No Laughing Matter: Inside the Serious Business of Theatre for Children

 

A new play opens in the city. There’s a buzz of excitement among the young audience eagerly waiting to enter. The bell rings, the last bites of samosas disappear, and cold coffee is finished as children and their guardians settle into the best seats in the theatre. The audience, filled with anticipation, sits on the edge of their seats as the house lights dim. But this isn’t your typical theatre crowd. This is theatre for children, and its serious business.

Theatre for children comes in many forms, whether it's acting workshops, theatre performances made by adults for children, or drama courses in schools. From acting training to drama schools, the field is diverse, offering countless opportunities for young minds to engage with the arts. Whether it's a theatre workshop or a formal program at an acting academy, children are exposed to the magic of theatre, allowing them to grow both as an audience and as future performers. But with so many different forms of children’s theatre, how do we define it?

As I spoke to educators, artists, and theatre makers for this article, it became clear that no single definition can encompass the vastness of theatre for children. From professional performances to after-school acting training, children’s theatre can take many shapes. Productions from Gillo Repertory Theatre’s "Souzou" to Aasakta Kalamanch’s "Bed Ke Neeche Rehne Waali" reflect the diverse offerings of children’s theatre today. These performances are curated to engage young audiences with age-appropriate content while respecting their capacity to appreciate complex themes.

Legitimate Audience: Recognizing Children’s Potential

One ongoing challenge in this field is the lack of recognition of children as legitimate audience members. Many assume that children's theatre must have simple morals or educational messages, but children are capable of engaging with artistic expression. Independent theatre maker Nishna Mehta emphasizes, "Theatre for children needs to be respected. Audiences can range from toddlers to teenagers, and they deserve performances that challenge and entertain them.”

Similarly, acting colleges and acting workshops should consider expanding their curriculum to recognize children's theatre as a legitimate avenue of creative expression. Theatre workshops tailored to children’s unique perspectives allow them to experience the beauty of theatre beyond just didactic lessons.

Nurturing Curiosity in a Digital World

In a world dominated by screens, introducing children to theatre is vital. The growing popularity of drama courses and acting workshops emphasizes the need to balance digital content with real-world artistic experiences. Material theatre forms like puppetry, clowning, and object theatre offer a tactile world for children to explore, fostering their imagination and creativity.

Performances like Sananda Mukhopadhyaya’s "Ee Gida, Aa Mara" for toddlers use objects and sounds to engage young audiences before they even learn to speak. Theatre companies like Tram Arts Theatre and Katkatha specialize in object theatre and puppetry, bringing everyday items to life in ways that captivate children. These immersive experiences are essential for childhood development, and acting schools should consider incorporating these art forms into their programs.

Building a Culture of Practice Sharing

Children’s theatre is often community-driven, relying on collaboration and networking. Festivals like Rangshankara’s AHA! in Bengaluru, Studio Safdar’s Shadipur Natak Utsav in Delhi, and Kolkata’s International Children’s Theatre Festival provide spaces for practitioners to connect and share their work. These festivals not only create visibility for children’s theatre but also offer networking opportunities for those working in acting schools or pursuing acting training for young audiences.

Shaili Sathyu, Artistic Director at Gillo Repertory Theatre, is working on building a directory of practitioners in children’s theatre, which will further enhance collaboration in the industry. By establishing a centralized platform, people engaged in children's theatre across the country can share ideas, foster community, and create lasting connections.

The Road Ahead: Pedagogical Training for Children’s Theatre

One of the major challenges faced by drama schools and acting colleges in India is the lack of formal pedagogical training in children’s theatre. While many institutions offer acting training, few include modules specifically focused on theatre for children. This gap in education leaves new theatre makers without the tools or understanding needed to create performances for young audiences.

Shaili Sathyu has addressed this by developing a comprehensive module for children’s theatre at Ninasam Theatre Institute. Covering a range of topics from child psychology to hands-on theatre-making, this program could serve as a blueprint for other acting colleges and acting academies.

The lack of research is also a challenge. Practitioners like Sananda Mukhopadhyaya emphasize the need to understand the world of children to create meaningful performances for them. This is especially important in theatre spaces like drama schools, where aspiring performers are trained to work with children, direct plays, and facilitate theatre workshops. A deeper understanding of the audience is crucial for producing engaging and credible works in children’s theatre.

Moving Forward: Embracing Children's Theatre

As we look ahead, there is a growing recognition that children’s theatre is not just about entertainment – it’s about shaping the next generation. Whether through acting workshops, theatre workshops, or formal acting training programs, children’s theatre holds the potential to foster curiosity, creativity, and critical thinking in young minds.                                    

By legitimizing children as audience members, fostering practice-sharing, and incorporating formal pedagogical training in acting colleges and beyond, the industry can grow in ways that benefit both the children and the theatre community. As Shaili Sathyu notes, the way forward is clear: “We must invest in children’s theatre not only for the industry’s growth but for the holistic development of the children themselves.”

The future of children’s theatre is filled with possibilities, and drama schools, and acting academies have a crucial role to play in its evolution. By embracing the creative potential of young audiences, we not only strengthen the field of theatre but also contribute to a richer, more imaginative world for future generations.