In quest of new identity
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"Cupid's Broken Arrow" presented at Abhimanch auditorium this past week was a unique kind of experiment of the new universal woman in quest of new identity in the tradition-bound societies, says DIWAN SINGH BAJELI.
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A scene from "Cupid's Broken Arrow".
WE HAVE witnessed experiments on theatrical forms but "Cupid's Broken Arrow" presented by Angika, Bangalore at Abhimanch auditorium this past week was a unique kind of experiment with thematic content drawn from different classics written by three great playwrights, who belonged to different countries, to create a central image of the new universal woman in quest of new identity and meaning in the tradition-bound societies.
Sponsored by the embassies of Norway, Sweden and the National School of Drama, the production marks the Centennial year of Norway's independence from Sweden. Both these countries have decided to celebrate this historic event in India.
Adapted by Zac O' Yeah, the well known Swedish writer presently based in India, the script includes sequences of highly dramatic moments in the lives of characters in the plays of three writers.
We meet Nora of a "Doll's House" by Henrik Ibsen (1828-1906), a Norwegian dramatist considered the father of modern theatre and then we watch Julie in "Miss Julie" by August Strindberg (1849-1912).
From India the scriptwriter has taken sequences from Rabindranath Tagore's "Chitrangada". In all the three plays the female protagonists are strong-willed women.
Man-woman relationship
Directed by Prasanna, a NSD graduate, a playwright, poet and winner of several awards, including the Sangeet Natak Akademi Award, the action takes place on a bare stage with the minimal use of stage property. By adding characters like Nat, Nati, Madana (God of Love) and Vasantha (God of eternal youth), the director has created an artistic whole out of the thematic elements from different works.
The characters of Madana and Vasantha not only ensure the fluidity of the rhythm of the dramatic action but also comment on man-woman relationship in a subtle way.
The director and performers create an intense ambience with subtle psychological touches to the portrayals of the characters. It is a theatrical piece remarkable for perceptive direction and sensitive acting, subtle lighting and imaginative costume designing, creating a complex combination of rhythms and colours.
Interested in women's independence, Ibsen has created a most powerful character of Nora in the production under review where Nora's final confrontation with her weak and arrogant husband is shown and she finally walks out on her marriage. In fact Ibsen is well known to Indian audience.
His "A Doll's House" and "An Enemy of the People" are frequently seen on the Delhi stage in different versions.
Strindberg's "Julie" is bitter and fighting her lover and finally defies social customs. It also explores "an alcohol induced subversive situation where all social customs appear to be held in abeyance".
Miss Julie was first shown abroad and after many years it appeared on the Swedish stage. Strindberg's "Father" is better known in India than his other plays. "Father" is an intense study of the enmity of the sexes.
Recreating mythological "Chitrangada", Tagore creates an image of a young princess who dons the dress of men and acts like a warrior but deep inside her there is a woman who pines for the love of Arjuna.
The director has depicted these two facets of Chitrangada by using two performers - one displaying the traits of warrior, the other poetic sensibility of a charming princess.
Set to music by composer Wilhelm Stenhammar, "Chitrangada" was produced in Sweden. His "Post Office" was staged by Jewish Children in the German concentration camps.
Millika Prasad in the `Male expression' Ashwini Bhat as `female manifestation' and Raza Hussain as the male character in all the three pieces give brilliant account of themselves. Veena Appiah and M.C. Anand in the role of gods provide some light-hearted moments.
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Bangalore
Chennai and Tamil Nadu
Delhi
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Thiruvananthapuram
