I first met Thiyam in the late 1980s. Over the years, our paths crossed many times, both in Guwahati and Delhi. Even a brief interaction with him was profoundly enriching. I now carry a regret: despite his many invitations, I never made it to Imphal to witness his work at its source.
Our conversations were always centred around art, culture and the society in which we live. We rarely spoke of personal matters — it was always about the larger canvas. One area we deeply connected on was the Natyashastra of sage Bharata, the ancient and powerful treatise on performing arts, often revered as the fifth Veda.
Thiyam’s theatrical work was deeply rooted in the Natyashastra. Having drawn on the same theories in my own films, I felt an immediate creative kinship with him. As outlined in that ancient text, human emotions are classified into nine fundamental compartments — the nava rasa. Thiyam not only embodied this ancient science in his plays but also used it extensively in training his disciples.
MANIPUR’S OWN CHORUS
Born in 1948, Thiyam graduated from the National School of Drama (NSD), Delhi, where he later served as its director (198788) and eventually as chairperson (2013-17). He was the founder-director of the Chorus Repertory Theatre that he established in his home state of Manipur, which remained his primary creative base.
Getty ImagesUttar Priyadarshi is one of Thiyam’s acclaimed productions
A visionary artist, Thiyam masterfully used theatre as a tool for social reflection and transformation, confronting the chaos of modern life through his craft. For long, Manipur has had a rich cultural legacy, and Thiyam not only preserved it but elevated it to national and global prominence. That he was also an accomplished painter is hardly surprising—true cultural stalwarts often express their versatility in multiple art forms.In many ways, Thiyam filled a long cultural void in the Northeast and beyond, leaving behind a legacy that continues to inspire.In our society, good and evil forces constantly fight with one another. Thiyam understood that the role of an artist is not neutral — it is to stand firmly with the forces of good and contribute to building a just and healthy society. Through his plays, he consistently sought to confront and expose the devilish elements in our social fabric. His work served as a moral compass, urging reflection and reform. It is imperative that future artists carry forward this legacy of socially conscious creativity.
Among his most celebrated productions are Uttar Priyadarshi , Chakravyuha , Andha Yug and Ritusamhara — each a testament to his creative mastery and ethical vision.
He was a pioneer of the “theatre of roots” movement. His plays were deeply grounded in Indian cultural traditions, particularly those of his home state, Manipur, and the broader Northeast region. It was his profound mastery of the Natyashastra that enabled him to write and direct plays drawing from ancient Indian theatrical traditions, infusing them with present themes.
Much like the legendary Assamese singer Bhupen Hazarika, Thiyam too saw art as a bridge — a powerful medium to foster a healthier and harmonious society. Whether or not he fully succeeded in his lifetime is secondary; what truly matters is that he committed himself, relentlessly, to the struggle for an ideal world.
At a time when societal values have steadily degraded, Thiyam stood as a cultural warrior, fighting valiantly to counter that erosion through the power of performing arts.
Thiyam’s legacy will endure for generations. As we bid farewell to this stalwart of Indian theatre, we are reminded that true artists never die—they live on through their work, their vision, and most importantly, the ideals they leave behind. Yes, the stage feels dimmer without the doyen, but his light will continue to guide generations to come.
The writer is a National Award-winning filmmaker (As told to Shantanu Nandan Sharma)
