will gladly sponsor sports tournaments or lifestyle events or entertainment shows, they flinch at the thought of giving money to theatre. We have to, therefore, keep inventing various ways and means of raising enough money to keep the movement strong. In Germany, for instance, we tied up with doctors who would give away passes of the plays to their young patients as a form of healing.

We can touch upon caste divisions, sexuality, and so on with the right approach. You don’t preach them from the stage. Instead, you use the tools of emotion – mostly comedy – to project an issue or an idea and then you let them do the thinking for themselves. Children, especially in today’s times, are very much aware of what is happening around them. There is no innocent ignorance left any more.

The road ahead
The plays should be taken to the rural regions so that children over there can enjoy and learn something from them. Also, there is a need to project their problems which are totally different from those of the urban kids.