Overview of Indian theatre
ASIDES — Themes in Contemporary Indian Theatre: Nemichandra Jain; Published by National School of Drama, Bhawalpur House, Bhagawandas Road, New Delhi-110001. Rs. 300.
INDIAN THEATRE has a history of more than 2000 years. The first treatise on dramaturgy, the Natyassastra, was written by Bharata around the 2nd Century B.C. Sanskrit drama and its production has been a dominant factor in Indian theatre for nearly the same length of time.
The book under notice is a fairly comprehensive work on contemporary Indian theatre dealing with its evolution, transformation, past, present and future, and the nature of Indian theatre.
The author with his experience in the field over a period of five decades deals with the subject with subtlety and insight. In 19 chapters, he tries to handle different delicate components of Indian theatre with admirable ease.
There is a chapter on contemporary production of Sanskrit drama authored by Bhasa. Another one deals with dramatic writings in Hindi. Most of the author's analysis revolves naturally round the Sanskrit or Hindi plays because he is a Hindi poet, literary and theatre critique, translator, editor and teacher.
Very few mention of the works of Girish Kharnad or B.V Karanth dealing with the Kannada drama or Shakespearean plays are found. As is usual in any such book, the South Indian drama does not find important place at all.
The chapter "Interface of tradition and modernity" reflects the crucial challenges confronting post-Independence India to Indian theatre. It was a time of confusion and incoherence, a period of cultural revivalism, deep-rooted patriotism and a period of urge for independent regional identity.
The author gives the names of a number of writers and their works and significant contemporary directors of this period. Dealing with Sanskrit drama and particularly those of Bhasa, the author pays tributes to Kavalam Narayana Panikar.
In another chapter, he quotes extensively from the Natyasastra while dealing with theatre and Indian culture. It also deals with the dance drama tradition and the Bhakti movement in different parts of the country. Drama as a comprehensive form of art encompassing poetry, music, singing, dance, miming, painting, designing costumes and masks is presented with examples.
The chapter on audience participation in Indian traditional theatre gives amazing facts about spectators taking part in some of the dramas where there are no enclosures or tickets.
This deep-rooted relationship between society and theatre is found in some regional stage dramas performed in open theatre, in villages. Dramas of this kind have been illustrated with photographs.
There was a period of time when either Sanskrit dramas or translations were performed. It was during the mid-19th Century that original works started coming in different languages.
The author deals with the history of Hindi drama right from the mid-19th Century. It not only deals with the drama writing but also production in Hindi with legendary personalities like Prithvi Raj Kapoor, Jagdish Chandra Mathur, Bhishma Shahani and others.
There are some plays which have changed the face of Hindi drama like "Andha Yug" in 1953 and "Aashad Ka Ik Din" 1958. "Andha Yug" in a sense was a special kind of dramatic work which drew upon the classical Greek and Sanskrit drama as well as some of the conventions of the traditional Indian theatre. Stylistically, some of the dramas during this period have contributed to stabilising the trends in Hindi drama.
It was also the time when the directors dominated the Hindi theatre scene unlike in other Indian languages. "Andha Yug" was also the drama which highlighted the futility of war and violence as a means to solve social or political problems.
In fact Marathi plays have become pioneers and trendsetters in building a vibrant Indian theatre. Bengali playwrights have also treated the question of war and violence highlighting the evils and scars that they leave on the society.
Folk drama and spoken word in mythological plays have attracted the aesthetic sensibilities of a variety of audience. In Northern India, the romances from the Muslim countries like Laila Majnu and the regional tales of similar themes have become very popular.
The author discusses several forms of drama with or without music in various regions which have been popular in their respective territories like Nautanki, Yaksha Gana, Khyaal, Tamaasha, Raasaleela, Bhavai, Teru Kuttu, Jaatra, Bhagavata Mela. Child plays like "Lava Kusha" and "Prahlada" and also the role of the Sangeet Natak Academy are discussed.
This book cannot claim to be exhaustive because of the nature of the topic. A commendable work which scholars and researchers as well as laymen will find useful.
PAPPU VENUGOPALA RAO
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