Folk Performances

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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

 

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

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

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

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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

 

IMG-20200121-WA0008
All Plays Bengali Folk Performances

GANGA PUTRA BHISHMA (Jatra)

Playwright: Sunil Choudhury
Director: Ruma Dasgupta
Group: Sri Chaitanya Opera, West Bengal
Language: Bengali
Duration: 3 hrs

 

The Form 

Jatra is a popular folk-theatre form of all the Bengali speaking areas of the Indian subcontinent, including Bangladesh and the Indian states of BiharAssamOrissa, Tripura and West Bengal. The word ‘Jatra’ means journey or travel. The origin of Jatra, intrinsically a musical theatre form, is credited to the rise of Sri Chaitanya‘s Bhakti movement. Chaitanya himself played Rukmini in the performance of Rukmini Haran (The abduction of Rukmini) from Krishna‘s life-story, a first definite presentation of this theatrical spectacle. The performance, which lasted through the night in 1507 AD, has been described in Chaitanya Bhagavata, Chaitanya’s hagiography by a disciple Vrindavana Dasa Thakura.

 

The Play
Being cursed, the eight demi-gods, Ashtabasu, were born as the children of Ganga, the queen of Hastinapur. She sacrificed seven of them but when it came to the eighth, Debabrata, the King did not let her to do so. Having taken certain severe oaths, Debabrata was honoured by the name Bhishma. He conquered the province of Gandhar, imprisoned the King along with his hundred sons and made the princess marry his blind nephew. The king’s elder son, Shakuni, survived and decided to avenge Hastinapur. Thus came about the fierce battle called Mahabharata at Kurukshetra.

 

Director’s Note
The Jatra Pala named Ganga Putra Bhishma is based on the world-famous Indian epic The Mahabharata. Our work is a theatrical version of the basic thoughts of the epic which unfolds the dialectics of war and peace, hatred and love, greed and sacrifice. The play is not only meant as a biographic tale of Ganga’s and Bhishma’s life and sacrifices, but also an analysis of the salutary instructions in the epic.

 

The Director
Ruma Dasgupta, the eminent personality of Bengali Jatra stage, is a professional actor, director, composer and teacher. She has been on the professional Jatra stage as an actress since 1981. Smt. Dasgupta has acted-in and directed more than hundreds of Palas. She has received many awards and felicitations and is an honourable member of West Bengal Jatra Academy in which she has trained many students through workshops. At present she is the director of Sri Chaitanya Opera, a company of progressive Jatra performance.

 

The Playwright
Sunil Choudhury, the eminent Jatra personality of Bengal, is a professional playwright, director who has written many successful Jatra Palas like Prithibir Pathshala, Rongini Champaboti, Taalpatar Sepai, Ogo Bishnupriya, Dhuli, Noti Tarasundori etc. He has received many awards and felicitations including the Dishari Award from West Bengal Journalist Association.

 

The Group
The descent of Sri Chaitanya Mahaprabhu introduced the culture of Jatra in the Bengal province. Sri Chaitanya Opera is dedicated to His path of harmony and peace by preaching love. The Opera was founded in 2015 by the veteran benevolent of Bangla Jatra, Shri Swapan Debnath and his S.P.S. Enterprise. Around fifty artists and workers, including their families, are fully dependent on the Opera.

 

Cast & Credits

Ganga Ruma Dasgupta
Shakuni Amit Kanti Ghosh
Bhishma Avijit Sarkar
Arjun Arijit Lahiri
Karna Arindam Bhattacharya
Krishna Kumar Nabab
Byasdeb, Drupadraj, Narak Amit Kumar
Duryodhan Arup Chakrabarti
Maharaj Shantanu/Dhritarashtra/
Rishi Dhoumya Ashok Banerjee
Matkun/Dusshasan/Abhimanyu Chandan Kumar
Parashar/Yudhishthir  Manas Chatterjee
Draupadi Urvashi
Satyavati Nisha Mukherjee
Bhimsen  Chanchal Dey
Amba  Miss Sohag
Gandhari   Santoshi Sengupta
Kritaghnabarma  Timir Mondal
Ahlladi    Sagarika
Dhibar Raj Ghandhapani/Shalyaraj  Haradhan

 

Synthesizer Player Pranab Dutta
Flute Player Sunil Ghosh
Clarionet Player Khudiram
Maity Table, Dhol Player Sachin Majhi
Percussion Player Rabindra Jana
Octopad Player Prabir Haldar
Sound Control Ram  Mondal
Light Projection Haru Kundu
Backstage Lakkhi, Shambhu, Robi, Sirajul, Babulal
Costume &
Property Management Dulal, Sudarshan
Music Director  Swapan Pakrashi
Lyricist  Ujjal Biswas
Choreography Partha Sarathi
Light & Sound S. Sargam
Office Manager Tapan Pramanik, Gora Mondal
Represented by Kanak Bhattacharya
Main Adviser Shri Swapan Debnath
Produced by S. P. Enterprise
Group Managers Narottam Bhattacharya, Nihar Ranjan Ghosh
Main Field Manager
& Group Conductor Haradhan Roy
Playwright                                                     Sunil Choudhury
Director                                                          Ruma Dasgupta

Contacts

Sri Chaitanya Opera

386, Rabindra Sarani

Kolkata- 700006

M: +91 9836026444

E: haradhan61.shikhabullu@gmail.com

S.V.B.K (6)
All Plays Folk Performances Gujarati

BANJARA (BHAVAI VESH)

Director:  Pranjivanbhai Babubhai Paija
Group: Swami Vivekanand Bhavai Mandal, Gujarat
Language: Gujarati & Hindi
Duration:  1 hr 30 mins 

 

The Form

Bhavai is an old art of storytelling which has its roots in the 13th Century. Originally, this folk-dance was performed by male artists only, but now with the society becoming more progressive, women are the main participants of Bhavai. Banjara is a nomadic tribe, with origins in the Marwar region, now Rajasthan, India.

 

The Play

A Banjara family is travelling from village to village for trade. The children are thirsty after a long walk. Once they approach a village, Banjaran goes to a pond in the village to fill water for drinking. The village sarpanch refuses to allow her to take the water for free. Banjaran calls her husband Banjara, who convinces the Sarpanch that water cannot be sold. It is a gift given equally to all by nature. The Sarpanch finally agrees to him.

 

Director’s Note

The exchange of culture between people is inspiring and that is what we love doing through Bhavai.

Many years ago, when there was no television or radio, Bhavai was one of the mediums for the welfare and entertainment of the local people. Stories of great men, kings, and other aspects of history of our country could be conveyed in a language that everyone knows and understands. I remember my father and our ancestors as social reformers. Bhavai is an excellent medium, even today, to bring awareness of important issues to people.

 

The Director

Pranjivanbhai Babubhai Paija is the youngest son of Late Shri Babubhai Kanjibhai Vyas. Impressed by his father’s life, he believed that learning alone should not be the aim of one’s life but sharing of what is learnt is of vital importance, and is the only way to lead a satisfying life in the society. Since his childhood he has been actively and joyously participating in Bhavai since his father was a Bhavai artist and the family was regularly visited by many artists. He used to spend his holidays and free-time performing and learning music instruments. He is now adept at playing tabla and harmonium, and also performing certain roles in the performances.

Pranjivanbhai manages Swami Vivekanand Mandal where he co-ordinates, plans and organizes Bhavai performances. He also sings Bhajans in organized public events. He teaches music instruments to his young students along with guiding them on the same principles of life that his father taught him. He has performed in India and abroad including countries like USA, West-Indies and Suriname.

 

The Group

Swami Vivekanand Bhavai Mandal was been established in 1950’s by Babubhai Kanjibhai Vyas (sub-caste Paija). Babubhai, his fore-fathers and his entire family have contributed immensely towards the storytelling art of Saurashtra’s historical Bhavai and saved it from extinction. Bhavai was earlier famous only as a folkdance but later on songs, dialogues and acting were added to it. This has worked as a powerful tool to educate the masses on various social issues through the medium of sarcasm and humour.

 

Cast & Credits

Gangodani /Joker Pranjivanbhai Paija
Sutradhar Haribhai Paija
Ganapati Pravinbhai Bhadla
Banjaro Avinash Paija, Shivadhanbhai Oriya,
  Shantilal Oriya, Bhikhubhai Indrodiya
Banjaran Bharatbhai Agola, Kantilal Paija, Chandulal Mandali,
  Babulal Vyas, Mehul Oriya, Raviraj Paija,
  Kantilal Lalukiya, Sevanti Bhavaya
Gandhari Vrajlal Vyas
   
Backstage Artist Prakash Paija, Raviraj Paija
Tabla Vadak Vikram Paija
Harmonium Amrutlal Vithlapara
Manjira Vadak Pravinchandr Paija
Bhungal Vadak Balavantbhai Paija, Bhupatbhai Vithalapara
Tabla & Manjira Vadak Bharatbhai Paija
   
Coordinator                            Raviraj Pranjivanbhai Paija
Director                                  Pranjivanbhai Babubhai Paija

 Contacts

Pranjivanbhai Babubhai Paija

Swami Vivekanand Bhavai Mandal

Khakhrala, Distt. Morbi, Gujarat – 363641

Ph: +91 9913442450, 9979454193, 9979522097

E: raviraj.paija@gmail.com, tnpaija@gmail.com,

pranlal.b.2063@gmail.com

YER_5925
All Plays Folk Performances Kannada

PANCHAVATI YAKSHAGANA

Playwright: Parthisubba
Director: Keremane Shivanand Hegde
Group: Sri Idagunji Mahaganapati Yakshagana Mandali, Karnataka
Language: Kannada
Duration: 1 hr 30 mins

 

The Play

The performance starts with the traditional invocation Poorvaranga to lord Ganesha with dance and music. Sri Rama moves to the forest, with wife Seeta and brother Laxmana. The sages of the forest complain about the demons and solicit his protection. Rama assures to help them.

Shoorpanakha, Ravana’s sister, smells the odour of human flesh and approaches Rama’s hermitage.  Looking at Rama, she gets attracted by him. Using her magical powers she transforms herself as a beautiful damsel and expresses her desire to marry him. Rama, for the sake of fun, advises her to marry his brother Laxmana who is younger, more handsome and yet to be married. With lust and desire, excited Shoorpanakha runs to Laxmana. Laxmana becomes angry, scolds her for her behaviour and asks her to bring proof from Rama. Rama writes on her back, suggesting Laxmana to chop off her ears and nose. Laxmana sees Rama’s orders, and cuts off her ears and nose. Angry Shoorpanakha takes a vow that she will take revenge.

 

Director’s Note

This episode is selected from the Aranya Kanda of the Ramayana. Happenings in Panchavati is a crucial part of Ramayana and forms a basis for abduction of Seeta. Traditionally, this play was limited to the conversation based Taalamaddale. I have tried to explore new possibilities, besides already existing traditional theatre elements, music and rhythm, in enhancing the portrayal of the characters and the story. Breaking the barriers of language through simple narration and direction, without losing the framework of impromptu dialogue delivery, dance and narrative motives of Yakshagana, has made this play successful in and abroad India.

The depiction and dance of many rishis being choreographed into a single song, the depiction of intimacy of Seeta and Rama, entry and transformation of Shoorpanakha, the dramatic usage of the tere (traditional curtain), expressions of internal emotions, Rama and Laxmana’s determinations are some of the notable parts of directions and choreography of the play.

One can see a spectrum of moods, other than the popular Veera, Raudra, Hasya in Yakshagana, i.e. Shringara, Bhayanaka, Karuna and Adbhuta as well.

 

The Director

Sri Keremane Shivanand Hegde is the present director of this Yakshagana Troupe. He is also Guru and director of a Yakshagana Training Center – Srimaya Yakshagana Ranga Shikshana Kendra in a remote village of coastal Karnataka. Sri Hegde is a fifth generation Yakshagana artist in Keremane family. He has studied and practiced many classical and folk-dance forms apart from Yakshagana and has toured all over the globe heading the Yakshagana Mandali. He has been conferred with many awards (Aryabhata International Award, Kuvempu Deepa Award, Ajithashri, Kusumashri, Chittani Awards etc.) and titles (Yakshagana Kalashekhara, Yaksha Sarathi and Nritya Param). Currently, he is a member of the executive board of   Sangeeta Nataka Akademi, New Delhi; the chairman of Folk and Tribal Community of SNA, New Delhi; academic council member of Karnataka State Dr. Gangubhai Hangal Music and Performing Arts University, Mysore; and a member of many other renowned organisations.

 

The Playwright

Yakshagana poet Parthisubba, believed to have lived in about 1600 AD, is a celebrated composer of many Yakshagana Prasangas (or poetic episodes). Subba is believed to be the originator of new regional style, the Tenkutittu, the ‘Southern School’ of Yakshagana. He is also believed to be the author (probably the compiler and editor) of Sabhalakshana, a collection of songs used for the preliminary (Purva Ranga) of Yakshagana.

 

The Group

Yakshagana is a rare 500 year old operative art form which belongs to our rich Indian heritage originating in Karnataka. It is a combination of dance, drama, music, dialogues and stories taken from Indian epics and mythology. Sri Idagunji Mahaganapati Yakshagana Mandali, Keremane® was established in 1934 by Sri Hegde’s grandfather. This mandali is a non-profit NGO, and the performing unit of the organization has toured extensively in India, USA, England, Spain, Bahrain, France, China etc. Many awards and recognitions have been conferred to the mandali from all over the world; the prestigious ‘Raja Mansingh Tomar Award’ conferred by MP Govt. being the most recent.

 

Cast & Credits

Shri Rama Keremane Shivanand Hegde
Rushi Muni Timmappa Hegde
Shoorpanakha 1 Ishwar Bhat Hamsalli
Maya Shoorpanakha 2 Sadashiv Bhat Yellapura
Laxmana Vighneshwar Havgodi
Rushi Muni Seetaram Hegde Mudare, Shridhar Hegde Keremane, Ganapati Kunabi
Poorvaranga Chandrashekar N.
Seeta Maruti Naik Bailagadde
Poorvaranga Nakula Gouda
Tere Krishna Marathi
Tere & Green Room Helper Mahaveer Indra Jain
Bhagawata (Singer) Ananta Hegde Dantalige
Chande Player Krishna Yaji Idagunji
Maddale Player Narasimha Hegde Mururu
Playwright                  Parthisubba
Director                      Keremane Shivanand Hegde

 

 

Contacts

Sri Idagunji Mahaganapati Yakshagana

Mandali Keremane

At & P.O: Gunavante, Tq: Honnavar

Dist. Uttara Kannada, Karnataka- 581348

M: +91 8387234188, 9480516300

E: idagunjimela@gmail.com

Karnan 3
All Plays Folk Performances Tamil

KARNA MOTCHAM

Director: Kalaimamani P.K.Sambandan
Group: Purisai Duraisami Kannappa Thambiran Parambarai Therukoothu Manram, Tamilnadu
Language: Tamil
Duration: 1 hr 35 mins

 

The Play

After the 16 days of continuous defeat, on the 17th day, before going to war, Karnan visits his wife as it could be his last visit. His wife refuses to see him and calls him low-born. Then Karnan reveals the secret of his birth that he is the first son of Kunti and Sun god, and the eldest Pandava. His wife implores him to join their side in the battlefield. He refuses saying that it was Duryodhanan who accepted him despite his birth. In the battlefield, Karnan is defeated through Krishna’s deceit. In a conversation with Duryodhana, Karnan reveals that he has readied the weapon of war, Nagastram, to kill Arjuna, but he needs King Salliyan as charioteer to depose or challenge Arjuna in the war.

 

Director’s Note

Therukoothu is a traditional and popular form of folk theatre from the interiors of Tamil Nadu. Its themes are drawn from Indian mythology and epics, particularly, the Mahabharata. Its performance is a combination of three main modes of creative expression i.e. verse recital, song and dance. Not only does it serve as means of entertainment for rural folks, but also displays a ritualized trajectory of traditional human values. Rituals are meant to merge the dramatic identities of performers with viewers’ participation.

 

The Director

Kalaimamani Sambandan was born in 1953. He is the younger son of Kalaimamani Purisai Kannappa Thambiran and fifth generation artiste of the Purisai School of Therukoothu. He performs as lead actor in the productions. He has participated in workshops conducted in NSD, by Bansi Kaul at Gandhigram, and by Badal Sircar and Ingbor Mayor. He has conducted major workshops on Therukoothu with NSD and at a variety of venues and prestigious theatre organisations and occasions in cities including New Delhi, Pondicherry, Singapore and Colombia. He directed his group’s Therukoothu version of Gabriel Garcia Marquez’s An Old Man with Huge Wings, at Bogotá, Colombia, and Bertolt Brecht’s, Caucasian Chalk Circle.  Some of his Therukoothu choreographic performances have been in collaboration with Une Chambre En Inde of Theatre du Soleil, Paris; and God has changed his name with Avanthi Meduri. He has received many national and international honours and awards.

 

The Group

Purisai troupe is run by a family of fifth generation of artistes of the traditional folk form of Tamil Nadu, Therukoothu, headed by Sambandan Thambiran. The group has widened the tableau of its presence by introducing contemporary, Indian and foreign works in their originally traditional repertoire from 1984 onwards. Along with Indian epics Ramayan and Mahabharata their work now spans Thenali Raman, Caucasian Chalk Circle (Bertolt Brecht), Gabriel Garcia Marquez’s An Old Man with Huge Wings in Therukoothu, and a collaboration with Theatre du Soleil, Paris in Arianne’s Une Chambre En Inde.

The group runs a school of Therukoothu in Purisai village since 2007 for all ages with an aim to prepare professional Therukoothu artistes and preserve the art form. The students are introduced to other art forms too. The group invites other art forms to perform at their eagerly awaited annual Kalaimamani Kannappa Thambiran Memorial Theatre Festival.

 

Cast & Credits

Kattiyakaran V. Baskaran
Duriyodhanan Kalaimamani P. K. Sambandan
Karnan Palani Murugan
Salliyan S. Muthukumar
Ponnuruvi S. Gowri
Arjunan E. Prakashraj
Krishnan V. Hariprasath
Mridangam G. Vijayan
Harmonium S. Raghupathy
Mugaveenai Elumalai
Thaalam S. Baskaran, M. Sampath Kumar
Curtain Holders S. Manikandan, K. Saravanan,
Back stage P. Sivasankaran, R. Arunachalam
   
Director                      Kalaimamani P. K. Sambandan

 Contacts

Purisai Duraisami Sannappa Thambiran

Parambarai Therukoothu Manram

No.4, Anna 5th Street, M.G.R. Nagar,

K.K. Nagar P.O., Chennai- 600078, Tamil Nadu

M: +91 9566171624, 9486171771

E: therukoothu@hotmail.com