Banking on Theatre
During my days in Act One, Panditji (NK Sharma) would say, 'What will you 'sell' after going to Mumbai? What special talent do you have to attract people? Do you know singing, dancing, or anything similar?' I knew what I could offer—it was acting,' says Chandan K Anand, who has been on a roll after his web-series Kankhajhura was streamed on SONYLiv this May. Anand plays the protagonist Ashu's (Roshan Mathew's) jailmate in the series.
His upcoming projects are big. He has worked with directors like Sanjay Leela Bhansali and Neeraj Ghaywan. 'As an actor, my job is to perform diverse roles. When I am picked up by directors like them, I feel that I am doing good work,' says the actor.
Like every aspiring actor, Mumbai had a special appeal for Anand, and he did everything he could to land up there and be prepared for the city. 'After working with Delhi's Asmita Theatre Group, I went to Bhopal to meet the legendary Habib Tanvir. When I reached his home, I found that he had gone to London. I was shattered. After I came back to Delhi, I realised that there was only one person who could train me for Mumbai, and that person was NK Sharma of Act One. So, I decided to join him with a dream of making it in Mumbai,' he says.
Theatre learnings
Anand says his interest in the world of acting was sudden. 'It was the year 1997, when I saw the play Capitol Express by the present director of the National School of Drama, Chittaranjan Tripathy. It became a turning point in my life. I joined the dramatic society of my college but I was not completely satisfied with the work that I was doing. I wanted to do something big, and hence decided to join Asmita. This is where I learnt what it is to be on stage,' he says.
At Asmita, Anand rose to prominence with the diverse roles he played—from Ghasiram Kotwal in the play Ghasiram Kotwal, Warren Hastings in the play Warren Hastings, BD Kapoor in Court Martial, and Javed in Final Solutions. It made him popular in the theatrical circles; each role taught him something.
'I was happy to see that my work was getting acknowledged. I learnt the basics of acting not only from my teachers but also from my co-actors. I learnt voice modulation and how to reach out to a larger audience when you do not have a microphone. I learnt how to pitch a monologue. These are the learnings that I carry with me while performing as an actor on the big screen,' he says.
Although Asmita helped Anand become an actor, it was Act One that changed his perspective about acting. Anand joined the group after he could not make it to NSD due to a personal crisis. This is when he thought of NK Sharma. 'I knew that only this person could teach me about the world I was dreaming of. Sharma changed my perception about acting. I follow his technique of correlating my craft with my personal life. Today, my craft is inseparable from my own self, and that is because of what he taught,' he says.
Mumbai days
After seven years of theatre, Anand reached Mumbai in 2004 on NK Sharma's advice. 'I came to Mumbai with `1,600. I started to live with six people, all aspiring artists, in a one-room flat. Today, if I think of the decision rationally, I may not risk it. However, had I not taken the risk more than two decades back, I would not have been the person that I am today,' he says.
The first work that Anand got was Meher, a daily soap produced by UTV and broadcast on Doordarshan in 2004. 'One of my flatmates
was an assistant executive producer who asked me to audition for a UTV show. I went and I was selected. However, I refused to do it as I did not like the character. Later, the UTV casting team called me for Meher, and I cracked it. That was how my journey began.'
In 2007, he acted in his first film—Kaafila, starring Sunny Deol. The actor is now working with directors like Bhansali and Ghaywan. 'When I came to Mumbai, I had a diary where I wrote the names of certain directors that I wanted to work with. Today, when I get a call from them, it feels like my dream is coming true. My hard work in theatre is paying off. That is my wealth from theatre. It
has come in handy in the work I do in films today,' says Anand.
When asked about his roles in Ghaywan's Homebound or Bhansali's Love & War, Anand says he cannot reveal details at this moment. 'However, both characters are interesting and impactful. I am glad to have got the roles and hope to work with directors like them in future,' he says.
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New Indian Express
8 hours ago
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Banking on Theatre
During my days in Act One, Panditji (NK Sharma) would say, 'What will you 'sell' after going to Mumbai? What special talent do you have to attract people? Do you know singing, dancing, or anything similar?' I knew what I could offer—it was acting,' says Chandan K Anand, who has been on a roll after his web-series Kankhajhura was streamed on SONYLiv this May. Anand plays the protagonist Ashu's (Roshan Mathew's) jailmate in the series. His upcoming projects are big. He has worked with directors like Sanjay Leela Bhansali and Neeraj Ghaywan. 'As an actor, my job is to perform diverse roles. When I am picked up by directors like them, I feel that I am doing good work,' says the actor. Like every aspiring actor, Mumbai had a special appeal for Anand, and he did everything he could to land up there and be prepared for the city. 'After working with Delhi's Asmita Theatre Group, I went to Bhopal to meet the legendary Habib Tanvir. When I reached his home, I found that he had gone to London. I was shattered. After I came back to Delhi, I realised that there was only one person who could train me for Mumbai, and that person was NK Sharma of Act One. So, I decided to join him with a dream of making it in Mumbai,' he says. Theatre learnings Anand says his interest in the world of acting was sudden. 'It was the year 1997, when I saw the play Capitol Express by the present director of the National School of Drama, Chittaranjan Tripathy. It became a turning point in my life. I joined the dramatic society of my college but I was not completely satisfied with the work that I was doing. I wanted to do something big, and hence decided to join Asmita. This is where I learnt what it is to be on stage,' he says. At Asmita, Anand rose to prominence with the diverse roles he played—from Ghasiram Kotwal in the play Ghasiram Kotwal, Warren Hastings in the play Warren Hastings, BD Kapoor in Court Martial, and Javed in Final Solutions. It made him popular in the theatrical circles; each role taught him something. 'I was happy to see that my work was getting acknowledged. I learnt the basics of acting not only from my teachers but also from my co-actors. I learnt voice modulation and how to reach out to a larger audience when you do not have a microphone. I learnt how to pitch a monologue. These are the learnings that I carry with me while performing as an actor on the big screen,' he says. Although Asmita helped Anand become an actor, it was Act One that changed his perspective about acting. Anand joined the group after he could not make it to NSD due to a personal crisis. This is when he thought of NK Sharma. 'I knew that only this person could teach me about the world I was dreaming of. Sharma changed my perception about acting. I follow his technique of correlating my craft with my personal life. Today, my craft is inseparable from my own self, and that is because of what he taught,' he says. Mumbai days After seven years of theatre, Anand reached Mumbai in 2004 on NK Sharma's advice. 'I came to Mumbai with `1,600. I started to live with six people, all aspiring artists, in a one-room flat. Today, if I think of the decision rationally, I may not risk it. However, had I not taken the risk more than two decades back, I would not have been the person that I am today,' he says. The first work that Anand got was Meher, a daily soap produced by UTV and broadcast on Doordarshan in 2004. 'One of my flatmates was an assistant executive producer who asked me to audition for a UTV show. I went and I was selected. However, I refused to do it as I did not like the character. Later, the UTV casting team called me for Meher, and I cracked it. That was how my journey began.' In 2007, he acted in his first film—Kaafila, starring Sunny Deol. The actor is now working with directors like Bhansali and Ghaywan. 'When I came to Mumbai, I had a diary where I wrote the names of certain directors that I wanted to work with. Today, when I get a call from them, it feels like my dream is coming true. My hard work in theatre is paying off. That is my wealth from theatre. It has come in handy in the work I do in films today,' says Anand. When asked about his roles in Ghaywan's Homebound or Bhansali's Love & War, Anand says he cannot reveal details at this moment. 'However, both characters are interesting and impactful. I am glad to have got the roles and hope to work with directors like them in future,' he says.


Indian Express
13 hours ago
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Why Kolhapuri chappal makers can only claim credit, not compensation
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The chappal makers argue that the design of Prada's footwear amounts to cultural appropriation, and a violation of the GI tag because it is too close to the original Kolhapuri. What does cultural appropriation mean? Cultural appropriation, in this current context, refers to the practice of a designer or fashion house taking elements from another culture and incorporating them into their work, often claiming they were acting unknowingly. 'This is not the first time that Western fashion houses have acted this way,' IP lawyer Safir Anand, senior partner & Head of Trademarks, Commercial & Contractual IP, at intellectual property law firm Anand and Anand, said. For example, Gucci was called out for offering a floral embroidery organic linen kaftan, which looked like a kurta, and was being sold for thousands of dollars. Similarly, Louis Vuitton tried to sell a keffiyeh-inspired scarf. 'While borrowing from cultures is definitely a part of the creative process, any brand or designer, who is inspired by traditional craftsmanship, must seek consent, and offer compensation and credit,' Anand said. On what basis is a GI tag awarded, and what protections does it offer? Anand listed the following key points. * Geographical Origin Link: The product must originate from a specific place and its quality, reputation, or characteristics must be essentially attributable to that geographical origin. * Defined Production Standards: Detailed production methods, materials and quality benchmarks must be specified in the application. * Registered Proprietors & Authorized Users: Only those entities (for example, producer groups, associations, or cooperative societies) who are registered as authorized users can legally use the GI. * Prohibition on Transferability: GI tags are non-transferable and cannot be licensed like trademarks. * Enforcement and Monitoring: Owners and governments are expected to monitor misuse and initiate legal action against counterfeiting or false usage. * No Generic Term Usage: A GI should not be or become a generic name for a product. So can the makers of Kolhapuri chappals claim a violation of the GI tag in this case? A GI infringement case may not be sustainable, Anand said. 'They (the aggrieved party) can file a suit but that will be limited to claiming credit only. They cannot claim monetary compensation,' Anand said. Prada can argue that it has not used the word Kolhapuri, or claimed its manufacturing process, he said. According to Anand, a culturally sensitive designer or brand must acknowledge the heritage behind their designs and duly credit the culture bearer, both financially and otherwise. 'The best practice to ensure creative authenticity is to obtain permission before using any cultural element, be it a motif, silhouette, or so forth, as part of your design or collection,' he said. Why is it so difficult to protect traditional crafts? Protecting traditional crafts is difficult primarily because the intellectual property (IP) systems that exist today — like patents, trademarks, or copyrights — were designed for individual innovation, not collective heritage. 'IP protections and systems require a known, identifiable creator or inventor. Traditional crafts are usually created collectively by a community over time. Traditional crafts are ancient, widely known, and already in the public domain, so they fail the novelty test. Many traditional crafts are passed down orally, without records, drawings, or technical details. IP systems rely heavily on documentation to verify and protect rights. Most IP protections, except trademarks, have a smaller life of protection, whereas traditional crafts need perpetual protection, which is incompatible with such limits,' Anand said. How then can cultural appropriation be prevented or discouraged? Apart from the GI tag, some countries are drafting specific laws for traditional knowledge and cultural expressions. 'Communities should also consider documenting and registering their crafts at local or national levels, wherever the option is available, to assert moral and economic rights. Ethical and Fair-Trade Labelling also helps create consumer awareness and encourage fair compensation for artisans,' Anand said. Some international organisations, such as the WIPO (World Intellectual Property Organization), are working on an international legal instrument for protecting traditional knowledge and traditional cultural expressions.