A thumb nail sketch of this ancient art (Tamil Dramas ):-
Long ago, before the advent of the present various modern entertainment media, the people of Tamil Nadu, like their counterparts in the rest of the country, had also their own different types of entertainments. After slogging for the whole day or week, everyone is longing to spend some time for flawless entertainment available in the vicinity. Meanwhile, those who did not have regular job or any other occupation or land to toil, took a via media in their life, either mainly to eke  out their income or to develop their penchant  or fervor for some art form like singing,  drawing, painting, sculpturing, dance,  folk dance, acting or any  other inborn  histrionic talent. So different groups of such zealous souls came together and learned to enact social themes or epics like Ramayana, Mahabharata, or extracts of other mythologies in a synoptic manner, without losing the essential spirit of the centric theme.  Such mastered talents began taking up an organized form of presentation which wove the fabric of social entertainment in the society. Thus, it slowly gave birth to the artistes community of singers, dancers, actors, dramatists and the like which ultimately took the form of dancing, singing, acting etc. and the whole forms of arts  were grouped under the nomenclature of Fine Arts. Gradually, the singers started learning the classical forms like Carnatic Music, dancers, Bharat Natyam and actors practicing to bring out specific characters according to the requirement of the theme of the story. It gradually paved the way for specialization in a particular branch of Fine Arts. Exceptionally, a few of the specialists began evincing their talents in manifold art forms who became dancers-cum-singers or actors-cum-singers. That's why, sometimes, we are able to see such multitalented artistes in Fine Arts. Some of them, by virtue of their mastery over the specific art form, began becoming Directors in the particular field over the years. Their assignment was only to equip and guide the artistes to make presentations on the stage with perfection,  par excellence.

With the picture of such a scenario in our mind, let us now analyze the different aspects of plays, one act plays and dramas featuring various social or mythological themes. In those days, dramas, as history indicates, were of two different types as follows:-

*        Street Dramas:- Exhibiting their talents in an unorganized manner in various parts of the village/city roaming about like gypsies for livelihood as well as for want of a permanent stage which was far beyond their affordability.  Many artistes used to take up such street dramas either on a permanent basis or as an interim profession for livelihood on account of unemployment or under- employment.  It was principally for the sake of  entertainment to the tired or  weary  minds. It  is an ethnic folk-art with bilateral ends - entertainment for the viewers and a livelihood for the performers.

*       Stage Dramas:-  They were fully organized and had all stage requirements like lights and    curtains besides,  other  theatrical  requirements  such  as chairs,   perfect sound  system,  fans, etc.

Compared to TV, Cinema or Radio, drama was a genre of narrative fiction quite often more serious or humorous in tone, focusing on in-depth development of realistic characters who would deal with realistic emotional struggles. Dramas were staged based upon epics or depicting social themes.  Dramas were with music and dance and were either tragedy or comedy, social or historical or mythological. Dramas are always live performances. Social category of dramas always revolve around families and touch the core of deepest emotions of the viewers. The principal aim of Tamil dramas was to use it as a source of recreation to the people who needed a breather from their endless daily busy style of life.  The stage presentations always included music as well as dance in some cases. Now, in this advanced epoch of technological sophistications and electronic revolutions, the media quality has improved to a great extent and the people are now able to watch a variety of programs in T V through various entertainment channels every day. Today, over the years, the whole concept has undergone radical changes with overall improvement in the quality of entertainments, telecast by the various channels.  Nevertheless,  the importance of stage dramas has neither languished nor withered away.  And it still remains evergreen with eternal bliss and youthfulness.  Even today,  given a choice,  people gifted with some aesthetic quality, will always opt to watch a theatrical presentation.  With the blessings of Goddess Saraswati,  this art form  - stage drama - continues to enjoy enough impetus and support from the viewers in all languages irrespective of up country or city. Small dramas and one act plays in many languages are aired through the All India Radio also many times for the entertainment of the class as well as the mass. Many of today's popular film actors or actors of yesteryears - all owe their debut to dramas in their initial stage. Still, many artistes continue to dominate the world of drama.  In short, stage-dramas continue to regale the enthusiastic people all over the world. As we know, Kalidasa, Shakespeare and Bernard Shaw are still remembered and ever-revered as great dramatists over the world.

A peep into Sri Cheena's eventful theatrical life: -
 
In Mumbai, if the Tamil fraternity as well as the general drama lovers fondly remember someone who has completely dedicated his life for the steady growth and development of Tamil dramas, it is none other than Shri S. Srinivasan popularly known as CHEENA in the cultural circles, who has been triumphantly reigning the world of dramatics for the past five decades,  by virtue of his flair for Tamil dramatics, unassuming nature,  and verve in taking up different roles and enacting them with utmost naturalness, so expeditiously on the stage.  Now,  let us have a peep into his heart-tugging stories of hard-ships, sacrifices, trials and tribulations, he has undergone in the past to become the fully blossomed CHEENA of today, who has now risen to the cadre of a seasoned director cum task master,  solely engaged in identifying and grooming young talents and galvanizing their synergies as well as training them to take up challenging roles and presenting sterling performance before the aesthetic audience.
  
 Born and brought up in Mumbai, Sri Cheena graduated in Economics from Mumbai University and started working in Mumbai. With his everincreasing flair for Tamil dramatics, the young cheena, along with a band of like-minded persons, launched a Drama- troupe, under the nomenclature, "BRAHMANWADA YOUTH ASSOCIATION (BYA) in the year 1960. Initially, the troupe had envisaged to present only one-act-plays during various festivals falling in different months on a regular basis. As time went on, the troupe headed by Sri S. Srinivasan (Cheena of today) began launching full-length plays for the local Sabhas (Fine Arts groups) during their periodical programs, for schools to raise funds for their development and for other philanthropic organizations to raise funds for implementing their manifold charitable schemes. The drama troupe thus, began growing fast and capturing good popularity in the metropolis.  At this time, with the longstanding end of wider popularity and performance-based growth of the troupe, BYA was restructured by christening as "ART LOVERS", in 1967, which continued with the practice of staging dramas in and around Mumbai.  Besides, the troupe under the able leadership of Cheena, visited Ahmedabad, Nasik, Pune, Bangalore, Indore, Chennai, Erode, Pallipalayam, Karur and other cities in Tamil Nadu and successfully staged many plays which were all sponsored programs.  As an astute actor and an avid perfectionist, after putting the mantle of many characters in various social plays, Cheena gained more confidence and expertise in his profession of aptitude, owing to the regular exposure. This confidence in playing different roles and delineating different characters with absolute ease and spontaneity, enabled him to start directing plays from the year 1962.  Sri Cheena has now completed long 54 years in his profession which he declares proudly,  while reminiscing the brilliant execution of dramas in Mumbai.

It is apt to mention here that Art Lovers has, so far, produced nine short plays and 18 full-length plays and staged 550 shows all over the country, a remarkable achievement of the troupe, which is now focusing on staging more and more plays.  Sri Cheena has by now carved a niche in his profession of dramatics and created an indelible impression as a perfect artiste who can don the mantle of any character on the stage and garner wide public applause. His insatiable enthusiasm in the dramatics has enabled him to traverse the entire gamut of Tamil dramas and procure more experience and harness it, to be more innovative and go ahead with flawless professionalism which is the heart and soul of any profession.

All these activities were expeditiously undertaken while in service with The Cotton Textile Export Promotion Council in Mumbai from 1960 to 1999- a long period of 39 years of service, without  causing any dereliction of duty.  Thereafter, he also served as a" Language Supervisor" for a brief stint of seven years for an agency, engaged in commercial advertisements and short films where he was ably handling the twin portfolios of 'script writing and overseeing recordings'. 
Walking down the memory lane, Sri Cheena, occasionally picks up some of the precious pearls of his landmark experiences.  During 1977-79, while in service, his stint at Bangalore and Chennai proved to be a blessing in disguise. It was at this time that he chanced to get acquainted with the renowned film Director Shri K. Balachander, who generously permitted him to witness all his shootings, as he expressed his penchant to horn up his directorial skills and also to grasp the intricate dynamics connected with Direction. This helped him to imbibe enough knowledge not only in Film Direction,  but in Film Making as well.

Sri Cheena, embalms in his memory certain interesting incidents, extracted from his longstanding experiences as a seasoned actor as well as a veteran director who could develop such a bonhomie,  rather,  such a kinship with his cherished profession for the past several decades:

Once they were in Chennai to stage a play viz, AASAI IRUKKU THASIL  PANNA for Krishna Gana Sabha.  As the arranged artiste was, somehow, not available for the show, an alternate artiste namely, Mrs. Shobhana Kannayya, a proficient artiste, working in the troupe of CHO,  the renowned dramatist and erstwhile cine actor and editor of the popular satirical magazine "TUGLAK ", was identified as a quick-fix substitute and Shri Cheena trained her properly in that place within one and a half days.  Mrs. Shobhana Kannayya, mastered the whole script and presented a lively character and garnered great appreciation from the audience. 

On another occasion, while at Ahmedabad, the leading actor suddenly took ill at the end of the first day's play and therefore, could not report for the next day's show. Shri Cheena trained another actor from the troupe in that place overnight and the play was completed with thumping success. 

Sometimes, experience repeats in similitude. As a manifestation of this corollary, another incident occurred. The famous play "SERVER SUNDARAM",  of the cine-fame,  K. Balachander,  was to be staged and the artiste who was doing the main role of Sundaram's mother, had to rush to native place urgently.  Sri Cheena trained another competent young woman from the troupe within a week and presented the elderly character (Sundaram's mother) without any flaw. The play was a tremendous success.
 
On another occasion, at Pallipalayam, while staging the famous play, "ORU  POI" (ONE LIE),  one of the main actors, Sri R. Kannan fell ill in the morning due to dehydration and the doctor had strictly advised him to keep off the program and take complete rest till he regained absolute  normalcy.  Nevertheless, as a miracle, due to timely medication and attention, his condition improved by the same evening and the doctor permitted him to participate and thus, by the grace of God and the actor's will power, the show went off well with absolute success.
 
An interesting incident took place on another occasion. An experienced  Maharashtrian producer by name Mr.Chetan Manjarekar  a Cinematographer by profession wanted to produce a serial in Tamil by name "ORU KANNIYIN DIARY" for Vijay TV.  The story and dialogue were written by Mr.  Jagannathan, a dramatist friend in the troupe. It is interesting to note that the desire to produce the serial in Tamil was evinced by a Maharashtrian producer who selected all actors from the local troupes in Mumbai.  The heroine of the serial was none other than the renowned actress-cum-danseuse  - Ms. Sudha   Chandran, daughter of the veteran drama-cum-cine actor  -  Shri K. D. Chandran, who had also presented many different characters in a number of plays in the yesteryears. The rest of the artistes were selected from the various drama troupes in Mumbai. The Director of the serial was Mr.Ramki, a friend and dramatist of Sri Cheena who was taken as an Assistant Director, with due respect to his overall experience in the field.  The serial was steadily picking up and about eight episodes of the serial were successfully telecast. But, thereafter some serious problem erupted in the production process. Unfortunately, the sponsors of the serial, owing to certain unforeseen problems, could not continue their support in the ongoing production and telecast of the serial. This resulted in the complete winding up of the whole project at that stage. In spite of this,  the participants took, even such an unexpected predicament, very positively and felt contented and happy over the experience they gained while producing the serial.

Sri Cheena has presented a variety of characters which include character    roles and also comedy roles for the last 45 years. The troupe "ART LOVERS", has so far, presented about 550 Tamil shows on the stage approximately.
Their most outstanding plays are the following:- 
"    Aasai Irukku Thasil Panna  (though  there is desire to become someone high, becoming someone low  in reality)
"    Brahmachari Cheshtai (Bachelor Pranks)
"    Chila Veedugalil  Chila Asadugal (In some houses, some idiots)
"    Heroine-27
"    Oru Poi (One lie)
"    Theerppu  (Judgement)
"    Server Sundaram and  (Waiter Sundaram)
"    Kanneer Pushpangal  (Flowery tears)

Considering all the achievements and laurels as well as the vast experience  gained, in the field of acting and directing hundreds of plays,  besides,  introducing many new talents to the troupe, The Tamil  Drama Fraternity of Mumbai, recognized Sri Cheena, as "BOMBAY BALACHANDER",  so prestigious for a genius of his stature with outstanding executional excellence. This information had appeared in the Mumbai Tamil Directory, as an important news item long ago. Of course, it is a great recognition for the troupe 'Art Lovers' as well. Besides the colleagues of his troupe, Shri Cheena also holds in high esteem, artistes and Directors of plays in other languages also. Late Shri Anthappan was so reputed as a good Director of Malayalam plays staged by the Bombay Keraleeya Samaj and Sri Cheena was very much impressed by his style of functioning.  He had also high regards for the Marathi and Gujarati dramas and particularly he liked their streamlined outlook in encouraging new artistes and novel stage techniques.

              In many dramas, the fusion of music and dance sequences,  sometimes adds more flavor to the whole episode. This rolls out opportunities for the simultaneous growth of the twin genres, music and dance too. Like the Spice enriching the food with its palatable aroma, fusion of dance and music also works more as a  catalyst and holds the whole audience spell- bound.   Without a mild doze of spice, whether it is food or other  aesthetic items, it becomes dry and jejune.  So, all depend upon the Director to make it more flavorsome   and appealing.

Like the rains vivifying the barren lands and bringing all round exuberance, Shri  Cheena's presence and continuous unstinted support for the past five decades has, indeed, refurbished the Tamil Dramatics in Mumbai. His contributions as a versatile actor and a seasoned Director,  has certainly elevated the dignity of the troupe "ART LOVERS", and made it popular all over Mumbai. His sense of dedication and amazing style of functioning, has brought to him flawless appreciation, reputation and popularity. As we all know, a dedicated actor, singer or a dancer or any professional,  has to forgo many things and make several compromises and sacrifices of personal likings or interests like select food, family life, sleep, rest, comfort, etc.  suitable to his/her chosen field of activity. If we ask them with genuine interest, they will start unwinding their heart-tugging stories of dedication and sacrifices.  They should also not allow the element of ego or arrogance to creep into their minds or get addicted to vices like alcoholism or resort to misbehavior with co-artistes which will not only jeopardize their profession, but also bring bad reputation to the whole troupe.
 
Most importantly, an ace,  exemplary Director himself should inculcate a high degree of discipline, vigilance, morality, swiftness, regularity in rehearsals, far- sightedness,  alertness,  strictness,  intuition,  aesthetic sense,  empathy,  patience and motivation. He should be a ruthless task master who could elicit the talent or hidden potentialities of the artiste and bring out the fundamental qualities of the character in question. Whether it is acting, dance or music, these ground rules apply at all times,  if success is the prima facie aim.  Renowned directors like Nanappan and Anthappan in Mumbai Malayalam dramatics, Thoppil Bhasi of K. P. A. C. in Kerala, Late Balachander in Tamil cinema,  Sanjay Leela Bansali in Hindi fildom ( the recent historical movie "Bajirao Mastani" that bagged many  prestigious awards is a classic example. There was a detailed review thereafter about his task masterly qualities.),  Late  Satyajit Ray in Bengali pictures, (Late) music  directors like Bharatan, Baburaj,  Dakshina Murthy, & M. S. Viswanathan and  Present day eminent  directors like Ilaya Raja, and A.R. Rehman  in the South and Vaijayantimala &(late) Padmini,  and Present day eminent danseuse Hemamalini, Sudha Chandran, Shobhana and Padma  Subramoniam, in the genre of dance  are a few shining  examples to quote here.  All those who could carve a niche in their career owe their glory and effulgence to their dedication and  determination besides,  their inborn artistic qualities.

It is worth mentioning here, that many sabhas and Cultural Organizations in Mumbai, have honored Sri Cheena with befitting felicitations in the past, in recognition of his acting skills, directorial talents, and long five decades of unremitting,  unblemished theatrical experience.  They are as follows:-
*     Dombivili Fine Arts ;
*     South Indian Association ,Dombivili, Maharashtra;
*     Supriya Theatres, Dombivili, Maharashtra;
*     South Indian Association Kalyan, Maharashtra ;
*     Fine Arts Society, Chembur,  Mumbai;
*     Rasika Ranjani Sabha, Ghatkopar, Garodia Nagar, Mumbai;
*     Vashi Fine Arts, Navi Mumbai;
*     Gana Kala Vidya Nilayam, Goregaon, Mumbai;
*     South Indian Cultural Association,  Indore, Madhya Pradesh;
*     Geetanjali Arts, Ahmedabad,  Gujarat;
*     Phanaswadi Thiruvabharana Kainkarya Committee,    Gurgaum,    Mumbai.
*     Yet to come:  The Mylapore Academy Chennai has already decided  to extend  a   felicitation to    Sri Cheena on 25th June 2016 during their 47th Annual    Award           Function Day   wherein they honor select persons connected with theatre in India.
        
His family consists of his wife Smt. Padma and a daughter ( Anuradha married to Arun and settled in Bangaluru, with grand-son Pranav) whose support, cooperation and motivation have always been the driving force behind his absolute involvement and success in his profession.  Having proved his acting talents, he has shifted to the directorial arena where he is tirelessly working to identify talented artistes as well as to elevate the Tamil theatre to a more dignified position. While taking his interview for preparing this feature article, chronicling his hardships and achievements, I could empathize his excitement and enthusiasm in the genre of Tamil dramatics. I could feel the ever-welcoming salubrious warmth of cordiality and the charming spirit of hospitality throughout the interview.   His better half Smt. Padma Srinivasan, equally humble and wearing a bland smile, was also keenly involved in the whole process,  by giving timely supportive inputs about Shri Cheena and his passion for dramatics.  He resides in Matunga, Mumbai,  very close to the Bombay Keraleeya Samaj and his address is:-
Sneh Samta C H S, 13/11, 4th Floor, K. A. Subramaniam Road,
Matunga, Mumbai, 400019. Phone No.:02224015275

Shri Cheena has also drawn enough inspiration from the lives of artistes belonging to various genres of yesteryears as well.  Late Shri Chemburan (Bhagavathi Subramanian), a noted erstwhile writer in Mumbai had written a book in Tamil "Mumbaiyin Maraintha  Tamil Maamanikal", (158 pages) showcasing the exciting stories of 51 chosen celebrities in both the genders, which gives a clear picture of their lives and contributions in their respective fields. The biographical portrayals by Shri late Chemburan also includes an elaborate chapter(12 on page no:38-40) captioned "SHAKESPEAR SESHIAH",  the beloved father of sri Cheena, the protogonist in this article.  It was the same Chemburan who wrote the much acclaimed sensational book in Tamil, Vidhiye Vendra Paadamkal, the true touching biography of the renowned artiste and danseuse Ms. Sudha Chandran popularly known as Mayuri Sudha Chandran.
  
So, we have seen how the young Srinivasan after graduating from Mumbai University, inspite of all his official responsibilities,  stormed in to the world of dramatics and blossomed into a conditioned theatre-artiste and how the young Srinivasan became the endeared Cheena with all his amiable and pleasing, down-to-earth nature and finally how, by dint of his diligent pursuits, perseverance and the directorial skills imbibed from veterans like Late Cine Director K. Balachander, the young Cheena became the much adored" BOMBAY BALACHANDER" of today!

As the zealous, interaction resumed after a brief interlude, for a cup of hot flavorsome dicoction coffee, served by Smt. Padma Sreenivasan, Sri Cheena opportunely made an affectionate and emtional  remembrance of his father late Shri Seshiah (1900-1975), who, hailing from Chalai Trivandrum, migrated to Mumbai in 1925, for better prospects. In tandem with his rich flair for Tamil dramatics right from his school days,  coupled with an  amazing memory power,  he also mastered eight plays of Shakespear and two plays of Tagore and made several successful stage presentations in Mumbai and earned applauses as well as admirations from the drama lovers. Hence, he was fondly called "SHAKESPEAR  SESHIAH" by the drama lovers of Mumbai. It is worth mentioning here that he was able to deliver the diologues of all the different characters in  all the Shakespearian dramas himself in their respective different tones, including female voices,  in his Mono act stage performances. Sri Cheena with his due respect for his father, fondly acknowledges that his father was an apt rolemodel for him and he owes a lot to him for all his theatrical success. It was he who gave him valuable inputs in the genre of dramatics which made him what he is today,  he proudly reminisces!
 
In this context, please recall Jawaharlal Nehru's golden words, "Success goes to those who dare and act, it seldom goes to the timid"! To put it in  simple parlance,  it's all because of his unique charisma!  Nay, let us now, wish him good health, long happy peaceful family life, prosperity, success, many more recognitions, felicitations and  prestigious national awards from other academies and Sabhas in the years to come.