Picture a realm where the enigmatic world of Franz Kafka’s absurdity collides with the pulsating energy of modern Indian society. Envision an individual, faultless in his conduct, entangled in a harrowing quest for justice within a system predisposed to mute his pleas. This is the gripping narrative that unfurls in Anmol Vellani’s black comedy “Innocence,” making its much-anticipated debut in Bengaluru come May 10.
Drawing its plot from the pages of Kafka’s seminal work, “The Trial,” “Innocence” reimagines the timeless ordeal of one’s fight for justice amidst the setting of 21st-century India. Shedding light on the creative process, Anmol remarked, “It’s an adaptation in two senses: firstly, by relocating the storyline to current-day India, and secondly, by transforming it from a novelistic medium to one of theatrical enactment.”
The dramatic offering spins the yarn of a protagonist, whose name is never disclosed, suddenly finding himself implicated in a crime. The details of this crime remain an enigma even to him. As he attempts to untangle himself from the convoluted justice system, his steadfast claim of innocence only furthers his descent into a void of desperation and solitude.
Adapting Kafka’s text rendered distinct artistic challenges, as Anmol concedes. “The Trial” is rife with intricately detailed passages that evoke a sense of dread and terror, elements that are inherently tricky to replicate on stage with limited verbal dialogue. His endeavor was to convert these into scenes brimming with exchanges, confrontation, and heightened drama.
A crucial ingredient to the adaptation was maintaining the novel’s fundamental themes and relational dynamics. The surgery required to condense a 200-page narrative—meticulous excisions and judicious augmentations—was undertaken, but it was imperative that its soul remain intact. Kafka’s matter-of-fact, almost journalistic style, despite being laced with absurd elements, prompted a pivotal question: what theatrical genre would best embody this?
The genre of black comedy was the clear solution. “It permitted characters to act with normalcy, echoing Kafka’s written word, while underscoring the innately skewed nature of their circumstances. The dark humor dovetails perfectly with what Kafka expresses in the novel, bestowing gravity to the message while masking it with a façade of levity,” elucidated Anmol.
Despite its foray into the absurd, “Innocence” is rife with undercurrents of social critique. The play tactfully integrates allusions to present-day Indian political landscapes, such as the contentious electoral bonds affair. “These absurdities were omnipresent. Starting the writing process in 2017, I systematically threaded these contemporary Indian elements into the narrative, albeit with careful consideration.”
This judicious integration ensures that while the play radiates universal significance, it holds a profound connection with Indian spectators attuned to the nuances of recent happenings.
“The play does not shy away from the political sphere,” comments the director. Its dialogue openly touches on prevailing national concerns, albeit through a humorous lens. “The play may not delve into the complexities underlying these issues; nevertheless, it offers overt nods to a smattering of incidents, like the notorious case of judicial sexual misconduct ending in the judge’s removal. The play tactfully refrains from pinpointing individuals; however, for the informed Indian viewer, the references are unmistakable and potent.”
In an era where artistic expression, particularly in cinema and OTT platforms, confronts strictures, Anmol shows little concern about invoking timely socio-political issues. “The intimate audience attendant to theatrical performances bestows certain liberties,” he relayed, “When the audience swells, the establishment takes notice because your influence becomes tangible. With a more modest crowd, I can skirt the radar, evading the pressure to recuperate costs or mull over political repercussions.”
This autonomy endows him with the ability to explore sensitive themes with subtlety and even critique, rendering “Innocence” a production that engages thought and challenges perceptions.
“Innocence,” funded by Toto Funds the Arts, will grace the stage at the Goethe-Institut/Max Mueller Bhavan in Bangalore, with performances from May 10 to 12 at 7 PM. Enthusiasts may secure their places via bookmyshow.com, embarking on a theatrical voyage that promises to be as intellectually stirring as it is artistically vibrant.
