1. What inspired you to take on theatre and performing arts ?
I have such clear memories of hosting the zonal and interzonal youth festivals during my graduation years at Guru Nanak Dev University. All I wanted was to get on stage and perform—it made me forget to eat, drink water, and even sleep. Those moments made me realize that even after working the entire day, I didn’t feel tired; instead, I felt more recharged, more energetic, and happier. The stage and the camera have always given me wings, a space where I can truly be myself, with all my vulnerabilities, without needing to conform to societal or family expectations. That sense of freedom has always been my greatest inspiration.
2. What do you have to say about the growth of the Punjabi cinema, over the years ?
Punjabi cinema has grown from its roots in rural themes and folklore to become a vibrant and influential industry. After a revival in the 1980s and 1990s, the 2000s saw a surge in diverse genres, higher production values, and new talent, leading to both commercial success and critical acclaim. Films like Adh Chanani Raat by Gurvinder Singh, Jaggi by Anmol Sidhu, and Baghi Di Dhee by Mukesh Gautam are redefining the industry, which now enjoys a global audience and explores contemporary issues alongside traditional themes. With the rise of digital platforms, Punjabi cinema is expanding its reach, preserving culture, and showing great promise for the future.
3. Do you think that the stories/plots in Punjabi cinema are somewhat stereotypical ? Why/Why not and How ?
Traditionally, Punjabi cinema has featured stereotypical stories and plots, often focusing on rural life, familiar comedy and romance tropes, and traditional gender roles, idealizing agrarian settings and relying on repetitive formulas and archetypal characters. While the industry is evolving with recent films addressing diverse issues like drug abuse and social justice, and exploring new genres influenced by global cinema, there is still a tendency to stick to familiar narratives. This reluctance to embrace new ideas and support innovative voices, coupled with a lack of deep engagement with Punjabi literature and a scarcity of strong, women-oriented films, has limited the depth and variety of storytelling. However, the ongoing shift suggests Punjabi cinema is gradually moving towards more varied and realistic portrayals.
4. What do you think led to this growth in Punjabi cinema ?
The growth in Punjabi cinema can be attributed to several factors: increased investment and improved production quality have led to more polished films, while a shift towards diverse storytelling has broadened appeal by addressing contemporary issues. The global audience, especially within the Punjabi diaspora, has significantly contributed to this growth by creating a larger market and driving demand for varied content. Digital platforms have expanded the reach of Punjabi films, and the emergence of talented filmmakers and actors has brought fresh perspectives. Additionally, a renewed interest in Punjabi culture and identity, along with evolving audience tastes for more meaningful content, has further fueled the industry's evolution.
5. How far is Punjabi cinema from the Oscars ?
Punjabi cinema is still quite distant from achieving recognition at the Oscars due to several factors. Its global presence and influence are relatively limited compared to major film industries, and it faces intense competition from other Indian cinema and international films. Additionally, Punjabi cinema has not yet established a strong presence in international film festivals, which are crucial for Oscar consideration. The industry also needs to increase its submissions and develop further in terms of production quality, storytelling, and global marketing. However, as Punjabi cinema continues to grow and evolve, its chances of gaining international recognition, including at the Oscars, may improve in the future.
6. Do you think that theatre can be a good contributor to the growth of Punjabi cinema ? Because very fine theatre actresses like Nirmal Rishi ji and Jatinder Kaur ji are giving so much to Punjabi cinema now.
Theatre can significantly contribute to the growth of Punjabi cinema by serving as a vital training ground for actors, directors, and writers. It provides rigorous training that instills discipline, hard work, and depth, making artists more rooted and authentic in their craft. Institutions like the National School of Drama further enhance this by developing a comprehensive understanding of performance, fostering creativity, and versatility. This rich foundation allows theatre-trained actors to bring life to the screen. Moreover, theatre’s deep, complex storytelling and its spirit of experimentation can inspire fresh, diverse narratives in Punjabi cinema, driving innovation and growth in the industry.
7. What is your idea of “aesthetics” ?
Aesthetics, to me, is the study and appreciation of beauty, art, and taste, encompassing how we perceive, experience, and evaluate the sensory and emotional qualities of objects, environments, and experiences. It goes beyond mere visual appeal, encompassing the harmonious interplay of elements like form, color, texture, and sound to create a profound and impactful experience. Aesthetics shapes our understanding of the world and our emotional responses to it, influencing everything from art and design to the choices we make in our daily lives. Ultimately, it is about finding meaning, balance, and connection in the things we encounter, linking us to our emotions, cultures, and surroundings.
8. If you could please explain kinds of acting, like “method” acting and more, to a laymen in simple words ?
Method Acting, developed by Russian theater practitioner Konstantin Stanislavski, is an immersive technique where actors deeply embody their characters by drawing on personal experiences and emotions to create authentic performances. This approach involves emotional recall, where actors use their own memories to connect with their character's feelings, and often living as the character even off-stage to maintain emotional consistency. By thoroughly understanding their character’s background, motivations, and relationships, actors strive to make their portrayals more genuine. Method Acting also encourages spontaneity and truthful reactions to scene partners and circumstances. Influential actors like Marlon Brando, Robert De Niro, and Al Pacino have popularized this technique, which aims to deliver performances that resonate deeply with audiences through their raw and believable emotions.
9. What’s one charming thing/aspect/concept that theatre has, and cinema doesn’t, and vice-versa ??
Theatre offers the unique charm of a live, immediate connection with the audience. Each performance is a singular, unreproducible event, creating an intimate and spontaneous experience where the actors and audience interact directly. The dynamic, real-time energy of a live audience and the actors' ability to adapt and respond in the moment add a layer of unpredictability and immediacy that cinema cannot replicate.
In contrast, cinema provides the charm of a permanent, polished presentation. Films are meticulously crafted, edited, and refined, resulting in a polished final product that can be enjoyed repeatedly and shared with a global audience. Unlike theatre’s ephemeral nature, cinema offers a consistent, lasting experience, capturing intricate visual and auditory details that can be revisited and analysed over time.
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Gurleen Kaur is a trained actor from the National School of Drama, Bangalore. She was awarded the Scholarship of Young Artist (SYA) by the Ministry of Culture, Government of India, for her contributions to theatre. Her acting journey began with her acting training at the Dastak Theatre Group, Amritsar.
With over eight years of acting experience, she has performed across India on stories/plays written by Manto, Maxim Gorkhy, Munshi Premchand, and more. Her work includes appearances in advertisements for the company "Muscletech" and Punjab state-run advertisement "CM de Yogashala".
To add on, she has also worked on a television series with DD Jalandhar. Notably, her role in the short film "Rakhdaan," based on an Amrita Pritam story was showcased at the Dadasaheb Phalke Awards in Delhi.
Some more acting adventures of hers include writing and directing plays for college productions and conducting acting workshops at prestigious institutions such as Khalsa College, in her hometown.
Additionally, she is a public speaking coach who employs theatrical exercises as the core structure of her unconventional teaching model.
She is currently training in classical dance, specifically Kathak. Recently, she has added another feather to her cap, as the film ‘Baagi de Dhee’ for which she worked as an assistant director has bagged the best Punjabi film in 70th National awards.
India 
Creative Adda
Publish Date:
19 Aug 2024
