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To learn acting, Jitendra shifted to Pune. Jitendra became popular after hosting the show ‘Campus’. Once while working at his uncle’s shop, his professor spotted him there and suggested him to try his luck in Marathi theatre. He used to distribute newspapers and used to work at his uncle’s shop to earn money. Jitendra had struggled a lot in his young age. “But when you go out and meet your friends’ families, you realise everyone isn’t like this.Jitendra Joshi is a Marathi actor who works in movies, serials and theatre. Everyone is crazy in this side of the family,” chuckles Anisa. Everyone is an actor everyone is a director. What they did didn’t seem abnormal to me. I would go to the NCPA, but I wasn’t sure what she did there. “Yet, until I was 10, I didn’t know about my grandmother’s theatre history. For Anisa, however, the influence was more pervasive. The two opposite worlds of Marathi theatre and Broadway influenced Anahita’s artistic sensibility. It was probably the best advice I received,” shares Anahita, who went on to study in New York in the 1990s and worked as an assistant director on several Broadway productions including Candida and The Real Inspector Hound. On completing her graduation from St Xavier’s College, she even approached Vijaya to cast her in one of her plays, “but she was very clear that I go away and explore the world and find myself. Growing up, Anahita assumed an innings in the Marathi theatre was the way forward. And no matter how young I was, my opinion was valued.” It wasn’t just good enough to say ‘I liked it or didn’t like it’. Whoever watched a film or a play came back and discussed it. “For us, it wasn’t a casual thing about just going to a film and forgetting about it. Our grandmother was perpetually talking about shoots, so I just thought, existentially, it’s quite normal,” she says. “My parents were always with scripts in hand, rehearsing lines. Her maternal home at Napean Sea Road was a rehearsal hub. “I would step into rooms carefully because I thought people would be rehearsing their lines before I walked in.” My brothers (Deven and Ravi Khote) would make fun of me and say I was like Jim Carrey in The Truman Show,” laughs Anahita. “In fact, until I was about four, I used to think everything was scripted. I found theatre.”Īnd life became an endless unscripted dramatic narrative for the family. But because of my influences, I went in search of something that I wanted to do. Shobhna Samarth and Nalini Jaywant are my cousins. He was very proud of what I did,” says Vijaya. I was never around and he didn’t make me feel guilty about it. “All this was possible thanks to a supportive family, especially my husband (actor Farrokh Mehta). I realised it’s the process rather than the product that matters,” says the former chairperson of the National Centre for the Performing Arts ( NCPA).Īnahita has been witness to the process Vijaya speaks of so fondly. We would watch each other work and that enriched us. “There was Ravi Shankar and Kishori Amonkar, there was (Ebrahim) Alkazi and then there was me, there was (Vasudeo) Gaitonde and then there was Akbar Padamsee all working under one roof.
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The octogenarian often reflects on her early years. We wanted to define who we were as the creative people of India.” In the case of Anisa, it’s the result of her own search.”Ī product of the postindependence renaissance of the arts and the Bhulabhai Desai Memorial Institute, Vijaya says, “We were the first young generation of independent India. Everyone who’s doing what they are doing in this family is because they believe in it. Vijaya, who has been carefully listening, says, “Although we belong to different generations, what’s common among all three of us is that we are very committed. “And that for us is so special,” says Anahita, while drawing our attention to the two decoupage vases, which Anisa created for her portfolio. She’s off to pursue a BA in prosthetics and special-effects make-up at the Arts University of Bournemouth this September. Anisa has since found her expression in art.