Alumnus Update: Gaurav Sharma
Gaurav Sharma is a 2010 scholar who attended the London Academy of Music and Dramatic Arts to pursue a Diploma in Stage Management and Technical Theatre. He is the Founder and Principal Designer, Harmonic Systems, a lighting design and consultancy studio and the Founder and Artistic Director, Abhang, an art and cultural society.
This week he chats with us about how he found his way to light, the most interesting and challenging projects he’s worked on, as well as his upcoming play based on Shakespeare’s Midsummer Night’s Dream.
Light is life and life is all about light
Q. Tell us a little bit about your journey exploring the various aspects of theatre from Punjab to Delhi to London.
A. I look at it very simply. Punjab taught me how to stand. Delhi taught me how to question and London give me all the answers. I started my journey at the Punjab University. This is the institute where I learnt that I'm not an actor, but I'm a creator. Fortunately for me, the institution encouraged me and gave me a lot of energy to think and develop performance pieces. It was this encouragement that led me to National School of Drama in Delhi. Drama school showed me how to live art, understand how art can be questioned and how art can be developed in different areas and circumstances.
I graduated at the top of the great institution, National School of Drama, before I went to England. If I may be honest, my time in London pulled me back down to earth.
With the help of Inlaks, I was able to attend the London Academy of Music and Dramatic Arts for a Diploma in Stage Management and Technical Theatre. I was a 29 year old guy at the time, with classmates who were between the ages of 17-20 years and full of energy. Their energy was contagious, I would say the boodha of the class became a young guy. The institution also taught me how to work in a system. I used to live my life in sketchbooks, constantly experimenting, and still do, but they had they wanted me to live and create art in more organise way.
I had some fantastic teachers, one of whom was Mr. Geraint Pughe, who is now a head at the Mountview Academy of Theatre Arts . He suggested I should try working with lights. I thought he was crazy and joked that he should never say this to anyone back in India as they would think he’s drunk. I was after all, a scenographer, a set designer. But he insisted that my understanding of colour & lighting was strong and that I should give it a shot. He was right. And thus, begun my journey with light. The first few shows that I worked on were Merry Wives of Windsor and Twelfth Night at Drill Hall, which is now owned by RADA (Royal Academy of Dramatic Art).
Opportunities seemed to be abundant. An old tutor of mine, Mr. Neil Fraser, who works at RADA asked me at the time if I wanted to attend a third year in RADA. Unfortunately, I could not extend my scholarship. Bill Alexander, the ex-artistic director of Birmingham Repertory Theatre and the Royal Shakespeare Company, introduced me to one of the top London agencies. I had the constant support of my mentors and cheerleaders, Anuradha Kapoor, Dr. Neelam Mansingh, Joana Reeds, Mike Robertson, Neil Austin, Paule Constable.
After I graduated from LAMDA, I had two and a half months and a limited allowance left from Inlaks. I decided to make the most of it. During that time, I worked on 65 shows. However, my two and a half months was coming to an end and India was beckoning me back. It felt right that I should come back to my family and home. When I came back, the Sangeet Natak Academy, the Ministry of Culture, awarded me Ustad Bismillah Khan Award for Lighting. It is one of the most prestigious awards for a young lighting designer or young artist. And that has been my journey through the three institutions I attended.
Q. And now you run two organisations, a lighting consultancy, Harmonic Systems, and a theatre company, Abhang.
A. Yes, I work primarily as a lighting consultant and designer for any kind of system, be it architectural, entertainment or thematic. I have designed over 250 projects including lighting for some of my favourite musicians such as Anushka Shankar, Papon and Parikrama. I also design the lighting of building facades. I often collaborate with international lighting designers who come to India. For me, light is life and life is all about light and nothing else. But I cannot leave theatre and that is why I started Abhang in 2009. Solely run by me, Abhang not only produces plays but also offers educational theatre programmes.
Q. How do your three practices, as a lighting expert, a scenographer and a writer inform each other?
A. We all are storytellers and begin telling stories from a young age. I remember, when I was a child, I would always carefully set the scene, the lighting and say all the right things to ensure that I would get what I wanted.
Stories are a way to connect, and I love connecting with people. I believe that communication makes us human, makes us humble. It allows us to exchange experiences. I can see stories through light. Light has the ability to enhance architecture, a scenography built by someone. To evoke a memory and feeling in ways that words cannot.
Q. What has been the most interesting project you have worked on?
A. Let me rephrase your question, sabse zyada pareshaani kaunse project se mili? If I may be honest, every project comes with its own fair share challenges.
I find the biggest challenge in India is that nobody wants a lighting consultant unless it’s a matter of finance or policy, they then look to big firms like Deloitte or Price Water Cooper. The concept of a lighting consultancy is almost non-existent, but I am slowly building it up and creating awareness amongst clients about the value of a lighting consultant and how it will not only enhance their environment but also be value for their money.
Some of the musicians that I work with are quite exacting in what they want. Anushka Shankar is very demanding, Subir Malik of Parikrama is very particular about what the lighting of the stage, Papon constantly wants lights on himself and his musicians when they are on stage. What makes it more challenging is that in India, there is no organisation, everything is shared one day before the show. They seem to think a lighting designer is a magician and he will require only one day to meet all their requirements. Though I must admit, Anushka is the most difficult to work with. Not as a human being, but as a professional. She's a very interesting person and I really enjoy working with her. When she plays, she transforms you, makes you forget.
I enjoy these projects, the residential buildings, and the ones with the musicians as they challenge me and push me.
Q. Can you tell us a little bit about the upcoming play you are currently writing and any other projects you are working on?
A. I'm directing and writing a play called Puck, which is play based on its Midsummer's Night Dream. We have already begun pre-visualisation for this unconventional production. I plan create a sort of Son et lumière, where moonlight is the hero. We will only be able to debut the play once things begin to open.
I am also developing a light art installation entitled, “Undefined objects”- Finding Optical qualities in found object for contemporary as well as designing a laser show. So many exciting things are coming up.
