Archive for author: admin

_MG_0266
All Plays Folk Performances Marathi

VEER BABRUVAHANA (DASHAVTAR)

Director: Tushar Sonu Naik
Group: Naik Mochemadkar Paramparik Dashavtari Loknatya Mandal, Maharashtra
Language: Marathi
Duration: 1 hr 40 mins

 

The Form

Dashavtar is a popular form of folk-art characterizing rural theatre of South Konkan region, the coastal Sindhudurg district of Maharashtra. Dashavtar is generally the presentation of different incarnations of Lord Vishnu, with ‘akhyanas’ (stories) from great epics Mahabharata and Ramayana, though these days more secular themes are also presented.

Dashavtar is an all-male performance. It has music, mime, colourful costumes, extempore dialogues, dance steps, and battle scenes. Dashavtar regales, instructs, and edifies the rural masses through the themes it presents. The music has harmonium, tabla or pakhawaj, and cymbals as accompanying musical instruments, and is based on the Hindustani style.

 

The Performance

Babruvahana, the king of Manipur, takes in his custody the horse of the Pandavas which they had sent as symbol of their supremacy over all the kings.  Meghavarna, son of Ghatotkacha, and Rushiketa, son of Karna go in search of the horse but fail to find it and return. Chitrangi, mother of Babruvahana, reveals to him that he is the son of the great warrior Arjuna. Babruvahana goes to meet Arjuna, but Arjuna gets angry and insults him. This makes Babruvahana furious. He challenges Arjuna for a fight. In the battlefield Arjuna gets defeated and Babruvahana decides to behead him. Chitrangi and Ulupi, Babruvahana’s stepmother order him get the divyamani, a precious stone, from the head of Shesh Nagraj, to save Arjuna and other martyrs in the battlefield.

Babruvahana goes to Shesh Nagraj, who is also his grandfather, and succeeds in getting the divya Nagamani. Meanwhile Bheema, the elder brother of Arjuna, arrives on the scene and on seeing Arjuna beheaded, fights with Babruvahana. Chitrangi and Ulupi stop them and tell him what actually happened.

All of them pray to Shree Krishna who appears and brings life to Arjuna and the others by touching the Nagamani on their heads. Babruvahana and his father Arjuna embrace each other.

 

Director’s Note

While directing this play, I have selected the artists who are able to portray the character assigned to them. I have worked on the dialogues, costumes, make-up, and hairstyles, especially of males who perform the role of females. I thank the music director of this play for his single-handed contribution in this production.

 

The Director

Tushar Sonu Naik is a Matriculate. Though he is young, he has directed many plays, such as Veer Babruvahana, which is most popular among all. Most of the plays directed by him are in the traditional folk form of Maharshtra – Dashavtar.

 

The Group

The troupe known as Naik Mochemadkar Parmparik Dashavtari Loknatya Mandal is headed by Sonu alias Babal Shripad Naik, and managed by his son Tushar Sonu Naik, who is also a musician.

The family resides on the picturesque sea-shore in a small village called Mochemad, in Maharashtra. Dashavtar, a traditional folk art of this area, has been practiced by the family for more than six generations. The performers and musicians of the troupe come from different villages of Sindhudurg district and a few also from the nearby state of Goa. They all are from poor, rustic, rural areas, mainly farmers, agriculturists or artists dedicated to this folk art with devotion and love.  Naik Mochemadkars are frequently invited to perform their plays in annual festivals, rural fairs in the courtyards of temples, and these days even in urban areas. More than 240 performances are staged by this group every year.

 

Cast & credit

Ganesh Gajanan Vengurlekar
Riddhi Akshay Naik
Siddhi Dipak Mayekar
Babruvahana Nitin Asayekar
Hansadhvaja Sudhakar Parab
Arjuna Narayan Asayekar
Meghvarna Nilesh Naik
Rushiket Sagar Gaonkar
Ulupi Ratnakar Manjarekar
Chitrangi Mahesh Dhuri
Bheema Krishana Naik
Shesh Nagraj Guru Varadkar
Shrikrishana Aatmaram Sawant
Harmonium Rajan Gawade
Mrudang or Pakhvaj Piyush Khandare
Cymbals Snatosh Gudulekar
Singer Mahadev Dalvi
Backstage Artists Sitaram Gawade, Pravin Tandel,
Raman Parab, Harishchandra Manjarekar
Music Director Jayram Shripad Naik
Head of the Troupe Sonu Shripad Naik
Research                        Vijaykumar Phatarpekar
Director & Manager    Tushar Sonu Naik

 

 

 

Contacts

Naik Mochemadkar Paramprik Dashavtari Loknatya Mandal

Mochemad – Vengurla

H.No 134, Bhandarwadi-Mochemad

P.O. – Tank, Taluka – Vengurla

Distt. – Sindhudurga State – Maharashtra

Pin 416518

Ph. +919405070799, 9764504137

E: tnaik82@gmail.com

vedharan 07
All Plays Folk Performances Marathi

VEDHARAN (Kaalo)

Playwright: Anagha Deshpande
Director: Saish Deshpande
Group: Abhivyaktee, Panaji
Language: Konkani & Marathi
Duration: 1 hr 15 mins

 

The Form

Kaalo is a popular folk-art of Goa, dedicated to the village deity and lord Vishnu. Traditionally it is performed in the mandap or matov, a roofed structure just outside the temple. Each character’s entry is announced by the Hardas through a melodious song. Kaalo is presented in two parts – Poorvarang (The first half) and the Uttararanga (the later part consisting of an episode from Puranas). The entire performance is supported by classical vocal music to the accompaniment of two Mridangas (now replaced with Pakhawaj) and a number of Jhanj i.e. cymbals.

 

The Play

Vedharan is a Kaalo that depicts the story of Shankasura stealing Vedas from Brahmadev. After stealing the Vedas, Shankasur comes back to his kingdom and makes his half-witted aides, Chimo and Poklo in-charge of the ‘Institute of Vedas’. This leads to a sense of discomfort and unrest amongst commoners while their political representatives struggle to use Vedas for their political gains. Shankasur annoyed with this development decides to meet his political Guru, Brihaspati, for a solution. Brihaspati informs him of the misuse of powers by his ministers and the adulteration of knowledge that is being done in the Asurnagari for selfish interests due to which Shankasur is fast losing support of his people.

The play ends with Lord Vishnu getting the Vedas back from Shankasur, and the artists singing the traditional hymn, thus expressing the hope that each one may get an access to education which is everyone’s right.

 

Director’s Note

Vedharan  was conceived in a special theatre festival, Lok Rang, which involved research and production of plays based on Goan folk theatre styles. It was a dream project which helped us to seek and learn the possibilities of our traditional theatre form Kaalo. The word ‘kaalo’ in Konkani means a mixture of various items, and here it refers to the blend of various theatrical elements like dance, song, music and dialogue which are aptly used in this production to weave an impressive story of misuse of powers for political gains. Vedharan , while incorporating the elements of Kaalo, has been designed for the proscenium and utilises the benefits that the modern performing space offers. While maintaining the authenticity, like the elaborate Poorvarang, the presentation later takes freedom of the theatrical reality which I feel is a step towards exploring the form.

I am grateful to Shri Vinayak Khedekar and Pt. Ulhas Velingkar who guided us during the process.

 

The Director

Saish Deshpande, alumnus of Kala Academy’s School of Drama and founder member of Abhivyaktee-Panaji, has designed and directed more than 100 full-length plays since 1986, comprising of professional, semi-professional, traditional and experimental productions in Konkani, Marathi, Hindi, English and Sanskrit. He is a recipient of the National Award for Programme & Technical Excellence by Prasar Bharati, Govt of India.

 

The Playwright

A versatile theatre personality from Goa, Anagha Deshpande has written several plays in Marathi, Hindi, Konkani and English. Her recognized works include Teen Da, Swapnavasavadatta and Nagananda, Dashavatar Darshan and Face Off-line. Two of her plays Chitralekha and Vedharan  have been published.

 

The Group

The cultural organization Abhivyaktee was formed in the year 1997 at Panaji by the alumnus of Kala Academy’s School of Drama. Its regular activities include theatre classes and workshops. Abhivyaktee designs and produces issue based plays and theatre festivals.

 

Cast and Credits

Shankasur Dnyaneshwar Govekar/Raghuvir Govekar
Hardas Sachin Naik
Mahabal Abhijit Ekawde
Chhota Bhataji Anish Deshpande
Chimo Saurabh Karkhanis
Poklo Gautam Gaude
Brahmadev & Brihaspati Raghoba Parab
Vishnu Sagar Haldonkar
Narad Shounak Deshpande
Piso Abhishek Dhawaskar /Rhutvik Sawant
Ganapati & Mahamantri Raghuvir Govekar/Dnyaneshwar Govekar
Saraswati & Nartaki Prerna Palekar
Maharani Priyanka Verekar
Mantri & Chorus Shambhavi Deshpande
Rhutvik Sawant, Abhishek Dhawaskar,
Anish Deshpande,Chaitra Deshbhandari,
Sriya Bandodkar, Manjusha Bandodkar
Vocals & Taal Varad Tari and Sachin Naik
Pakhawaj Mahanand Kawlekar, Abhijit Ekawde
Set Sandip Deshpande
Lights Vaibhav Naik
Costume Anagha Deshpande
Make-up Eknath Naik
Property Manjusha Bandodkar
Choreography Priyanka Verekar
Special thanks to Shri Vinayak Khedekar, Pt. Ulhas Velingkar, Dr. Pramod Pathak, Prabhakar Sanskritik Sanstha, Caranzale
Script                                           Anagha Deshpande
Music & Direction                     Saish Deshpande

 

 

 

 

Contacts

President, Abhivyaktee-Panaji

A/3, Kamdhenu

Dr D.V.Road, Panaji, Goa – 403001

M: +91 7350521204, 9422060265, 9422448494

E: abhivyaktee@gmail.com

 

3.f. Prachyanat Production Tragedy Polashbari (5)
All Plays Bengali Foreign Plays

TRAGEDY OF POLASHBARI

Playwright & Director: Azad Abul Kalam
Group: Prachyanat, Bangladesh
Language: Bengali
Duration: 1 hr 20 mins

 

The Play

The play starts with the entry of a garment owner forcing the labour to work, no matter what. The next scene shows garment workers with their everyday routine of working like a machine. Suddenly the building, where the labour is working, collapses and Taravan, the central character, wakes up to find the horror around herself. She is stuck in the debris and about to die in a few moments. But before she breathes her last, she takes a journey of reminiscences, scene by scene, to glance over her yet incomplete life.

 

Director’s Note

The owner of the Spectrum Sweater and Knitting factory is no different from million others who are inhuman in their approach to making money. The nine-storied building of the Spectrum factory at Polashbari in Savar collapsed at midnight on the 11th of April, 2015. The building had been tilting on one side and that night it came down and became a giant heap of rubble. The radio, TV and newspapers were flooded with information on the collapse, the deaths, and the agony.

But sooner than one can imagine, a public swamp was filled up and turned into a modern establishment and machines were running again, making export-oriented garment products. The authorities watched silently since they had already been well-fed.

The debris had turned into a grave of those who had small dreams which were yet to be fulfilled as opposed to the overflowing coffers of greedy, ugly, money-seeking dogs. Tragedy of Polashbari tries to convey the unfulfilled dreams of those simple, hardworking, innocent people.

 

The Director & Playwright

Azad Abul Kalam, born in Dhaka, Bangladesh on 26th of October 1966, is a director, playwright and actor. He received his M.A. in Mass Communication and Journalism from the University of Dhaka. In 1997, he, along with some of his colleagues, founded Prachyanat, a theatre troupe which is today one of the prominent theatre platforms in Dhaka. His major directorial works include Circus Circus (1998), Robert Bolt’s A Man for All Seasons (2001), Koinna (2002), Bou Basanti (2004), Raja Ebong Annyanya (2008), Tragedy of Polashbari (2014) etc. He has also worked as a participant and director in Japan, UK and Denmark.

 

The Group

Besides producing four successful full-length plays, Prachyanat has as many as eight different programmes running at Prachyanat School of Acting and Design which was established in 2001. The school has successfully run thirty-six 6 month course batches while its thirty-seventh batch is already underway. Theatre-in-the-Open, Prachyanat for Children, Theatre-lab Production, Prachyanat Research Cell and The Musical Ensemble are part of the group’s creative approach.

 

Cast & Credits

Taravan Parvin Sultana Koli, Parvin Paru, Shahana Sumi
Husband/ Bujan/ Woman 1 Mohammad Rafiq, Proddut Kumar Ghosh
Osman/ Father-in-law/ Mother-in-law Rifat Ahmed Nobel, Sudip Biswas, Shahriar
Villager 1/ Woman 2 Rana Jewel
Villager/ Citizen/ Garment Worker Gopi Devnath, Md. Farhad Ahmed, Moniruzzaman Fuad Bin Idris, Tanzi Kun
Set & Lights Abul Hashnat, Bhuiyan Ripon
Set Assistant Rezaul Reza, Shashanka Saha
Light Assistant Mokhlesur Rahman
Music & Sound Design Neel Kamrul
Choreography Snata Shahrin, Md. Farhad Ahmed
Costume Bilkis Jahan Joba
Props Afsan Anwar
Props Assistance Gopi, Naimee, Raka
Video Art Saiful Islam Jarnal
Video Art Assistant Al-Amin Khandaker, Rayhan Rafi, Rayhan Afser
Poster, Leaflet, Ticket Sabyasachi Hazra
Music & Sound Implementation Chetona Rahman Vasha, Bin-e-Amin Song Collection
Song- Dhu Dhu Ghathay Deiya Theke Rontik Bipu
Costume Assistant Kamrun Nahar Moni
Video Voice Heera Choudhury, Aref Syed
Photography Zaid Islam, Prajna
Set Making Dip, Fuad, Arif, Raju, Rana, Avik, Pavel, Adnan, Evon, Atik, Emon, Ripa, Rita, Rinku
Light Provider Spotlight
Hall Management Prachyanat Members
Production Management Rifat Ahmed Nobel
Production Management Assistance Md. Sohel Rana
Overall Supervision Saiful Islam Jarnal
Installation ABS Xem
Mask Amy Trumpeter
Special Gratitude Humayun Kabir Himu, Idelic Design, Rajib-un-Nabi, Channel 24
Directorial Assistant Prajna Tasnuva Rubayyat
Assistant Directors Jagonmoy Paul, Bakar Bakul
Playwright & Director                                  Azad Abul Kalam

Contacts

Prachyanat

278/3(3rd Floor) Katabon Dhal

Katabon Elephant Road, Dhaka

Bangladesh – 001205

M: +880 1712078123, 1819929397, 1715004075

E: prachyanat@gmail.com, azadak26@yahoo.com

W: www.prachyanat.org

received_461412931218326
All Plays Multilingual NSD Graduate Show

RUINS IN REVERSE

Poet: Avtar Singh Sandhu ‘Pash’
Director: Sarthak Narula
Group: NSD Student Diploma Production, New Delhi
Language: Multilingual
Duration: 1hr  

 

The Play

The process of this collaboration started with reading aloud the poetry of Pash in Hindi and Punjabi. A piece without any script or characters but with people, a site and the words of Pash. Sieving through poetry and oscillating from selection to rejection of the text multiple times; engaging with protest music; reading critical material written on Pash; and staying with the site for long hours, the idea of this piece was to revel in what would emerge when people come collectively to produce a performance on the poetry of Pash. On developing a scene on poetry, the performers were wary of not getting into plain recitation or a visualisation of the written word. There was an attempt to delve into the how, why and what is Pash communicating through his poems; its significance in the times we live in being a crucial aspect of the play.

Director’s note

One image of lynching shows up on our Facebook screen and all our senses are captured by it. Soon the number goes up and one sees 16 lynching in a span of two months, and then it becomes a scroll. One scrolls and scrolls till the geography of fear gets etched on our forehead and we become immune to a ‘fact’ to which bowing down seems like an option which, if not opted for, shall lead to serious consequences. What are those moments of encounter wherein we interrogate the self and the other and what are those repetitions that make violence a routine?
The summoning of Pash’s poetry in the current socio-political context of the spaces we inhabit is a provocation to unearth the silences that have been buried underneath the official, documented and visible discourses which have made the repetition of violence so inevitable that even yearning for a near-utopia seems as a task that is unrealistic. The ruins of what remains of the alternate discourse though, are potential sites wherein a traversing into the past has led to the future of these silences. Rummaging through the silences and staying with them, these ruins seek to take things in reverse and then starts the commencement of the trial of the portrayal of a robust entity through Pash’s poetry.

 

The Director

Sarthak Narula is a graduate of National School of Drama, with specialisation in Direction. Before joining NSD, he had completed his Masters in Theatre from Academy of Theatre Arts, University of Mumbai. His area of interest is the intersection between Scenography and Light design. He has designed lights for more than 30 productions in the last two years. Presently, he is doing a fellowship at NSD in the field of technological advancements in lighting in context to the alternative spaces of performance.

 

The Poet

Pash (9 September 1950 – 23 March 1988) was the pen name of Avtar Singh Sandhu, one of the major poets of the Naxalite movement in the 1970s. He was killed by Khalistani extremists on 23 March 1988. His strongly left-wing views were reflected in his poetry.The poetry of Pash invokes dissent and rebellion against the violence and marginalization that takes place on the basis of class. In his poems he protests against the idealistic portrayal of folk life; interprets love as an expression of pain, which surfaces as one gives it up for a more important or substantial cause. His poems split open the game of ‘democracy’ and yearn for dreaming towards a world where equality and freedom shall make the ground fecund for progress.

 

The Group

This play is a part of National School of Drama’s graduate showcase of class 2019. It aims to provide a platform to encourage emerging theatre practitioners to share their work with a wider audience.

Cast & Credits

On Stage Ashlesha Phad, Bhumisuta Das, Hari Shankar Ravi, Jitu Rabha, Manoj Kumar Thapar, Pallav Singh, Salim Hussain Mulla, Snehalata Tagde Snigdha Mondal, Suman Purty, Mujib Takhmeer, Rizwan, Imran
Lights Sarthak Narula
Scenography Nitish Arora, Vidur Sethi
Video Sourav Poddar
Costume Bhumisuta Das, Snigdha Mondal
Property Nitish Arora, Manoj Kumar Thapar
Poster & Brochure Mehak, Divyangana,Vidur, Saras
Sound Vishala R Mahale
Music Composition Navdeep Singh, Masood Malik, Manoj Kumar Thapar
Percussion Sayan Sarkar, Paalin Kabak, Bhaskar Jha
Vocals Navdeep Singh, Manoj Kumar, Snehalata Tagde, Ayushi Masood
Dramaturgy Vidur Sethi,  Bhaskar Jha, Pallav Singh
Dramaturgical Guidance Avijit Solanki, Vicky Maheshwari
Poet                                              Pash
Director                                    Sarthak Narula

 

 

Contacts

Sarthak Narula

M: +91 9646106077

E: sarthak1811narula@gmail.com

33
All Plays Brajavali  Folk Performances

Ram Bijoy (Ankiya Bhaona)

Playwright: Srimanta Sankardev
Director: Paramananda Kakaty Borbayan
Group: Gurukul Sattriya Sanskriti Prashishikhan Kendra, Assam
Language: Brajavali 
Duration: 1 hr 30 mins

 

The Form

Bhaona is a traditional form of entertainment with a religious message, and is prevalent in Assam, India. It is a creation of Mahapurusha Srimanta Sankardeva and was written in the early sixteenth century. The plays of Bhaona are popularly known as Ankiya Naats.

Bhaona is generally staged at xatras and namghars in Assam. The play has live instruments and singers, dances and elaborate costumes in the production. The play usually starts with the prelude, or Purvaranga. The instruments are played with exaggerated hand movements and in two different paces called Saru-Dhemali and Bor-Dhemali. After the prelude, the narrator, or Sutradhar, enters the stage and begins the actual performance.

 

The Play

Ram Bijoy or Ram Vijaya of Srimanta Sankardev is an Ankiya Naat (one-act play) which depicts the victory of Lord Rama in the swayamvar held at King Janak’s palace. As told in Valmiki’s Ramayana, Janaka, the king of Mithila promises to marry his daughter Sita to the one who can lift the bow (Shiv-Dhanush) and string it. The kings attending the contest try their best but fail. Ramachandra lifts the bow with ease and strings it. The bow snaps under Rama’s strength. Guru Vashishtha performs the religious rituals of the marriage ceremony of Rama with Sita. After the wedding ceremony is over, Ram and Sita set off with their entourage for Ayodhya. On the way, Rama is attacked by sage Parasuram who is infuriated with Rama for having broken the bow since it belonged to the sage’s master, Lord Shiva.

 

Director’s Note

Introducing a new era in dramatic literature and stage performance in the first half of the sixteenth century, Srimanta Sankardev become the first playwright of Assam. Through the Ankiya Bhaona Ram Bijoy I have tried an artistic fusion of classical Sanskrit Drama with folk and traditional elements of Assam. I hope those interested in theatre will be able to distinguish the difference and would enjoy this performance that has the fusion of classical and traditional elements.

 

The Director

Paramananda Kakaty Borbayan is a graduate in Sattriya Dance from Sattriya Music College, Jorhat, Dibrugarh University. He is also a Visharad in Violin from Nikhil Bharat Sangeet Samiti. He has received the Senior Scholarship from the Ministry of Human Resource Development in the 2004, Junior Fellowship of CCRT, Govt. of India, Sanskrit Award of Sahitya Sabha, B High grade in Borgeet from All India Radio. He is now a faculty at Srimanata Sankardev University, Guwahati.

 

The Playwright

Srimanta Sankardev, a great saint-scholar, socio-cultural and religious reformer, was born in Borduwa, Nagaon of Assam. He wrote and translated many religious books and lyrics in Sanskrit, Assamese and Brajavali. His major literary creations are Kirton Ghosa, Gunamala, Borgeet (Noble Songs) and Ankiya Naat, the latter being developed in accordance with the Natyashastra. The plays were written in a language called Brajavali which is a mix of Assamese and Maithili. Mahapurush Sankardev died in 1568 at the age of 120 in Cooch Behar. ­

 

The Group

Established in 2005 in Titabar, Jorhat, Assam, Gurukul Cultural Academy was founded by Guru Paramananda Kakaty Borbayan. Sattriya dance, along with Abhinaya, Gayan-Bayan and Borgeet, is taught in this school. Many students of this academy have been selected for the CCRT scholarship, Young Artiste scholarship and Junior Fellowship under India’s Ministry of Culture.

 

Cast & Credits

Dasarath Madhab Borah
Raja Haricharan Borah
Raja Karunakataky
Raja Dipankar Sabukdhara
Raja Anil Borah
Raja Tileswar Borah
Khol Mantu Hazarika
Viswamitra Dulal Borah
Parasuram Dilip Saikia
Ram Bonomali Baruah
Sita Manjil Kalita
Sutradhari Debojit Dutta
Kanokawati Jitumoni Saikia
Madanmonjuri Dipak Saikia
Montri Jibanjyotikataky
Sishya Prahlad Borah
Janaka Pankajlochanhazarika
Laxmana Madhujyasaikia
Bayan/Vocal Paramananda Kakaty Borbayan
Vocal Uday Dutta
Flute Monuranjan Borah
Tal Dilip Boruah
Playwright                       Srimanta Sankardev
Director                        Paramananda Kakaty Borbayan

 

Contacts

Paramananda Kakaty Borbayan

Gurukul Sattriya Sanskriti Prashishikhan Kendra

Village: Kamalabari Satra

P.O: Mahimabari, (Titabar)

Jorhat, Assam – 785630

M: +91 9707070981

E: paramanandakakaty@gmail.com

salhes 7
All Plays Folk Performances Maithili

RAJA SALHES (NATUA NACH)

Writer: Mahendra Malangiya
Director: Yaduvir Yadav
Group: Nari Udgaar Sansthan, Bihar
Language: Maithili
Duration: 2 hrs

 

The Form

Natua Nach is a popular folk-theatre form of Maithili speaking region of Bihar & Nepal. It is performed mainly during festivals. Most of the stories of Natua Nach have been taken from folk tales which depict socio-political life and its struggles. The folk art has developed in form and style as per the interests of the audience. This presentation is based on the life of the most loved deity of Mithila, Raja Salhes.

 

The Play

King Kulhesar’s daughter, princess Chandravati, asks goddess Durga for a boon to marry king Salhes. Goddess Durga appears in the dreams of princess Chandravati and King Salhes and asks them to meet in the garden of King Kulhesar at an appointed hour. But Salhes rejects the proposal of marriage to Chandravati. King Kulhesar takes Salhes into captivity and asks him to guard Chandravati’s wedding chamber. One night, the earlier guard, Chuharmal, breaks into the chamber, steals Chandravati’s clothes. Phulwanti, the gardener, catches Chuharmal and frees King Salhes.

 

 

Director’s Note

Earlier, almost every one or two village in Mithila region had its own folk theatre group. The artists used to do farming, traditional caste-based jobs, daily wage work etc. for their sustenance. Today, we are left with very few such groups. This presentation has been prepared by arranging a production-based workshop by collecting artists of remnant groups around Babubarhi and Rajnagar. This is an attempt to look at the traditional Salhes Nach in a new perspective.

 

The Director

Yaduvir Yadav was born in 1973 in the village Bhupatti of Madhubani district. He did M.A. from Lalit Narayan Mithila Vishwa Vidyalaya. As a student he started working with IPTA, Madhubani and acted in Maithili and Hindi plays under different directors. Some of his important plays are Amli, Saiyyan Bhaye Kotwal, Andher Nagri, Lakh Ki Naak, Aurat and Sabse Sasta Gosht. Along with acting in 30 plays, he has also directed plays like Original Kam, Gam Nayi Sutaiye, Kathak Lok etc. Presently he does farming and is the president of FACs, an organisation of the farmers of Bhupatti Panchayat, Madubani district.

 

The Writer

Mahendra Malangiya is a well-known playwright, theatre director and founding president of Delhi based theatre group Mailorang. Besides writing many critical research article on folk literature, he has also written 13 Maithili language plays, 19 one-acts, 14 street-plays and 10 radio drama. He got Senior Fellowship from Government of India, and the many awards received by him include award from International Theater Institute (Nepal) and Prabodh Sahitya Samman etc. He has prepared the performance text of this production of Raja Salhes.

 

The Group

Nari Udgaar Sansthan is a socio-cultural organisation which has been archiving the cultural heritage of Mithila region. The primary objective of this institution is to encourage and empower the local women of Mithila with the medium of production-based workshops. It has been organising events in collaboration with like-minded groups. It has also been organising Rastriya Lok Utsav in the remote areas of Madhubani district for the past 3 years in collaboration with Achhinjal.

 

Cast & Credits

Artists Kamal Ram, Mahendra Ram, Ghuran Das, Shivji Paswan,  Mahendra Das, Pawan Paswan, Vijay, Shiv Kumar, Pramod Debaan, Jibachh Paswan, Gulab, Gobind, Suparita, Sunita, Phuldevi, Kashyap Kamal, Bhagwan, Prashant
Assistance Shyamcharan, Bajrang Mandal, Mukesh Jha, Tejnaryan Choudhary
Design Abhishek Devnarayan
Coordination Yaduvir Yadav
Performance Text      Mahendra Malangiya
Direction                     Yaduvir Yadav

 

Contact

Nari Udgaar Sansthan

Village Murhaddi, Near Badka Mill, Babu Barhi

Madhubani, Bihar 847224

M: +91 7992367692, 9709925597

E: bhatsimarmithila@gmail.com

_G4B9343
All Plays Hindi NSD Repertory Company

PEHLA SATYAGRAHI

Playwright: Ravindra Tripathy
Director: Suresh Sharma
Group: NSD Repertory Company, New Delhi
Language: Hindi
Duration: 1 hr 50 mins

 

The Play

Pehla Satyagrahi is about the life and struggle of Mohandas Karamchand Gandhi, known as Mahatma Gandhi around the world. This is the story of Mohandas’s journey of truth and non-violence as well as the story of the independence of India. He fought a political war for almost twenty years in South Africa and when he returned to India, he, through his non-violent crusades like Quit India movement, Champaran Satyagraha and Dandi March, made it difficult for the British government to rule India.

Gandhi had said, “My life itself is my message.” What kind of life did the Mahatma lead, what were the challenges he faced, and what were the difficulties he encountered, is what we have attempted to express and showcase through this play. Gandhi’s life is larger than life and his personality quite dramatic. He was a walking and fasting saint-politician. He was spiritual and religious. And his death too was dramatic.

 

Director’s Notes

While working on a production for the 150th birth anniversary of Mohandas Karamchand Gandhi, I thought of a play which brought to light incidents from his life about which we have often heard but haven’t seen being presented earlier, and the younger generation of our country doesn’t know about.

Ravindra Tripathy and I discussed this project. What finally emerged was a narration of the story through Sonia Schlesin, Mahadev Desai, Pyare Lal, Colin Bach and Joseph K. Dock. The first three were associated with Gandhiji as his assistants, Joseph wrote Gandhiji’s first biography, and Hermann Kallenbach was a very close friend.

I have to confess that one of the scenes in this play is fictitious (the creative liberty we are allowed to have). It is in the end where Gandhiji is interviewed by Gandhi and answers some unanswered questions to himself; the questions which till date are buried deep somewhere under the rubble of history.

The play is the story of the making of Mahatma from Gandhi. It isn’t just history but also today’s voice and necessity of being ‘Swadeshi’ and ‘human’.

 

The Director

Suresh Sharma did PG diploma with specialization in Acting from National School of Drama in 1985.

In 1987-88 he established the only non-government repertory in the district of Mandi (Himachal Pradesh). From 1996-98 he worked as the Artistic Director of Sri Ram Centre for Performing Arts, Delhi. In 1998 he established the first non-government fully residential Theatre Academy in Mandi, Himachal Pradesh. Mr. Sharma has been felicitated by Sahitya Kala Parishad. Sangeet Natak Academy awarded Mohana, a play written and directed by him, under the Young Director’s Scheme.

 

Playwright

Ravindra Tripathy is a senior print and TV journalist, cultural critic, playwright, satirist, documentary film-maker, columnist and editor. Tripathy has directed two documentary films and scripted a popular news-satire show Pol-Khol for Star News and ABP News.  He is currently associated with Swaraj TV as consultant. He was awarded Sahityakar Samman by Hindi Akademi, Delhi in 2001.

 

The Group

Established in 1964 with just four members, the Repertory Company of NSD is the regular performing wing of the school. It was set up with the dual purposes of establishing professional theatre on one hand and continuing with regular experimental work on the other. Over the years it has produced a variety of plays ranging from stylized musicals to realistic contemporary Indian drama to translations and adaptations of foreign plays. In addition, several eminent persons of national and international repute have worked with the Company, and it has performed over one hundred and eighty one plays by ninety-eight playwrights and has worked with ninety directors. Quite a few of its actors have emerged as celebrities in theatre, cinema and television. The Company has toured extensively in India and abroad.

 

Cast & Credits

Gandhi-1 Shanawaz Khan
Gandhi-2 Raju Roy
Mahadev Deep Kumar
Pyare Lal Parag Baruah
Sonia Schlesin Aparna Menon
Meer Alam Rahul Kumar
Attendant/Duda Bhai/ Muslim Sikandra Kumar
Train Officer, Kallenbach Shubham Pareek
Mr. Duke Jitu Rabha
Rajkumar Shukla Ashutosh Banerjee
Aabha Ben/ Dani Ben Suman Purty
Manu Ben Anamika Sagar
Sushila Ben Sakshi Sharma
Kasutrba Gandhi Shruti Mishra
Brij Kishore Vishveshvar M. Gondhali
Multi-Character (Female) Sampa Mandal
Multi-Character (Male) Naveen Singh Thakur
Chorus Sampa Mandal, Sikandra Kumar, Aparna Menon, Rahul Kumar, Sakshi Sharma, Shubham Pareek, Ashutosh Banerjee, Anamika Sagar,             Virendra Singh, Snehalata S. Tagde, Suman Purty, Manish Dubey, Vishveshvar M. Gondhali, Jitu Rabha, Palak Jasrotia
Set Design Rajesh Bahl
Set Execution Ram Pratap, Manoj Kumar, Brijesh Sharma
Light Design & Operation Govind Singh Yadav
Assistance Md. Suleman, Pradeep Aggarwal
Costume Design C.S. Bhatia
Costume Coordinator Sampa Mandal, Anamika Sagar
Sound Operation Mukesh Kumar
Sound Design Rajesh Singh
Properties In-charge Moti Lal Khare
Video Design Sourav Poddar
Music Kajal Ghosh
Tabla Om Prakash
Harmonium Naveen Singh Thakur
Key Board Kishore Kumar Malhotra
Flute Anurag Sharma
Sitar Matluf Husain
Tabla, Percussion Pankaj Banai
Dholak Sanjeev Kumar
Make-up Sikandra Kumar, Shruti Mishra
Assistance All Repertory Artists
Stage Manager Govind Singh Yadav
Production Coordinator Sukumar Tudu
Special Thanks for Dance Choreography Bharat Sharma
Associate Director Pravin Kumar Gunjan
Playwright                             Ravindra Tripathy
Design & Direction                 Suresh Sharma

 

Contacts

NSD Repertory Company

Bahawalpur House

Bhagwandas Road

New Delhi – 110 001

Ph: 011 23383420

W: www.nsd.gov.in

2
All Plays Folk Performances Manipuri

NUPIGEE THAMOI (Shumang Leela)

Playwright: Manaobi MM
Director: Yumnam Rajendra
Group: Peace Maker Artistes’ Association, Manipur
Language: Manipuri
Duration: 1 hr 30 mins

 

The Form

Shumang Leela, literally translated as Courtyard Theatre has been the mainstay of the Meiteis, the Tibeto-Burman people who have inhabited the Imphal valley since time immemorial. Originally a form of nautanki, Shumang Leela metamorphosed into full-fledged theatre over the years. A unique feature of this art form is that the audience surrounds the stage from all sides. Male artistes not only enact the roles of female characters to perfection, but also sing just like women do. The content of the leela can be comedy, folk-lore, legends or social commentaries.

 

The Performance

Prince Naothingkhong was the third son of emperor Urakonthouba of Manipur (568-663 AD). A stubborn young man, he ran away to the hills where he found Petanga, a beautiful girl who was the only child of Shelloi village chief. Naothingkhong married Petanga secretly and promised her that she would be the queen of Manipur when he sat on the throne. The villagers revolted and wished to kill Naothingkhong because his father was a bitter enemy of the clan. So he escaped from the house of Petanga and sought asylum under the patronage of Khuman King. Petanga was punished by her own people and had to escape. Naothingkhong ascended the Khuman throne and married the Khuman princess. No sooner did Petanga get the news, she invoked the goddess Yumjao Lairembi and vanished with her last words of lament, “man has no power to realise true love”.

 

Director’s Note

The story of the play is based on legendary events of Manipur that possibly took place during 665-785 AD. The actors have worked hard to represent the age-old society and to convey the emotions of the characters during a month-long Manipuri Shumang Leela workshop. This experimental production is still in its initial stage, rather incomplete and unfinished I would say, and has a long way to go.

 

The Director

Yumnam Rajendra is a renowned theatre director, playwright and actor. He was trained in Manipuri theatre under the noted director Heisnam Kanhailal from 1973 to 1982. He worked as a director of Panthoibi Natya Mandir, Imphal and participated in many national and international festivals of India and abroad. He was awarded the Vayoshrestha Samman Award in 2017, Sangeet Natak Akademi Award in 2007, award for sculpture in tribal wood carving art of Manipur and Junior and Senior fellowships by the Ministry of Culture, Govt. of India. At present he is a visiting guru of the Department of Theatre, Manipur University of Culture.

 

The Playwright 

Manaobi M.M. is a renowned writer of radio-plays, Shumang Leela, Manipuri film-screenplays and lyrics. He has written more than 50 plays and published above 20 plays. He is presently working as the President of Cine Writers and Playwrights Forum of Manipur.

 

The Group

Peace Maker Artistes’ Association, Manipur was established on 5th of August 2002 in Imphal. This association is an autonomous body and one of the leading Shumang Leela groups of Manipur. It has participated in various state, national and international festivals like 20th Bharat Rang Mahotsav 2019, 2nd Delhi International Art Festival 2008 at FICCI Auditorium organized by NSD, 8TH Delhi International Art Festival 2014 supported by Sangeet Natak Akademi at Meghdoot Theatre Complex etc. The group has produced more than 40 plays.

 

Cast and Credits

Naothingkhong Yumnam Arunkumar Singh
Petanga Yumnam Milan
Keirunghangbi Senjam Deepson
Leima Naman Chaobi Bishesh Huirem
Khuman Ningthou Laishram Ibotombi Singh
Amukangoiba Sorokhaibamibohanbi Singh
Luwang Ningthou, Pakchao Athokpam Santosh Singh
Moirang Ningthou Naorem Tamphasana Meetei
Goddess Maibam Roshan
Soldier Gurumayum Rajesh Sharma
Soldier Thoudam Premjit Singh
Soldier Thoudam Premananda Singh
Deity Leiphrakpam Survchand
Deity Sougrakpam Chinglennganba
Musician / Female-Vocal Linkmabam Biky
Musician / Singer Naorem Jeetenkumar Meetei
Musician / Actor Seramromajit
Musician / Actor Laimujam Binoy Singh
Music Director Moirangthem Robert Meetei
Playwright                                   Manaobi M M                                    
Director          Yumnam Rajendra

 

Contacts

Mr. Yumnam Rajendra

Peace Maker Artistes’ Association

Paona Bazar, Governor Road

Near G.M. Hotel

Imphal- 795001, Manipur

M: +91 9366427125, 9856108385

E: peacemakerartistes@gmail.com

SAVE_20191114_204834
All Plays Indian Plays Malayalam

MALI

Playwrights: Nikhildas Puranattukara & Sagar Sathyan
Director: Nikhildas Puranattukara
Group: Punchami Theatres, Thrissur
Language: Malayalam
Duration: 1 hr 15 mins

 

The Play

Mali is based on the folk culture of Kerala, as told through the songs and tale of the hero and the imaginary god Ayyappan. It begins with the description of a girl named Mali, and Chappan, a fighter who grew up in the jungle to defeat the hiding forces called Maravippada. Chappan learns the tactics and expertise from Vithari Mooppan and fights against Maravippada. He goes to meet his beloved Mali, but Mali asks him to come later since she is menstruating and therefore prohibited to meet anyone. Chappan is upset about this discrimination and tells her that now he will return for her only when the society gives up all such beliefs. Mali awaits his arrival, and when he doesn’t return, breaks away from all social taboos and restrictions and leaves home to enter the forest to find her love.

 

Director’s Note

The play begins with the resistance of people towards outside forces. A number of contemporary questions have been dealt with in this play, especially the ones dealing with discrimination. Why can’t a warrior have a spiritual quest? Is the reason to create superstitions and customs a deliberate attempt to keep them subdued and at a distance? The play is based on folk tales and folk songs heard from the dalits of Sabarimala Sasthav, popular in Kerala. Live music related to Ayyappan is incorporated into the play.

 

The Director & Playwright

Nikhildas Puranattukara has received the Kerala Sangeetha Nataka Academy Award for Best Director and Writer in 2019 for the play Mali. His children’s plays have won accolades at the Kerala state youth festival during the last three years. Nikhildas has staged plays at national and international platforms like National School of Drama Theatre Festival, International Theatre Festival of Kerala, Bharat Rang Mahotsav, Rangayan Festival, Cuttack National Theatre Festival etc. He has adapted renowned writer Uroob’s celebrated work Neelakuyil into a play. He was the director of Lavettam theatre camp in Perth, Australia; and Kalithattu theatre camp in Bombay. He is associated with Thrissur based theatre group Rangachetana and his own theatre group Punchami theatres. Some of his popular productions are Marathalayan, Manabave, Kunnukalkkumappuram, Palaharapanthayam, Markkadapuranam etc.

 

The Co-Playwright

Sagar Sathyan has been active in cinema and theatre for the past few years and has made remarkable contributions to both. He has been a part of Rangachetana, a well-known theatre group in Thrissur, and has written four plays directed by Nikhildas Puranattukara. Sagar has also written the script of a Malayalam feature film Ladoo which was released last year.

 

The Group

Punchami Theatres is a group of young people who have been studying drama and are engaged in theatre activities. Everyone in the group finds time for theatrical work while practicing his/her routine work. Mali is the first theatre project of Panchami Theatres. It won the Best Play award at the Kerala Sangeet Natak Academy’s amateur drama competition, and also the Best Actress, Best Director and Best Writing awards. A number of colleges of Kerala participate in theatre activities under the banner of Panchami Theatres. The centre of the group is in Adat, a village in Thrissur district of Kerala.

 

Cast & Credits

Mali Athira
Karuthi Anusha Bahuleyan
Mahishi Mekha Manoj
Chappan Anand
Vithari Mooppan Sathyajith
Kandan Ramkumar
Kormi Akhilesh Paliyan
Rajavu Ramadas
Vendoran Sajith Alukkal
Villan Appu K.G
Kadutha Athul
Mallan Kiran
Karuppan Abhishek
Moothoru Henson
Kappatharu Josprakash
Vaidhyar Vishnu
Padayali Ramesh Ramakrishnan
   
Light Dhaneshkumar
Art Shinoj Asokan
Co-ordinator Mejo
Music Midhun Malayalam
Instruments Manikandan
Make-up Francis Chirayath
Costumes Anjali Raman, Leela Sathyan
Light Assistant Gokul
Art Assistant Mornima Dhanesh
Assistant Director Nijildas
   
   
Playwrights                 Nikhildas Puranattukara, Sagar Sathyan
Director                      Nikhildas Puranattukara

 Contacts

Punchami Theatres

Adat, P.O Thrissur, Kerala 680551

M: +91 9745260825, 9946302016

E: punchamitheaters@gmail.com

06
All Plays Chhattisgarhi Folk Performances

MAHUA KE PANI (NACHA)

Playwright: Sattar Baig & Lakshman Deshmukh
Director: Poonam Tiwari
Group: Rang Chhattisa, Chhattisgarh
Language: Chhattisgarhi
Duration: 1 hr 30 mins

 

 

The Form

Nacha is a traditional folk-theatre and a legacy of Chhattisgarh. According to some scholars the basis of this theatrical form is Gammat Nacha, which is mainly a singing form. Gammat Bhajans include expressions of emotions, humour, longing etc. The performance is conducted throughout the night and the audience enjoys it wholeheartedly. It includes singing of bhajans of Tulidas, Surdas, Kabirdas, Meera, followed by filmy Ghazals, Qawwalis and folk songs like Karma, Dadriya, Yuvapanthi, Holi etc. The performance includes all colours ranging from humour, compassion, love, anger etc.

 

The Play & Director’s Note

This play is to encourage the audience to help in getting rid of the increasing dilemmas in the society, and build a clean and beautiful nation. It also urges those who are in the grip of an addiction, to give up the bad habit/s so that one’s health, family future generation, and the society does not have to pay for one’s folly. The addiction to liquor is driving the society astray. Through this play we wish to convey that alcohol, known as ‘Mahua ke Pani’ (Water of Mahua) in our region, is destroying our world. Families are suffering due to this evil habit. I, Poonam Tiwari, and my team are honoured to present this play at NSD, Delhi.

 

The Director

Born on 13th November 1963 in Chhattisgarh, Poonam Tiwari attended school till class four. At the age of nine she started participating in the productions of Nacha parties like Dau Mandaraji Nacha Party, Jaalbandha Nacha party, Pateva Nacha party and Nishad Nacha party. While working for Champa Barsan Nacha party of Durg, she came in contact with the great thespian Habib Tanvir and from 1984 to 2005 worked under him as an actor in Charandas Chor, Mitti Ki Gadi, Mor Nau Damad Gaon Ke Nau Sasural and many other productions. She has been awarded with Dauji Mandara Samman 2005, Sharad Vairahagkar Samman 2015 by IPTA, and Dau Ramchandra Deshmukh Bahuman Samman 2020.

 

The Playwrights

Lakshman Deshmukh was born in a farmer’s family in Village Dugatola, 10 kms from the forest of Ambagarh. He has written many songs and plays on social issues like de-addiction, dowry system, oppression of women etc. He along with Sattar Baig has adapted this play to bring awareness about the evil and ill effects of alcohol that are spreading in the society. The play focuses on the addiction of liquor, made from the fruits of Mahua tree, in tribal villages. The play has been written in Chhattisgarhi Nacha style.

 

The Group

Rang Chhattisa based in district Rajnandgaon (Chhattisgarh), is a folk and cultural theatre group which has been presenting plays mainly based on the folk-art form Nacha. The group prioritises social issues over commercial ventures. It has performed numerous plays including Lottery, Rajim Bhaktin, Pathshala, Mahua Ke Pani and many more, in cities like Jaipur, Wardha, Bilaspur, Raigarh, Ajmer, Delhi, Indore, Patna, Ranchi, Guwahati etc.

 

Cast & Credits

Guru’s Wife Poonam Tiwari
Guruji Sattar Baig
Sahinav Mitr Shailender Rajak
Sahinav’s Wife Kumari Kaushik
Baba/Dada Chhannu Sahu
Guruji’s Daughter Lakshmi Yadav
Friends Divya Tiwari, Annu
Liquor Seller Tejram Devangan
Bania Rajkumar Chauhan
Bania’s Assistant Murad Khan
Policeman Deva
Pallbearer (Arthi Uthane Wala) Mahesh Sahu
Saheli Pramila Yadav
Student Chhotu Meshram, Mahesh Sahu
   
Harmonium Limesh Shukla
Bansuri Hemraj Sinha
Tabla Monu Pandiya
Banjo Chetan
Dance Director Varsha
Dance Jeetu Yadav
Singer (female) Anita Jhanghel
Singer (male) Narottam Das
Guidance Deepak Virat
   
Playwright                              Sattar Baig & Lakshman Deshmukh
Director                                  Poonam Tiwari

 

Contacts

Rangchhatisa

Mamta Nagar, Ward No.-19

Rajnandgaon, Chhatisgarh

M: +91 9009008070

E: limesh1988@gmail.com

FB_IMG_15794539659369401
All Plays Bengali Folk Performances

MAHISHASURA MARDINI (Purulia Chhau)

Director: Paresh Prasad Parit
Group: Purulia Chhau Dance Academy, Jharkhand
Language: Bengali
Duration: 1 hr 15 mins

 

The Form

Chhau is a traditional dance-drama performed during the Chaitra festival (April-May) in the adjoining districts of the three bordering states of West Bengal, Bihar and Orissa. Ramayana and Mahabharata, as well as stories from the Puranas, and those from everyday life, are portrayed through this masked dance form. A Chhau troupe consists of 15-20 artists. The musical instruments used are drums (dhol) and flute (shehnai).

 

The Play

The performance begins with an invocation to Lord Ganesha, and then to Lord Kartikeya.

Mahishasura, a demon who has created terror in the world of the gods, has captured heaven, earth and the nether world. Goddess Durga, who rides a lion and has been bestowed upon with weapons from Brahma, Vishnu and Mahesh to fight Mahishasura, after a long battle slays him.

 

The Director

Paresh Prasad Parit is a well-known artist of Purulia Chhau and is popularly known as Guru Paresh Kumar. He is an M. A. in History and a trained dancer, musician, composer and choreographer who is dedicated to this art since childhood. His inspirations have been Padma Shri Gambhir Singh Mura, Padma Shri Nepal Mahto, Ustad Juru Kumar, Ustad Laal Mahto, Ustad Rasu Sahis, Ustad Gopal Suri (Mandal), and his own parents. He was trained under Chhau Guru Sudhir Kumar who is an international famed artist of Purulia Chhau. He has struggled for the preservation and promotion of Purulia Chhau in the borderlands of West Bengal & Jharkhand, hoping for a bright future of this traditional form. He has received the Fellowship for Purulia Chhau from the Ministry of Culture, Govt. of India. He has also been awarded the Panchal Ratna Award from All India Cultural Association (Regd.), Chhau Guru Award, MRD cultural award, and Jharkhand Sanskritik Samman. He is a member of CCRT Regional Selection Committee under the aegis of Ministry of Culture, Govt. of India.

 

The Group

Purulia Chhau Dance Academy was founded in 1985. The group is based in the village Jamdih, under Tila Panchayat, Nimdih block of Seraikela Kharsawan, a district state of Jharkhand in India and a border-land area of West Bengal. It is a troupe and training centre aiming to preserve and promote Purulia Chhau. The dancers and musicians of the group are farmers, farm labourers and students. Although the academy is dedicated to Purulia Chhau, it actively participates in social service as well. It is registered under the Govt. of Jharkhand and empanelled under Indian Council for Cultural Relations. It has performed in cities like Delhi, Kolkata, Patna, Mumbai, Hyderabad, Bangalore, Ahmadabad, Gurgaon, Bareilly, Agra, Jaipur, Baripada etc. The academy has received many prizes and awards in festivals and fairs held at different places in India.

 

Cast & Credits

Lord Ganesha Swapan Machhua
Lord Kartikeya Gunadhar Kumar
Goddess Durga Falari Kumar
Demon Mahishasur Dhiren Singh
Devil Lakhindar Machua, Parmeshwar Majhi,
  Alang Chand Kumar, Sudip Yogi
Laxmi Gansh Karmakar
Saraswati Gayapati Mahato
Lion Ram Nath Singh, Ram Charan Singh
Peacock Bhut Nath Machua
Dhol Dhar Kalindi
Shahnai Shikant Kalindi
Maracas Bibhuti Singh
Tasa / Nagara Purna Kalindi
Casio Bhism Dev Machhua
Prompter Udai Mahali
   
Director & Group Leader     Paresh Prasad Parit

      

Contacts

Purulia Chhau Dance Academy

Jamdih, P.O. Tilla

P.S. Nimdih, S.D. Chandil

Distt. Seraikela Kharsawan

Jharkhand – 832401

M: +91 8709364919, 9955332690

E: pareshkumar99@gmail.com

 

IMG-20200106-WA0010
All Plays Folk Performances Malwi

MADHYAM VYAYOG (Turrakalangi & Maach)

Playwright: Mahakavi Bhasa
Director: Hafiz Khan
Group: Ankur Rangmandal Samiti, Madhya Pradesh
Language: Malwi & Rajasthani
Duration: 1 hr 10 mins

 

 

The Forms

Maach is a folk theatre form of Malwa region of Madhya Pradesh, started in Ujjain by Guru Gopalji of Bhagsipura.

Turra Kalangi form of poetic and musical dialogues was jointly initiated by two saints Tukhangir and Shah Ali. Tukhangir was a Gusaain saint who wore saffron clothes and worshipped Shiva. Shah Ali was a Muslim Faqir who wore green and worshipped Shakti. Yet, both these forms have some common features.

The Play

A Brahmin family is passing through the forest where the exiled Pandavas are dwelling. The family encounters Ghatotkacha who is in search of a human for his mother Hidimba’s meal. He holds the family captive and asks them to decide who should accompany him. The eldest son of the family being dear to the father, and the youngest to the mother, the middle son is the only choice left to be handed over to Ghatotkacha. Being the middle one he is called ‘Madhyama’. Madhyama is thirsty and requests Gatotkacha to be allowed to go to a nearby pond for water. Ghatotkacha agrees and asks him to return quickly. But Madhyama gets delayed and Gatotkacha starts calling out to him, “Madhyama…Madhyama…”  Bhima, who was passing by, and he too being the middle son (Madhyama), thinking that someone is calling out to him, reaches where the family is being held captive. On hearing the story of the family, he offers himself as Hidimba’s meal, on the condition that Gatotkacha defeats him in a duel. Gatotkacha defeats Bhima in a wrestling bout and takes him to his mother only to discover that Bhima is his father.

 

The Director

Hafiz Khan graduated from National School of Drama in 1981. He has been actively working in theatre, especially in the field of Children’s theatre. He has been the founder member of the TIE Company of NSD. He has also been a part of many theatre workshops organized by NSD all over the country. As he was born and brought up at Ujjain, the local folk forms have always attracted him. The present production is the result of one such workshop.  

 

The Co-Director

Born on 11th of October 1963 in village Nayakhe of district Ujjain, Babulal Deora, at the age of 15,

joined Lokarg and Tejati Maharaj Katha Group and started his association with the folk theatre ‘Maach’. His initial inspirations were Guru Shri Siddheshwarji Sen and his elder brother Ratan Maharaj Lokesh Sen. He started as a chorus singer in the group. He continued the tradition after his guru died.

 

Director’s Note

I had conducted a workshop on Turrakalangi in December 2014 at Ghosunda, Chittor village. The workshop began with Kalangi Ustad Mirza Akbar Baig Kaghzi and Turra Ustad Narayanji Joshi, and around 20 artists of Turralalangi. I felt as if I was transported to Indra’s Darbar 300 years ago where Turrakalangi was Khayal, and Khayal was Maach. If one was to forget the intricacies of music and Rag-Raginis, then one finds that the form of rhythm, melody, abhinaya, singing and storytelling are all common in both. Thus, we selected Madhyam Vyayog of the great Sanskrit playwright Mahakavi Bhasa to be presented as a bouquet of Turrakalangi Khayal and Maach by the artists of Ujjain.

 

The Playwright

Mahakavi Bhasa (5th Century B.C.) was an Indian playwright who wrote in Sanskrit. His plays were lost to the world until 20th century A.D. when his manuscripts were rediscovered. Some of his available plays are Swapnavasavdutta, Pratibha-Natak,  Panch-Ratra, Madhyam Vyayog, Doot Gatotkach, Urubhangham, Karnabharam, Hari Vansh, Abhishek Natak etc.

 

The Group

In the past four decades Ankur Rangmanch Samiti Ujjain has organised numerous theatre festivals, theatre camps, workshops and theatre productions. The primary objective of the group is education, literacy, health, social sciences and social justice. It uses regular theatre, children’s theatre, educative theatre, folk theatre, literature and art as its medium. The group has participated and organised events in collaboration with the Ministry of culture (Govt. of India), Sangeet Natak Akademi, National School of Drama (New Delhi), Madhya Pradesh Kala Parishad, Madhya Pradesh Museum, Kalidas Akademi Ujjain and many local organisations. Malwa Maach organised in 1999, 2005, 2007, 2016, 2017, 2018 and 2019 have been known for a wider promotion of this folk tradition.

 

Cast & Credits

Sutradhaar1 Babulal Deora
Sutradhaar2 Rajesh Bhati
Hidimba Vishnu Chandel
Ghatotkach Narendra Bhanvariya
Brahmin Tikaram Bhati
Brahmani Seema Kushwah
Son 1 Dilip Chauhan
Madhyam (Son 2) Sonu Bodana
Son 3 Chirag Chandel
Bhima Sudhir Sankhla
   
Harmonium Ramesh Aswaar
Dholak Pappu Chauhan
Tek Raju Bhati
Synthesizer Nilesh Manohar
Costume & Make-up Vishal Mehta
Stage Management Irshad Khan
Set Ivan Khan
Light Operation Amit Bhandari
Production Design Kailash Chauhan
Stage Manager Prakash Bhatia
Co-ordinator Shailendra Vikal
   
Playwright                  Mahakavi Bhas
Co-Director                Babulal Deora
Director                      Hafiz Khan  

 

Contacts

Ankur Rangmanch Samiti

C/o Vishal Steel, 64 Fawara Chawk

Ujjain- 456001

M: +91 9868511508

E: hafeeznsd@gmail.com