I have always felt that writing and performance are ways of listening to the world. They help me understand what is visible and what often remains unspoken. My creative practice moves between drama, poetry, and fiction, and also between the solitude of writing and the shared experience of performance. Whether I work in Marathi or English, I return to the emotional and cultural ground that shapes how stories take form. This ground, the bhavtal, is where memory, imagination, and lived experience come together.
 

Over time I have written full-length plays, one-act pieces, poems, short stories, translations, and adaptations. Each form offers me a different way of thinking. It allows me to explore how a story finds its rhythm, how it occupies time and place, and how it lives within the human voice. I write to understand these movements and to invite others to encounter them.
 

As a playwright, seeing works such as F1/105, Sindhu, Sudhakar, Rum ani Itar, Anandbhog Mall, and Pulakhalacha Bombalya Maruti appear on stages across India has shaped the way I think about performance. Once a play enters a rehearsal room or a performance space, it no longer belongs only to me. It becomes a meeting point for performers, audiences, and the moment in which it is staged. It is meaningful for me that my plays have been part of academic curricula, where it finds new readers and new interpretations.
 

Collaboration has always been a source of energy and renewal in my process. Some of my most important creative moments have come from working closely with other artists. I Promise the Bearer, co-created with colleagues in Bangalore and later presented at Sophiensaele in Berlin, grew out of conversations that blurred the boundaries between writing, performing, and designing. The Performance Making and the Archive project with IIT Bombay deepened this collaborative approach by bringing together students, scholars, and practitioners to explore how archives speak through performance.
 

In recent years, I have found myself drawn to the meeting point of research, archive and creation. Sadasarvada Purvapar, developed in 2019, grew out of a long engagement with archival material related to caste, historiography, and political memory. Working on this piece reminded me that creative practice can question what we take for granted, reveal forgotten histories, and reshape how we understand our past.
 

When I write poetry or fiction, I return to the page as a space for quiet thought. My poetry collection Khel Khelat Rahato Umbra reflects my interest in the textures of time and intimacy. My short stories grow from the social and emotional landscapes of the places I know, from both urban and regional life.

Translation is another path I continue to follow. Working with plays by Jean Genet, Dario Fo, Neel Choudhury, and Kari Barclay has allowed me to listen to the rhythms of other cultures and carry them into Marathi and English. My adaptation of Genet’s The Maids, titled Kamwalya Baya, reimagines the play within a Marathi cultural and social context, allowing it to speak in a different voice.

At the heart of all my creative work is a simple question. How do stories shape the way we see the world and the way we see one another? My practice is an ongoing attempt to respond to that question with honesty, curiosity, and attention.