Pritam Pilania, writer, director and actor, talks to us about his solo performance 'The Moment of Truth', about his experiences at ITI, Singapore, and about what drives him and his company Monolith.
Q A play about a bullfighter. This isn't a thought that would ever occur to me in this lifetime. How did you find yourself in this arena?
A While studying at drama school, I found Margaret Atwood's beautiful poem “Bull Song.” The poem describes the short life of a bull who is forced to fight in a ring against human “Gods.” The poem hit me so hard that I was pushed to write a play about it!
Bull Song is a poignant and visceral depiction of a bull’s perspective as it is forced to fight in a bullring, stripped of an audience's glamour and the fanfare of brass music, the bull experiences only wet dust, roaring cheers like flies, and an overwhelming sense of disorientation and anger under the relentless sun. Its body is wounded, its blood spilling, as it struggles against its fate and the "gods"—humans wielding weapons of red and silver who taunt and evade it.
Through the bull’s perspective, he invokes empathy for the voiceless and highlights the destructive nature of power when wielded without compassion. This theme resonates deeply with me as I witness the countless ways animals are exploited and tortured in the name of culture, tradition, and entertainment.
Across India and around the world, festivals and rituals often involve the suffering of animals - Jallikattu, bullock cart races, cockfights, bulbul fights, dogfights, showbiz performances, Dashain sacrifices, bullfighting, and many more. These practices, rooted in celebration or competition, come at a devastating cost to the animals involved.
Q Did you always imagine it as a solo piece? I mean, when you were writing it, did you go through other, different versions of the play?
A In my final year at drama school, I chose to develop this play for my final year individual production. We were instructed to create a production of 20 minutes. So even as the play evolved, I never envisioned it as a multi-cast production. While it could have been reimagined with multiple actors, I found that the intimacy and rawness of a solo act perfectly captured the essence of the story I wanted to tell.
The solitary nature of the performance mirrored the bull’s isolation, its struggle against an unrelenting world, and its singular voice crying out in a sea of indifference. As the play took shape, I realized there was no space—no necessity—for other voices on the stage. The simplicity of one performer became the most powerful way to channel the emotion and depth of the narrative.
Q The topic of animal cruelty in traditional sports and other activities is a vast and venerated debate with numerous warring beliefs - cultural, religious, moral. What was your research process? What did you look for? Where? Did you speak to bullfighters or animal rights activists?
A One of the most enriching aspects of studying at the Intercultural Theatre Institute is the exposure to diverse cultures and their stories from around the world. It was during my time there that I came across the brutal reality of animal cruelty depicted through various cultural practices. Among them, the tradition of bullfighting caught my attention—a practice steeped in history yet fraught with suffering.
Driven by a need to understand this ritual more deeply, I immersed myself in extensive research. I explored books, articles, and historical accounts that delved into the origins and rituals of bullfighting. I watched countless videos to witness its grim reality and studied its symbolism and impact on both the bull and the people involved. I sought to hear voices from both sides of the spectrum—bullfighters and animal rights activists—hoping to gain firsthand insight into the nuances of this controversial tradition. Unfortunately, I was unable to connect with them directly, but the vast body of secondary research I gathered became the foundation for my play.
This process of learning, questioning, and reflecting shaped my narrative. The play is my attempt to give voice to the voiceless, drawing upon the cruelty I encountered in my research. It transcends bullfighting itself to become a larger commentary on humanity’s capacity for exploitation, the silent resilience of the oppressed, and the need for compassion in a fractured world.
Q You're also quite a prolific director. I have seen, in the last 12 months or so, that you've done The Caretaker, a version of Can't Pay, Won't Pay and this. That's a lot. What drives you? And how do you choose your plays?
A The deep aspiration to tell stories has been the driving force behind my journey so far. I am passionate about exploring narratives that transcend cultural and political boundaries, weaving tales that resonate universally. For me, storytelling is not just an art form but also a means to contribute to society. A few months ago, we performed Seven Jewish Children by Caryl Churchill, a play centered on the enduring Israel-Palestinian conflict. The proceeds from the production were donated to Medical Aid for Palestine, reaffirming my belief that art has the power to make a tangible difference.
Through theater, I find a way to share meaningful stories while playing my part in fostering compassion and awareness. With this play, for example, I was compelled to give a voice to the voiceless, which guided me through the creative process.
When choosing what stories to tell, I immerse myself in reading plays and poetry, searching for narratives that demand to be shared with the world. There are works so poignant that they push me to reimagine them on stage, translating their essence into a theatrical experience. At times, my inspiration comes from my own observations—moments or issues in society that I feel must be brought to light. Whether adapting poetry, reshaping existing stories, or crafting my own, I strive to create plays that spark dialogue, provoke thought, and offer a glimpse into the world as I see it.
Q Do you subscribe to the idea that writers shouldn't direct their work? Which do you find easier or more effective and fulfilling?
A Art, at its core, is storytelling. Be it through writing, directing, or acting, every art form serves as a vessel to share stories that resonate, inspire, and connect. When I write, I immerse myself fully, delving into every aspect of the performance, ensuring that the narrative flows seamlessly from page to stage or screen. This hunger to tell meaningful stories also draws me to the visual medium, where the power of imagery brings narratives to life in ways that are both intimate and expansive. I have a few short films ready to be unveiled soon, each crafted with the intention of reaching a wider audience with unique, compelling stories.
However, acting is where my soul truly finds its home. To embody a character, breathe life into its essence, and share its journey with the audience is profoundly satisfying. Acting is the craft that fulfills me the most, the final destination where my passion for storytelling converges with my deepest sense of purpose. It’s in those moments on stage or screen that I feel truly alive, connected, and aligned with my calling. For me, storytelling isn’t just an art—it’s the heartbeat of everything I create and the way I long to leave a mark.
Q You studied at ITI, Singapore. How did that come about? What did you do before that?
A My journey in theatre began in early 2014, when I took my first steps into formal training. I joined Mailorang Repertory in Delhi, under the guidance of Dr. Prakash Jha. The repertory focused on Maithili Regional Theatre, and it offered me an invaluable opportunity to explore the richness of regional storytelling. Later, I transitioned to working with Maisnam Joy Meetei, where I delved into Hindi theatre. These experiences shaped my foundation and exposed me to the diversity of theatrical practices in India.
However, as I navigated through these spaces, I found myself grappling with a sense of discontent. Much of the theatre being produced in India seemed disconnected from the pressing socio-political realities of the country. It felt stagnant, lacking the inspiration and urgency that I yearned for as an artist.
It was during my time with Joy Meetei that my perspective shifted profoundly. Joy introduced me to the Intercultural Theatre Institute (ITI) in Singapore. I had never heard of ITI before, but something about its name and ethos resonated deeply with me. Encouraged by his words, I applied, and to my immense fortune, I was accepted. ITI became a transformative chapterin my life, offering me a global perspective and equipping me with the tools to reimagine the role of theatre in society.
Q What was the programme like? The experience? What's stayed with you?
A The program at the Intercultural Theatre Institute (ITI) was a transformative three-year journey of rigorous and immersive training. It exposed me to a vast array of acting theories and performance techniques from around the world, each rooted in unique cultural traditions. The curriculum was as diverse as it was intense, offering a deep dive into classical forms like Noh theatre from Japan, Wayang and Wong from Indonesia, Beijing opera from China and Kudiyattam from India, alongside modern techniques such as Suzuki, Viewpoints. We also explored Western acting methodologies, including the approaches of Chekhov and Stanislavski, as well as devising and Forum Theatre, which focus on collaborative and socially engaged storytelling.
What made the experience truly enriching was the intercultural essence of the program. Learning alongside peers from different parts of the world and engaging with their artistic practices opened my eyes to the beauty and depth of cultural exchange. It wasn’t just about mastering techniques—it was about understanding how the principles of diverse cultures could converge to create contemporary stories that resonate universally.
One lesson that continues to guide me is the realization that storytelling transcends boundaries. By blending the wisdom of various traditions, we can craft narratives that are both timeless and deeply relevant.
Q Okay and now back to play. How many shows have you done and what's the response been like?
A So far, I have had the privilege of performing this play six times, with the upcoming show marking the seventh. Each performance has been a journey of discovery, both as an artist and as a storyteller. The responses have been immensely encouraging, with a mix of heartfelt praise and constructive criticism coming my way. Every piece of feedback, whether an applause or a suggestion, has been a testament to the power of the narrative and has helped me refine my craft. What truly drives me to keep performing this play is the growing demand from audiences. Knowing that the story resonates deeply and continues to spark interest inspires me to take it to more stages and more hearts.
Q What do you do with the feedback you receive? Especially as a self-directed solo performer, I'm guessing the inputs from your team and the audience can get overwhelming to sift through.
A Yes, at times, the feedback can be overwhelming, presenting a unique challenge for me as a creator. It’s never easy to navigate through the multitude of suggestions, understanding and respecting every perspective while deciding which ones to embrace and which to set aside. I make it a point to note down all the feedback I receive, sit with it thoughtfully, and evaluate each suggestion with care. Ultimately, I rely on my belief in the story to guide which ideas align with its essence and which do not.
For instance, after my last show, someone suggested that the relationship between the protagonist and his father should be explored further, giving the audience a deeper understanding of their bond and dynamics. When I reflected on this feedback, I realized it was not only insightful but also necessary to enrich the narrative. I’ve since worked on extending that part of the story, weaving in moments that delve into their relationship with greater depth. The upcoming show will feature this new layer, and I’m excited to see how it resonates with the audience. Feedback, when approached with an open mind, has the power to transform a story in profound and meaningful ways.
Q And finally, what's next from Monolith?
A With Monolith Theatre, we are gearing up for an exciting new production, SyZyGy, which will premiere at the end of March or In April. Alongside this, we are venturing into filmmaking with a couple of short films in the pipeline. One is titled Beyond, which delves into the profound repercussions of war, and the other is Bukowski in Shower, an intriguing exploration of its own unique theme. Both films are currently in post-production and will be released soon. Additionally, I am directing a musical adaptation of Can’t Pay, Won’t Pay for Rangshila Theatre.
UPCOMING SHOWS
24 Jan | 8pm
Rangshila Theatre
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