‘The era of stardom is kind of over’

The conservatory will also introduce participants to casting directors and filmmakers who will share their real-life experiences

For over two decades, acting coach Atul Mongia has worked with some of Hindi cinema's most celebrated performers. Among his former students are superstars Deepika Padukone, Alia Bhatt, Ranveer Singh, and Vicky Kaushal. Beyond being enigmatic on screen and holding the attention of teeming millions, they are actors who have built successful careers while repeatedly reinventing themselves with every project.

Now, as Mongia launches a three-month Actor's Conservatory Programme running from June 15 to September 4, he is looking beyond role-specific preparation and workshops. His aim is to create a more intensive training environment that prepares actors for an industry that has changed dramatically over the past decade.

According to him, one of the biggest changes is that stardom alone is no longer enough. "The game has completely changed from what it was earlier. Over the last 15 to 20 years, talent has come to matter a lot more in the case of people with longer careers. Even today, the actors who are getting the meatier parts are good actors. I also feel that the era of stardom is kind of over," Mongia tells Sunday mid-day.

Atul Mongia

And that was his cue. Mongia says, "When people are casting for a film or are training their actors for a specific role, they don't have the luxury of doing intensive work over months. The longer format has always been normative; whether it is the module at The National School of Drama (NSD), The Film and Television Institute of India (FTII), or other places in Mumbai where three- or six-month courses have been conducted for decades. I would actually say that the shorter workshop format is more of an exception. I began with a shorter format at a time when maybe just Neeraj Kabi and a few others were doing it. One reason I started with a nine-day workshop was because I wanted to ensure that each day counted in some way. As for the three-month conservatory I am doing now, I feel I am ready to pour more than two decades of my experience and my understanding of what actors need to grow into a 12-week module. Here again, I want to ensure that every single day, an actor can learn something substantial and meaningful instead of just doing exercises where they jump, shout and scream and derive nothing from the experience."

Having seen a sea of change in how casting is done, Mongia believes the education has to keep up with the demands of the industry. "Few years ago, casting became a formalised department with someone at the helm unlike earlier, when assistant directors used to do that job. Often friends or friends of friends or people who were already visible in the talent pool would get cast, unlike now when there is more specificity to each part and actors are cast accordingly. For instance, if a part is written for somebody from a specific region, background, or a certain cultural context, then the casting directors often go to those spaces and look for actors and not just the ones available in the city. I remember when I was working with Kanu Behl's Titli [2014], even for tertiary parts, we had tested 15-20 people. It was an exhausting process but we wanted the right person for each and every role, even if it was a non-speaking part."

He says the explosion of social media, advertising, and digital platforms has altered the relationship between stars and audiences. "Earlier we used to see stars only on cinema screens twice a year and their aura was much bigger. Now you see them every day on some platform, on some social media site, or in advertisements. So, the aura does get diluted as you're not seen as someone unreachable. So, this is where your acting chops come into the picture."

For Mongia, longevity today depends on one's ability to adapt rather than image-building. "In this context, Ranveer Singh, Vicky Kaushal, and Alia Bhatt have been doing a phenomenal job. They have not put themselves first. I think a lot of stars earlier always had to be at the forefront but the younger actors don't have that need. These actors are malleable and want to change according to whatever part they're doing. This school of thought has really made a difference to their longevity. Another thing that makes an actor last long is to not have too many insecurities or excessive ego."

The arrival of OTT platforms has accelerated these demands further. Mongia argues that long-form storytelling requires actors to operate at a level of emotional depth that wasn't always necessary in conventional films. "There is more breathing space, even space for mundane details and for the exploration of a character at a much nuanced, deeper level. Good shows that are written really well are multilayered in that respect. "

The conservatory will also expose participants to the realities of the industry by bringing casting directors and filmmakers into the classroom. While social media remains an unavoidable part of an actor's life today, Mongia stops short of calling it a deciding factor in casting. "We may hear that social media presence does not matter but I think it can matter where there are two actors of similar capability. Then a wider network and visibility may count." Yet, he insists that strong performances continue to trump follower counts. "If a director or producer really believes in the suitability of a certain actor for a part, they will still make the best choice."

Interestingly, Mongia is less convinced by another popular industry narrative - that Indian cinema is already conquering the world. "I'm sorry, I kind of disagree that Indian films are finding global audiences. I don't think it's happening enough," he says. When Indian cinema eventually expands its global footprint, he says, improvements will be required across the board. "And when it does, definitely we'll also have to up our game in every department, not just acting."