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Vinay Varma's play ‘Paaswala' a unique conversation on death

Vinay Varma's play ‘Paaswala' a unique conversation on death

What happens when theatre dares to step into spaces we often avoid, even in thought? Vinay Varma's new play 'Paaswala', an adaptation of the late Jayant Pawar's poignant interview 'Mulakhat' with a crematorium keeper, does just that. Set entirely in a crematorium and revolving around its enigmatic caretaker, 'Paaswala' is not merely about death; it is a stark, soul-searching meditation on life itself.
The play is set to be staged on July 20 at Lamakaan. Vinay, known for his fearless storytelling, confesses he was drawn to the sheer audacity of the subject. 'It's rare for anyone to even attempt such a theme,' he says, adding, 'The idea is morbid, unsettling to read, let alone perform. But what about those who live and work in crematoriums, who see mutilated bodies every day? How do they normalise death?'
At the heart of 'Paaswala' is what Vinay calls 'the chilling stillness' of its central character, the crematorium keeper. But is it truly numbness, or a mask? Does he ever soften? Or is he simply a hardened professional performing the final duty of human existence?
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What happens when theatre dares to step into spaces we often avoid, even in thought? Vinay Varma's new play 'Paaswala', an adaptation of the late Jayant Pawar's poignant interview 'Mulakhat' with a crematorium keeper, does just that. Set entirely in a crematorium and revolving around its enigmatic caretaker, 'Paaswala' is not merely about death; it is a stark, soul-searching meditation on life itself. The play is set to be staged on July 20 at Lamakaan. Vinay, known for his fearless storytelling, confesses he was drawn to the sheer audacity of the subject. 'It's rare for anyone to even attempt such a theme,' he says, adding, 'The idea is morbid, unsettling to read, let alone perform. But what about those who live and work in crematoriums, who see mutilated bodies every day? How do they normalise death?' At the heart of 'Paaswala' is what Vinay calls 'the chilling stillness' of its central character, the crematorium keeper. But is it truly numbness, or a mask? Does he ever soften? Or is he simply a hardened professional performing the final duty of human existence?

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