Ratan Thiyam, guru and theatre modernist, leaves the stage

I was sitting in the dark, towards the back of the Kamani auditorium, waiting for Ratan to arrive so that I could discuss some arrangements with him regarding the Bharat Rang Mahotsav's opening performance that evening of his latest play, The King of the Dark Chamber/Raja (2012).

- Amal Allana

There was pin drop silence. Suddenly, the auditorium door swung open and Ratan strode in. His entire troupe sprang to its feet and then en masse, they genuflected in front of him, in total obeisance. He gave some instructions in Manipuri, and soundlessly they tiptoed out to take their positions on the stage for a runthrough.

Never before had I experienced such total and unconditional discipline on the part of actors anywhere in the world! Not even in Alkazi's heyday when he was looked upon as an unrelenting and uncompromising taskmaster! This kind of complete physical and mental subservience to one's Guru, especially in today's world where questioning was encouraged, not stifled... Was this a medieval mindset, unchanged and ingrained in the Manipuri psyche for centuries, a part of their martial background? On reflection, I began to believe that such compliance could only be possible today if the leader was steely and single-minded in his mission, unforgiving and unrelenting till the final goal was achieved. And Ratan was that...totally committed...a perfectionist.