Theatre performed in the Hindi language
Hindi theatre
is
theatre
performed in the
Hindi language
, including dialects such as
Braj Bhasha
,
Khari Boli
[
which?
]
and
Hindustani
. Hindi theatre is produced mainly in
North India
, and some parts of
West India
and Central India, which include Mumbai and Bhopal. Hindi theatre has its roots in the traditional folk theatre of North India, like
Ram lila
and
Raslila
, and also influenced by distant
Sanskrit drama
. Starting with
Bhartendu Harishchandra
in the late 19th century and subsequent playwrights like
Jaishankar Prasad
,
Mohan Rakesh
, Hindi theatre came of age in the 1940s and 50s, when
IPTA
movement created a new brand of theatre practitioners in Hindi speaking areas, especially with
IPTA
Mumbai,
Prithvi Theatres
of thespian
Prithviraj Kapoor
, and theatre artiste Habib Tanvir, paving way for next generation of artists who came out once
National School of Drama
, Delhi started functioning in 1959.
[1]
[2]
History
[
edit
]
Early history
[
edit
]
The advent of Jainism and Buddhism and emergence of prakrit and Pali as a common language meant the lasting and definite end of Sanskrit as a spoken language though its theatre traditions continued to flourish but also gave birth to a synergistic traditions of
Urdu
and
Hindustani
languages, that developed in the aftermath of a fast amalgamating diverse cultures. Traditional folk theatre which included Ramlila, Raslila and
nautanki
had evolved despite the absence of royal patronage and where it was present, as in the case Ramlila of
Kashi Kingdom
, in
Ramnagar, Varanasi
, it evolved into a highly evolved form, with shifting locations. Elsewhere in
Awadh
,
Wajid Ali Shah
had been experimenting forms like
thumri
and stage style known as
rahasa
, it achieved a definite style in a play believed to be commissioned by him,
Inder Sabha
, an Urdu play by
Agha Hasan Amanat
, first staged in 1853.
[3]
Besides a separate tradition of
Maithili
plays, which flourished in the 17th century in present-day
Bihar
,
North India
had a pre-existing tradition of folk theatre, this included
Braj Bhasa
verse plays in the 18th century,
Swang
, the
operatic
tradition, which featured full-throated male singers and dancing by female impersonators, which evolved from reciting popular folk ballads and epics, and by the 1860s they were being performed across Meerut, Delhi and Banaras, and illustrated
librettos
, known as
Sangits
were being printed in
Devanagari
script. In the coming decades, it too got influenced by
Parsi theatre
, and further developed in content both thematic and music, in the 1890s onwards, which somewhere in the early 20th-century started being called
nautanki
, after the tale of a
Nautanki
Shahzadi
became a popular theme. However this form lost much of its popularity and films made into road to rural area after the 1940s.
[4]
Meanwhile, with the discovery of
Kalidas
's
Abhijnanasakuntalam
by Western scholars, it became the first Indian drama to be translated into a Western language, by
Sir William Jones
in 1789. In the next a hundred years, there were at least 46 translations in twelve European languages.
[5]
This in turn initiated a concerted study and interest of
Sanskrit drama
tradition. In time the full extent of ancient Indian theatre's prowess came into light, which had been long lost, as classical Sanskrit drama mostly written from the 4th and 8th century AD faded out, with death of Sanskrit as a spoken language by the 10th century, only to be discovered many centuries later.
[1]
Just as the first capital of
British India
, Calcutta, saw the rise of
Bengali theatre
in the light of
Bengal renaissance
early 19th century, at the same time
Parsi
theatre was coming up in Mumbai, inspired by English-style playhouses which had come up in the late 18th century in Mumbai and Kolkata, exclusively for the Raj gentry. Taking over the same proscenium stages, Parsi theatre took cue their European theatricality, but it brought in Indian themes, thus it "blended
realism
and
fantasy
, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of
melodrama
. The Parsi plays contained crude humour, melodious songs and music,
sensationalism
and dazzling stagecraft."
[6]
Though it originally was in
Gujarati language
, by the 1870s, a flourishing Parsi theatre lead to the creation numerous travelling theatre companies, though they mostly used Indianised versions of
Shakespeare
's plays initially, soon Indian legends, epic and mythological tales made an appearance as source material, as Parsi theatre companies started travelling across North India, and employed native writers to churn out scripts in
Hindustani
the popular language in the territory, akin to
Urdu
, the court language in the
Mughal era
. These sources had also provided themes to the native Swang tradition, leading to cross-enrichment after
Victoria Natak Mandali
became the first Parsi theatre company to perform in Varanasi, in 1875. These theatre companies presented their mix of pure entertainment and nationalism during the
Indian freedom struggle
. This return of written dramatic text to theatre, after centuries, made Parsi theatre not just the role model for the first Indian talkies, as numerous Paris theatre producers moved to cinema, but also gave birth to a theatre tradition, that continued even after Parsi theatre died out as the talkies made their first appearance.
[7]
[8]
Panned by Hindi litterateurs, Bhartendu and
Mahavir Prasad Dwivedi
, Parsi theatre through its veritable presence, however provoked the elite theatre of refinement as a clear reaction.
[9]
Modern Hindi theatre 1868 and after
[
edit
]
Early development of modern Hindi theatre can be traced to the work of
Bharatendu Harishchandra
(1850?1885), a theatre actor, director, manager, and playwright based in
Varanasi
(Banaras), who is also the father of modern
Hindi literature
as in his short life of 35 years, he edited two magazines,
Kavi vachan Sudha
and
Harishchandra chandrika
, wrote numerous volumes of verse in Braj bhasa, essays and eighteen plays, thus laying the foundation of modern Hindi prose style. Well-versed in folk theatre styles and oral literary traditions of the region, he was influenced by the
Bengal Renaissance
, however his principle influence was the ancient Sanskrit Drama, many of which he translated and established a stream of dramaturgy which has run parallel to development of the Western drama, though he even translated a Shakespeare's play. Rooted in the rising tide of Indian nationalism, he is most noted for his politically charged plays like,
Andher nagari
(City of Darkness) written in 1881, a clear satire on the
British Raj
, as it implied that a society which tolerates a lawless state is doomed to fail.
[10]
[11]
[12]
Eventually Bharatendu became director of
Hindi Natak Samaj
(Hindu National Theatre) in Banaras.
[13]
After Bhartendu whose productions were largely funded by himself or at times by Maharaja of Kashi, Hindi theatre went through a phase of struggle, due to lack of sponsors,
impresarios
or efficient
theatre managers
, thus there was hardly any professional theatre for many decades, discouraging writers to take to playwrighting, even works of important playwrights of this period, Jaishankar Prasad and
Upendranath Ashk
were mostly read, yet hardly staged. Prevalent conservatism didn't allow the female actors to take to stage and unlike
Marathi theatre
of Mumbai or
Bengali theatre
of Calcutta, Hindi theatre remained a struggling force, despite the presence of a large audience, which went to the extent of the entertainment-driven Parsi theatre companies. Only a handful of amateur theatre groups presented their works at improvised or makeshift stages, in a period when like many popular writers, intellectuals too had turned away from theatre.
[14]
The arrival of
talkies
in 1931, with
Alam Ara
, meant outflow of Hindi theatre audience that had already dwindled away after the incursions by Parsi theatre across the Hindi-speaking belt. Soon theatre actors, director, writers and technicians followed suit, shifting to Mumbai, the base for
Hindi cinema
, where the promise of easy money from studios was too captivating to resist. As a result, numerous theatre companies and playhouses closed down and some started showing cinema, the new medium of the age. As the masses moved away from theatre, lured by the glitz of cinema, which Parsi theatre provided readily till now, theatre landscape was now populated by an educated and sophisticated audience, moving away from cinema in response to its escapism, looking for realistic and socially-relevant plays.
[15]
20th-century Hindi theatre received a fresh impetus through
Indian People's Theatre Association
(IPTA). Though formed in 1942, with left-wing ideologies, after the All India People's Theatre Conference was held in Mumbai in 1943, IPTA Mumbai was formed
[16]
An important contribution of IPTA was that it was first time that women started taking part in theatre in such a number.
[17]
It created and inspired a generation of theatre practitioners and playwrights, like
Krishan Chander
,
Kaifi Azmi
,
Balraj Sahni
, Mohan Segal,
Dina Pathak
, Shanti Bardhan,
Durga Khote
, and others, one of them was
Prithviraj Kapoor
who founded
Prithvi Theatres
, a travelling theatre troupe, based in Mumbai in 1944, with actors like Prithviraj himself, apart from
Uzra Butt
, and
Zohra Sehgal
. The group was largely funded by Prithviraj Kapoor's film career and functioned till in 1960, when Prithviraj Kapoor's ill health forced its closure before his death in 1972.
[18]
After independence
[
edit
]
Sangeet Natak Akademi
(SNA), The National Academy for Music, Dance and Drama, was established by the
Government of India
in 1952, to promote
performing arts
. Another big change in the realm of Hindi theatre was the establishing of
National School of Drama
in Delhi in 1959, which had
Bharatiya Natya Sangh
(BNS) as its precursor. BNS, with the assistance from
UNESCO
, independently established the Asian Theatre Institute (ATI) in 1958, and in July 1958, ATI was taken over by the SNA, and merged with newly formed NSD, which initially functioned under SNA before it became an autonomous organisation. With its principal instruction language being Hindi, and stalwarts like
Ebrahim Alkazi
and
Shanta Gandhi
, in the coming decades it produced a number a noted theatre actors and directors. The National School of Drama Repertory Company was set up in 1964, with actor-director
Om Shivpuri
as its first head, followed by
Manohar Singh
, and other actors like
Uttara Baokar
,
Sudha Shivpuri
and
Surekha Sikri
.
[19]
RADA
-trained Alkazi turned out to be the most influential director in the post-independence period; his Hindi productions of Sanskrit classics, like
Abhijnana Shakuntalam
,
Dharamvir Bharati
's
Andha Yug
,
Girish Karnad
's
Tughlaq
, and the realism of his take on Mohan Rakesh's
Asadh Ka Ek Din
brought a fresh approach to theatricality, and sophistication to Hindi theatre, and set up standards that inspired an entire generation.
[20]
[21]
His production of Dharamvir Bharati's
Andha Yug
premiered in 1964 at the
Firoz Shah Kotla
and was attended by prime minister Jawaharlal Nehru.
[22]
A pioneer of the modern theatre movement in North India,
Raj Bisaria
- a highly revered stage director, he has a through grounding in western classics and contemporary dramatic works.
Raj Bisaria
tried that the dramatic and performing arts conform to a professional discipline and communicate through a new aesthetic medium. His plays are concerned with man-women relationship, and social issues of special concern to him. Through the productions of European and Indian plays since 1966,
Raj Bisaria
presented a wide spectrum of contemporary world drama as director and designer, setting his own parallel, pursues the theatre of excellence. He has ventured to blend artistic concepts and impulse of the East and the West, the traditional and the modern, and has been passionately devoted to the cause of theatre and acting. It is his firm belief that this art form can be used for its therapeutic qualities for the overall healthy development of personality of the young, apart from being a vehicle for disseminating information, and creating consciousness about social- political issues, as indeed affording aesthetic and ennobling enlightenment and enriching the cultural consciousness of modern India. Largely using his own devices and creative expression he began his work in the English and began to use Hindustani as the spoken medium of expression from the 1973. He has encouraged folk theatre form of UP - the Nautanki.
Raj Bisaria
suggested to the State Government that he should start a semi-professional repertory theatre in Uttar Pradesh, in 1974 the State Government went a few steps further and requested him to evolve a scheme for establishing a drama school, which would function as a full-fledged academy of dramatic arts.
Bhartendu Academy of Dramatic Arts
(BNA), when it was founded in 1975, in Lucknow, (with Raj Bisaria as its founder director) became the first of its kind in the large Hindi belt of Bihar, Uttar Pradesh, Madhya Pradesh and Rajasthan. His major productions of Indian plays have included Dharamvir Bharati's Andha Yug, Badal Sircar's Baqi Itihas, Adya Rangacharya's Suno Janmejaya, Elkunchwar's Garbo, Mohan Rakesh's Aadhe-Adhure, Mohit Chatterjee's Guinea Pig etc. His major and memorable productions have included Maxwell Anderson's Barefoot in Athens; Shakespeare's Julius Caesar, Macbeth, Othello, King Lear; George Bernard Shaw's Candida; Harold Pinter's The Caretaker; Sartre's in Camera; Ionesco's The Lesson; Strindberg's Father, Jean Anouilh's Antigone; and various plays of Chekhov, Ionesco, Tennessee Williams, Shaffer and so on.
In the next few years, various states also formed their state academies for the arts, which gave boost to the theatre culture, and soon state capitals like Jaipur, Shimla, Chandigarh, Lucknow and Bhopal had their own theatre groups and culture.
[2]
[23]
However, for many years to come, theatre largely remained driven by amateur groups, as full-time theatre did not become a financially viable activity. Most could not afford extensive
props
,
scenery
,
lighting design
, or newspaper advertisements and relied on word of mouth and small amount of postering. Many practitioners maintained regular jobs, either at educational institutions or in the corporate sector and rehearsed after working hours in hired spaces, as hardly any theatre group across Hindi theatre owned their own infrastructure, be it rehearsal space or theatre. Theatre directors often doubled as theatre managers, as impresarios were rare and impresario organisations even rarer, and then it was director's name that attracted the audience. As payments to cast and
crew
remained arbitrary and severely dependent on the success of the show, many picked up work in other mediums. As state funding was never available for theatre directly, practitioners tried to gain corporate sponsorship, or did "call shows" in other cities to raise money.
[24]
[25]
Gradually a number of theatre venues started coming up, both proscenium and experimental, including Sri Ram Centre,
Kamani Auditorium
(1971), Meghdoot theatre (designed by Alkazi), NSD studio theatre, SNA studio theatre, Abhimanch and many others.
[26]
While many directors like Alkazi staged plays at historical monuments and various innovative venues,
street theatre
brought theatre out to the streets completely, including in its content. Just as IPTA-inspired
Jana Natya Manch
(JANAM) of
Safdar Hashmi
did in the 1970s and 1980 as did
M. K. Raina
, who staged his production of
Maxim Gorky
's
The Mother
in front of factories, inspiring many other practitioners to take theatre to the communities. The Bhopal gas tragedy (1984) saw a new wave of protest presentations in many cities, just as Bhisham Sahni wrote
Muavze
(Compensation, 1990) later staged by Raina. Eventually Hashmi was killed in 1989, while his production
Halla Bol
(Attack) was being performed in front of a factory in Sahibabad near Delhi by political goons. Though by this time street theatre had been discovered as an important tool and medium, with notable directors like
Bansi Kaul
and Prasanna, street theatre had reached prisons, slums and red-light areas.
[27]
Habib Tanvir
is another pioneer in Hindi theatre, who first moved to Mumbai in 1943 from native Bilaspur looking for work in Hindi films that is when he came in contact with IPTA and Progressive Writers Association. He moved to Delhi in 1954 and joined hands with 'Hindustani theatre' of Begum Qudsia Zaidi, writer, and theatre director who had important impact on evolving theatre tradition in Delhi, who together with Habib Tanvir, made its debut with the production of a
Hindustani
version of Kalidas's
Shakuntala
and later produced
Shudraka
's
Mrichakatika
as
Mitti Ki Gadi
(Little Clay Cart) as an operatic version in
nautanki
-style, using tribal artists.
[28]
[29]
[30]
He successfully wrote and directed
Agra Bazar
(1954), before he left for England. After his return from
RADA
, Habib began his work with
Chhattisgarhi
tribals, at the Naya Theatre, a theatre company he founded in 1959 in
Bhopal
, and went on to include indigenous performance forms such as
nacha
to create a new theatrical language, later he wrote
Charandas Chor
(1975),
Gaon ka Naam Sasural, Mor Naam Damad
and
Kamdeo ka Apna Basant Ritu ka Sapna
and notably staged,
Asghar Wajahat
's
Jis Lahore Nai Dekhya
(1990).
[31]
[32]
[33]
Apart from him,
B. V. Karanth
too brought in folk forms into his work, staged many productions in Hindi, especially during his stint with the
Rangamandal repertory
at the
Bharat Bhavan
in Bhopal.
[20]
In the 1960s, like other parts of India, modern Hindi Theatre movement also started in Bihar. Satish Anand, actor and director, is the maker of modern Hindi theatre in Bihar. He is known as trend setter in contemporary modern Indian theatre. Satish Anand established his own theatre group Kala Sangam at Patna, capital of Bihar in 1962. Created a very healthy theatre environment and popularize Hindi plays and theatre by constantly and regularly staging plays like Dharmvir Bharti's Andha Yug, Mudrarakshash's Merjeeva, Mohan Rakesh's Adhe-Adhure, Ashadh Ka Ek Din and Lahron ke Rajhans, Badal Sircar's Baki Itihas, Ballabhpur Ki Roopkatha, Pagla Ghora and Juloos, vijay Tendulkar's Khamosh Adalat jari hai, Jat Hi Puchho Sadhu Ki,Gireesh Karnad's Tughlaq, Sophocles Greek tragedy Oedipus, Rambriksha Benipuri's Ambapali, Shanti Mehrotra's Thahra Hua Pani, Ek Tha Gadha, Kisi Ek Phool Ka Naam Lo, Godan, Chandrashekhar Kambar's Aur Tota Bola, Ibsen's Enemy of the people(Janshatru), Ben Johnson's Volpony (Chor Ke Ghar Mor), Delhi Uncha Sunati Hai, Manoj Mitr's Rajdarshan, Debashish Majumdar's Tamrapatra,Sushil Kumar Singh's Singhasan Khali Hai, Bertolt Brecht's Three Penny Opera ( Do Takkey Ka Swang), Jyoti Mahpseker's Beti Aayee Hai etc. Kala Sangam's director Satish Anand had taken every new production as a theatre workshop. He worked hard and trained actors-actresses in every department. Production of Adhe-Adhure in 1973 was considered a great happening in History of the cultural field of Bihar. This incident was considered as renaissance of theatre in Bihar. Kala Sangam always preferred to take up socio-political-economic issues in its plays. Variety in designing the play-productions with innovative ideas and high class powerful performances injected and created a keen interest for theatre among the people of Bihar. The conservative and orthodox society opened up slowly and started liberalizing their views about theatre and its actors-actresses. A large number of working women and school-college-going girls were allowed by their guardians and parents to participate actively in plays and they made their presence felt with their talents. Hundreds of boys and girls were trained by Satish Anand during these years. The quality and class of Kala Sangam's play-productions established Kala Sangam as one of the leading theatre group of India. Patna became of the most theatre-active centers of India in 70s, 80s and 1990s. Kala Sangam had organised its first theatre festival and first all India theatre Seminar in 1978. Kala Sangam presented its five plays,
Andha Yug, Ashadh Ka Ek Din, Lahron Ke Rajhans, Ballabhpur Ki Roopkatha and Singhasan Khali Hai
. The subject of the All India theatre seminar was "Aaj Ka Natak Aur Rangmanch" (Today's Drama & theatre) Mr. B.V Karanth, Dr. Pratibha Agarwal and Sachidanand Hiranand Vatsyayan were the guest speaker of this seminar. 2nd Kala Sangam's Theatre festival and All India theatre Seminar was organised in 1979. Scholar theatre critic Nemi Chand Jain, Dhyaneshwar Nadkarni had participated in the seminar and also witnessed plays presented in the festival. Kala Sangam had organised its nine theatre festivals from 1978 to 1995 respectively. Kala Sangam's work had inspired many people in Bihar to start theatrical activities in their respective places.
In 1984 Satish Anand evolved a new theatre idiom 'BIDESIA STYLE' for Modern Indian theatre by using indigenous traditional folk theatre elements. Satish Anand started his research. Conceptualized the form and finalized its Format. Evolved a new Theatrical Idiom for Modern Indian Theatre 'BIDESIA' based on Lesser-Known Traditional Theatrical Folk Forms of Bihar, LAUNDA NAACH & NAACH PARTIES (With Special reference to Bhikhari Thakur's Naach Party), Traditional Songs, Traditional Music, Traditional Dances, Folk Culture, Life-Cycle, Rituals, Customs, Faith & Belief, Life styles, Habits, Behavior, Festivals & Celebrations etc. of Bihar. Format of BIDESIA style consists of Theatrical elements, chosen very carefully from above & creatively used in this style with contemporary & modern sensibility. Bidesia style is a new Theatrical Idiom (Rang Bhasha) of Modern Indian Theatre which works as a Bridge between Rural & Urban Theatre. Initially short stories written by Phanishwar Nath 'Renu', short stories by Mandhkar Gangadhar were read but at last one day a short story 'Amli' which was published in "Sarika" Hindi magazine was selected. Renowned Hindi Writer Kamleshwar was its Editor. Satish Anand liked that story and started work on it. He completely rearranged the incidents and sequences, created new characters, incidents and situations according to the thought format of Bidesia style. Bhojpri dialect was used in the play. Traditional music, songs & their tunes were selected according to the conflict, mood, feelings of the characters and situations. Best part of that Every actor of Kala Sangam contributed his knowledge and experience in Adaptation of a short story 'AMALI', Adaptation of a Shudraka's Sanskrit play 'MARICHCHHAKATIKA'(Mati Gari) and Phanishwar Natn's Hindi Novel 'MAILA ANCHAL in Bidesia Style. And in 1994, a new play Rabindranath Tagore's 'MUKTADHARA' Produced & presented in BIDESIA style. Kala Sangam also toured Delhi, Mumbai, Kolkata, Bhubaneshwar, Bhopal, Ujjain, Guwahati, Kota, Jaipur, Jodhpur, Bikaner, Hanuman Garh, Ganga Nager, Lucknow, Allahabad etc. with its plays. All these plays had been presented very successfully in various Zonal & National Folk Theatre Festivals organized in different parts of India respectively. This Bidesia style had been recognized by Theatre Practitioners and Theatre Critics & appreciated by audience throughout the country. Fascinating part is that this style has also influenced Modern Indian Theatre. Kala Sangam had staged Muktadhara in Bidesia Style in Bharangam, Delhi in 2000.
Performance of a Hindi play,
Cotton 56, Polyester 84
by
Sunil Shanbag
about life in
Girangaon
,
Mumbai
, 2006.
Kolkata
-based,
Shyamanand Jalan
(1934?2010) is credited for the renaissance period of modern
Indian theatre
and especially the Hindi theatre in Kolkata from the 1960s to the 1980s. He was the first to perform modernist
Mohan Rakesh
, starting with his magnum opus
Ashadh Ka Ek Din
(One Day in Ashad) in 1960 and in the coming years bridged the gap between Hindi theatre and
Bengali theatre
, by mounting Hindi productions of works by Bengali playwrights, like
Badal Sircar
's
Evam Indrajit
(1968) and
Pagla Ghora
(1971), which in turn introduced Sircar to rest of the country. He co-founded theatre group
Anamika
in 1955 with Pratibha Aggarwal, a Hindi writer and a great granddaughter of
Bhartendu Harishchandra
, which played a pioneering role in the revival of Hindi theatre.,
[34]
and remained with it till 1972, and during this period it created a large audience for Hindi theatre in Bengali speaking Kolkata. Subsequently, along with his wife Chetana Jalan, the well-known Kathak dancer and stage actress, and actor
Kulbhushan Kharbanda
, he left Anamika in 1971 and established
Padatik
(literally foot-soldier) theatre group in 1972, of which he was the founding director. This gave him a chance to venture into bolder themes, like those in Vijay Tendukar's plays like
Gidhade
(The Vultures) (1973) and
Sakharam Binder
(1979), and
Mahashweta Devi
's
Hazar Chaurasi Ki Ma
(Mother of 1084) (1978), with his new venture he stepped beyond Indianism, modernism, or experimentalism.
[35]
[36]
Another theatre director, who practiced Hindi theatre in Kolkata, which is largely Bengali speaking area was
Usha Ganguly
(b. 1945), who founded
Rangakarmee
theatre group in 1976, known for its productions like
Mahabhoj
,
Rudali
,
Court Martial
, and
Antaryatra
.
[37]
[38]
Apart from her, theatre directors like,
Satyadev Dubey
,
Dinesh Thakur
and
Nadira Babbar
also practiced Hindi theatre in Mumbai, till then home for Marathi and Gujarati theatre.
In the 1960s and 70s, many actors from National School of Drama started working in Hindi films, though many continued theatre activities on the side. Many theatre actors and directors, like Om Shivpuri, who had formed
Dishantar
theatre group in Mumbai, and Dina Pathak worked successful in mainstream cinema as well, while many others, along with
FTII, Pune
actors, made name in the
Parallel cinema
, which came of age in the late 1970s. This included, Sai Paranjpye, Om Puri, Naseeruddin Shah and Pankaj Kapoor. Most colleges now had their own theatre societies, which became breeding ground for future practitioners. Later in the 1980s, with increasing popularity of television soap operas, home videos and cable TV, audience moved away from theatre for a while, before theatre resurrected itself in the late 1990s with a new breed of theatre directors who sought not just new themes and narratives, but also took to
absurd
,
expressionist
,
experimental
and
improvisational theatre
with greater zeal. They also started to find sponsors in the corporate sector and numerous theatre directors were able to sustain themselves on theatre alone. Two challenges that came up in the coming years was that even now actors took their theatre careers as a prep for film careers, and secondly most theatre actors learned via working in theatre groups, as avenues of theatre education remained limited, though some organisation that opened in other cities beyond Delhi, like Jaipur, Lucknow, and Chandigarh, which had playwright-director
Balwant Gargi
guiding new phase of theatre, offered young aspirants to learn the craft.
[23]
[39]
At Bhopal theatre director and playwright Prof. Satish Mehta and his National Award-winning actor wife Jyotsna Mehta established the theatre group "Prayog". The group was founded in the year 1975 at Indore and later over the years, opened branches in Bhopal, Mumbai, Rewa, Noida and New Jersey, USA. Since then the group is active and staging the plays regularly. Well known plays of "Prayog" are "Andhon ka hathi", "Juloos", "Bakari" "Dulari Bai"," Jadugar jungle","Khamosh adalat jari hai","Ek aur Dronacharya", "Jis Lahore nahi Dekhya","Kajal ka jadu","Kandhe par baitha tha shap" "Mujhe Amrita Chahiye", "Raktbeej", "Rai" and many others. Satish Mehta directed all these plays with his own original style. He has got credit to perform many street plays, too. Prof. Satish Mehta has also authored many Plays. Few of which are, "Kajal ka Jadoo", "Jinda hai Sukrat", "Abhinay", "Door Desh ki Gandh", "Bharat ke Laal" etc. Prof. Satish Mehta's comprehensive book on theater, "Rangkarm Aayam Dar Aayam" is considered one of the finest work on the history, evolution, different genres and various other aspects of theater.
[40]
Mrityunjay Prabhakar is one of the major young Hindi theatre director and playwright who emerged on Indian Theatre Scene in the last decade of the 20th century and established himself as a significant theatre activist in first decade of the 21st century. He started his theatre career from Patna during his graduation days. He has worked with several theatre groups like Abhiyan, Prerna, Mach Art group and Prangan in Patna. Later, he co-founded the group Abhiyan along with his friends. When he arrived Delhi for his further studies in Jawaharlal Nehru University, New Delhi. Here he worked with famous groups like Rang Saptak, Bahroop and Dastak. Later he founded his own group named SEHAR in 2005 and started working rigorously. He has got trained under leading figures of Indian Drama and Theatre world through different workshops he attended like Habib Tanvir, B.V. Karanth, Prasanna, Ratan Thiyam, D. R. Ankur and many more. He has worked with directors like D.R. Ankur, Lokendra Arambam, H.S. Shiva Prakash, Surendra Sharma, Parvez Akhtar, Vijay Kumar, Javed Akhtar Khan, Suman Kumar and others. He has worked as an actor, director, set designer, light designer and organiser in theatre.
Mrityunjay Prabhakar works primarily as a Theatre Director and playwright with his group SEHAR. He is the founder-director of theatre troupe, SEHAR (Society of Education, Harmony, Art, Culture and Media Reproduction) (Registered under Society Act) in 2007. He has directed more than two dozens plays among them 'Sabse Udas Kavita'[2], 'Khwahishen' [3],'Jee Humen To Natak Karna Hai', [4],'Dhruvswamini'[5], 'Vithalala' and 'Suicide'[6] have got special attention from the larger section of the society. His plays has been performed in different cities and theatre centres of the country apart from Delhi. His plays were part of some of the important theatre festivals of the country.
Mrityunjay Prabhakar's originally written play
Sadho Dekho Jag Baudana
was published by InkLit Publication. He has also written plays
Aao Natak Natak Khelen
, 'Khwahishen', 'Jee Humen To Natak Karna Hai', 'Suicide', 'Hey Ram', 'Teri Meri Kahani Hai', 'Karnav' and others, which has been performed by different groups and directors in various theatre centres of the country. He has adopted famous Keniyan playwright Ngugi Wa Thiong's play 'The Black Hermit' as 'Jayen To Jayen Kahan'. The adoptation was first performed by NSD Graduate Randhir Kumar in 2005 in Patna. Later he reproduced the play in 2010 with SEHAR in Delhi. He has adopted H.S. Shivaprakash famous Kannad play 'Mochi Madaiah' in Hindi which was directed by Lokendra Arambam and published by Yash Publication, Delhi. An anthology on Contemporary Indian Theatre titled 'Samkaleen Rangkarm' is also credited on his name published by InkLit Publication. His Hindi Poetry Collection 'Jo Mere Bheetar Hain' was published by Akademi of Letters (Sahitya Akademi), India.
Keeping Hindi theatre alive in the hub of Marathi theatre is not an easy task in Pune But
Swatantra Theatre
has been doing this job with immense determination and dedication since 2006. Headed by Abhijeet Choudhary along with Dhanashree Heblikar the group has put up more than 65 performances in the last 6 (2006) years. Picking up issues of social and contemporary relevance with its plays, Swatantra has filled up a void that Hindi audiences in the city often rued. The group continues to work, coming up with at least one performance every month. Mashal Jalao Diye Se, based on the Delhi gang rape case, is their latest play. In association with FTII, Pune Swatantra Theatre celebrate Hindi Theatre Festival on HINDI DIWAS. Some of its noteworthy productions are Jis Lahore Nahin Vekhya Wo Janmeya Hi Nahin Tajamhal Ka Tender, Mujhe Amrita Chahiye, Kabira Khada Bazar Mein, Court Martial and many more.
Self Written Play like Mashaal jao Diye Se, Tenaliram, Tukaram, Turning Pages with Sudha Murthy, DadaSaheb Phalke "Play Based on Father of Indian Cinema", Mansarovar Play based on Premchand's Short Stories, Bikhre Moti Play BAsed on Subhadra Kumari Chauhan's Life and her writings, Rabindra Sansar Play Based on Life of Rabindranath Thakur and his work and many more.
Jaag Utha Hai Raigad is a Hindi translation of Vasant Kanetkar's Marathi play Raigadala Jevha Jaag Yete Performed in 21st Bharat Rang Mahotsav 2020. Woven within the play is an inbuilt, terse and fine sense of controlled dramatic tension. It depicts the Maratha King,
Shivaji
and his youngest son,
Sambhaji
struggling with the gap between the two generations. Shivaji's efforts are to keep his family united, and the young descendant's efforts are to control and consolidate the huge legacy and empire. The play unveils the rich Maharashtrian culture, and the heritage of a bygone era.
Hindi playwriting
[
edit
]
Bhartendu's father wrote a play titled,
Nahul natak
in 1859, which is the "first Hindi drama of literary scope in the modern period", though there is little record of its staging. The first drama to be staged was Shital Prasad Trivedi's
Janaki mangal
at Banaras theatre, also known as
purana nachghar
, in 1868, in which Bhartendu himself made his stage debut as an actor, and in the coming years he wrote prolifically wrote eighteen plays till his death in 1885.
[13]
Pre-Bhartendu period, had created mostly mythological and epic inspired plays like,
Hanuman-natak
,
Amasya sar natak
,
Vichitra natak
,
Shakuntala upakhyan
,
Anand Raghunandan
and
Inder sabha
.
[3]
Just as Bhartendu Harishchandra wrote
Satya Harishchandra
(1875),
Bharat Durdasha
(1876) and
Andher Nagari
(1878), in the late 19th century,
Jaishankar Prasad
became the next big figure in Hindi playwriting with plays like
Skanda Gupta
(1928),
Chandragupta
(1931) and
Dhruvswamini
(1933),
Maithili Sharan Gupt
also wrote three plays,
Tilottama
(1916),
Chandrahaas
(1921) and
Anagha
(1925).
[41]
[42]
The next phase of important plays after Prasad, came with Badrinath Bhatt, next it was Lakshminarayan Mishra's work which broke away from existing pattern of subject treatment and presentation and is known for its realism, and unmistakable influence of Ibsen as seen in
Sansyasi
(1931),
Raksha Ka Mandir
(1931),
Mukti ka rahasya
(1932),
Rajyoga
(1934) and
Sindoor ki Holi
(1934), which tackle social problem with marked directness. An important event in this period was establishment of
Hans
, a literary magazine based in Varanasi, by noted writer
Premchand
in 1938, which published numerous important one-act plays in the coming years, further giving boost to the craft.
[43]
In the 1930s one-act plays became a prominent organizational structure in Hindi theatre. Playwrights who excelled in this format included Ganeshprasad Dwivedi (
Suhag bindi
, 1935), Bhuvneshwarprasad (
Karvan
, 1935), and Satyendra (
Kunal
, 1937)
[43]
Of particular importance was the poet, playwright, critic, and historian Ram Kumar Verma who wrote several successful one act plays, including
Prithviraj ki ankhen
(1936) and
Reshmi tai
(1941).
[43]
Verma's play
Charumitra
(1941 or 1942) is considered a masterpiece of modern Hindi drama.
[43]
[44]
[45]
1940s and beyond
[
edit
]
As the Independence struggle was gathering steam playwrights broaching issues of nationalism and subversive ideas against the British, yet to dodge censorship, they adapted themes from mythology, history and legend and used them as vehicle for political messages, a trend that continues to date, though now it was employed to bring out social, personal and psychological issues rather than clearly political.
Post-independence the emerging republic threw up new issues for playwrights to tackle and express, and Hindi playwriting showed greater brevity and symbolism, but it was not as prolific as in case with
Hindi poetry
or fiction.
[46]
Yet we have playwrights like
Jagdish Chandra Mathur
(
Konark
) and Upendranath Ashk (
Anjo Didi
), who displayed a steadily evolving understanding of thematic development,
theatrical constraints
and
stagecraft
, and Gyandev Agnihotri stood out for his symbolism, wit and satire as visible in classic
Shuturmurg
written in the 1960s
[47]
before moving into screenwriting for
Hindi films
in the 1970s.
[42]
[43]
[48]
[49]
The first important play of the 20th century was
Andha Yug
(The Blind Epoch), by
Dharamvir Bharati
, which came in 1953, found in
Mahabharat
, both an ideal source and expression of modern discontent and predicament of a society riddled with corruption. Starting with
Ebrahim Alkazi
it was staged by numerous directors. With his verse play
Uttar Priyadarshini
,
Agyeya
found the story
Ashoka
's redemption, reflecting the modern call for peace.
[43]
[50]
Ashadh Ka Ek Din
(One Day in Ashadh), the debut play of modernist
Mohan Rakesh
was published in 1958, based on the life of
Sanskrit
dramatist
Kalidas
, and is considered the first Modern Hindi play.
[51]
Mohan Rakesh went on to write two more plays,
Aadhe Adhure
(Halfway House) and
Leheron Ke Raj Hans
(Great Swans of the Waves) and left one,
Paon Taley Ki Zameen
(Ground beneath the Feet) unfinished by the time of his death in 1972, but he had shifted the landscape of Hindi theatre.
[51]
Today, his rise as a prominent playwright in the 1960s is seen as the coming of age of Modern Indian playwriting in
Hindi
, just as
Vijay Tendulkar
did it in Marathi,
Badal Sircar
in Bengali, and
Girish Karnad
in Kannada.
[52]
His plays have now become classics of Indian theatre, have been performed by almost every major Indian theatre director and have been part of the university curriculum in Hindi-speaking areas.
[53]
Initially inspired by western
dramaturgy
, in structure and movement, many initial playwrights adapted
Ibsen
and
Brecht
, but soon returned to roots and found both content and form, giving birth to the movement called "theatre of the roots", a concerted attempt to 'decolonise' Indian theatre and distance itself from western theatre.
[54]
Be it Habib Tanvir's
Agra Bazar
(1954) and
Charandas Chor
(1975), which brought in new indigenous forms of expression,
[32]
On the other hand, there were younger playwrights like
Surendra Verma
, with his
Surya Ki Antim Kiran Se Surya Ki Pahli Kiran Tak
(From Sunset to Sunrise, 1972),
Draupadi
and
Athwan sarga
(Eighth Chapter, 1976), rapidly experimented with forms and formats,
[43]
and writers who ventured into playwrighting to produce important works, like
Bhisham Sahni
who has been associated with both IPTA and Progressive Writers Association, most noted for his
partition
-novel
Tamas
wrote,
Hanush
(1977),
Madhavi
(1982) and
Muavze
(1993).
Over the years the repertoire of Hindi plays has expanded to include translated and adapted works of successful playwrights from other languages, like
Vijay Tendulkar
,
Girish Karnad
,
Mahesh Elkunchwar
,
G. P. Deshpande
and
Badal Sircar
(Evam Indrajit, 1963,
Pagla Ghoda
, 1967).
[3]
Danish Iqbal's
Dara Shikoh
is a modern classic which was staged by director
M S Sathyu
. In the words of noted critic Ramesh Chand Charlie Dara Shikoh is a turning point of traditional theatrical sensibilities. Use of Wali Deccani's period poetry provides this Play with a very rare artistic and historical context. Dazzling use of Kathak choreography by
Rani Khanum
and her Troupe, and authentic costumes including head gear, swords and period art work was a treat for the eyes. This Play had a good run at cities like Delhi, Gurgaon and Bangalore.
Another notable Drama of Danish Iqbal is
Dilli jo ek Shehr Thaa
depicts the life and times of a Delhi lost during the invasion of
Nadir Shah
. He was awarded
Mohan Rakesh Samman
for this Play by the Chief Minister of Delhi
Sheila Dikshit
. Recently this Play was staged by Bharti Sharma of Kshitij Group and had Delhi audience mesmerised by its production values and grandeur.
Danish also wrote
Sahir'
on the life and times of
Sahir Ludhyanvi
which was staged in Delhi for a packed audience and became a landmark production for the use of old film songs as part of Dramatic Narrative. Directed by NRI Director
Pramila Le Hunt
this play became a commercial success and had audience wishing more and more of Sahir. Danish Iqbal also wrote
Kuchh Ishq Kiya Kuchh Kaam
on the life and work of legendary poet
Faiz Ahmed Faiz
and
Sarah Ka Sara Aasman
on the poet
Sarah Shagufta
, besides the biographical Drama 'Ghalib' which used
Ghalib
's poetry for the basic narrative and was staged at Dubai for the expatriate Indian Community. Danish had also given the block buster 'Woh Akhiri Hichki' and 'Ek Thi Amrita'(on the life and times of
Amrita Pritam
) and some other early works. In recent years he has been using lot of elements of Cinema and mass media to bring theatrical sensibilities closer to the audiences fed with lot of Bollywood. It is a pity that his collected work is not available till now although few versions of 'Dara Shikoh' and 'Ghalib' are available but Dara Shikoh being a costly historical costume Drama it is not easy to stage such a demanding production. 'Dilli Jo Ek Shehr Thaa' has all the markings of a classic stage play combining high voltage conflict with realistic characterisations, treacherous conspiracies, romance, poetry, dances and catchy dialogues.
[
citation needed
]
Sayeed Alam is known for his wit and humour and more particularly for Plays like 'Ghalib in New Delhi' 'Big B' and many other gems which are regularly staged for massive turn out of theatre lovers. Maulana Azad is his magnum opus both for its content and style.
[
citation needed
]
Shahid's 'Three B' is also a significant Play. He has been associated with many groups like 'Natwa' and others. Zaheer Anwar has kept the flag of Theatre flying in Kolkata. Unlike the writers of previous generation Sayeed, Shahid, Danish and Zaheer do not write bookish Plays but their work is a product of vigorous performing tradition.
[
citation needed
]
Dramatech, a Delhi-based theatre group formed by alumni of IIT Delhi in 1984, gave a new dimension to Hindi theatre by translating and staging many English classic plays, both musicals and straight plays. These included Hindi versions of musicals Fiddler on the Roof and Hello Dolly! and plays Agatha Christie's Ten Little Niggers & Witness for the Prosecution; A Conan Doyle's Sherlock Holmes stories; Joseph Kesselring's Arsenic and Old Lace. All these were translated, lyrics and directed by Ravi Raj Sagar, in the period 1984?87 and then 2002?12.Reference: www.dramatech.in
The group's same director also adapted and staged classic stories by Premchand in play Premchand: Three comedies for families and Children in 2012. Stories included in this were Do bailon ki katha, Shatranj ke khiladi, Nimantran.Ref: Review in Deccan Herald:
http://www.deccanherald.com/content/269668/premchand-children.html
Also: www.dramatech.in An interview with Director Ravi Raj Sagar on Premchand's works and Hindi & Urdu Literature was published in The Times of India:
http://articles.timesofindia.indiatimes.com/2012-10-02/books/34216836_1_munshi-premchand-stories-comedy-genres
Vibha rani is a noted playwright of two Indian languages- Hindi and Mainthili. So far she has written more than 20 full length group, duet and solo plays. Her play "Doosra Aadmi, Doosari Aurat" has been awarded with Vishnudas Bhave Award for Playwriting by the Govt. of Maharashtra, 2011. The play was put up in BHARANGAM, 2002 of National School of Drama, New Delhi & currently being staged by various groups across the country. Another play "Peer Parayee" is being staged in and around the country by "Vivechana", Jabalpur from 2004 onwards. "Aye Priye Tere Liye" was staged in Mumbai. "Life is not a Dream", Balchanda", "Main Krishna Krishn Ki", "Ek Nayi Menka", "Bhikharin", "Naurangi Natni", "Bimb- Pratibimb" are her solo plays, being staged in & around the world. "Aao Tanik Prem Karen" and "Agle Janam Mohe Bitiya Naa Kijo" had won 1st prize of Mohan Rakesh Samman, 2005. "Aao Tanik Prem Karen" had been awarded as the Best play, 2013 and Vibha as the Best female Actor, 2013 by the Govt. of Maharashtra.
Theatre criticism
[
edit
]
On the other hand,
theatre criticism
which had also begun with Bhartendu, saw new voices emerging in the mid-20th century, like Lakshmi Narayan Lal, which were now subjecting recent Indian playwriting to touchstone of Ibsen and other western masters.
[43]
Leading theatre critics were now employed by national dailies, this included Ramesh Chander and Nemichand Jain, and soon a second generation theatre criticism came to the fore in the 1960s, with Kavita Nagpal, Jaidev Taneja, and others. Literary journal also started having sections devoted to theatre criticism and many magazines now ran theatre review columns. In this period, a theatre journal
Natrang
edited by NC Jain started publishing, similar journal were brought out by state-run academies like,
Sangit Natak
by
Sangeet Natak Akademi
in Delhi,
Rangyog
at Rajasthan Academy in Jodhpur, and
Chhayanat
by Uttar Pradesh Academy in Lucknow. Another important development was the rise of documentation, academic research in various streams of Indian theatre by increasing number of theatre scholars, like
Kapila Vatsyayan
, Anuradha Kapoor and N C Jain.
[55]
Hindi theatre groups
[
edit
]
Name
|
Location
|
Year of establishment
|
Founding director
|
Darpan
|
Kanpur and then Lucknow
|
1961 in Kanpur and 1972 in Lucknow
|
Prof Satyamurti
Presently Nishtha Sharma General Secretary of Darpan Kanpur
NATYANGAN KANPUR Founded by Rakesh Dugg & Junior wing of Darpan Kanpur in 1981.
Awadhesh Kumar Misra Reorganized NATYANGAN in 2016 with the fellow members of Darpan Kanpur.
Started staging plays under the direction of renowned Thespian Sangeet Natak akademi award winner, Dadasaheb Phalke awardee Ranjit Kapur.
Ek Ghora Chhah Sawaar, Surajmukhi aur Hamlet,Panchlite and Sab Thaath pada rah jayega.
NSD allumini Yashraj Jadhav directed the most acclaimed nautanki and musical classic Katha Nandan Ki in a totally different form.
One of the best musical play in which Ustad Ghulam Dastgeer Khan's best music compositions and heart touching performances of Rakesh Verma,Ravi Vaidya and Vijay Bannerji,along with the leading crowd that was the real hero made the musical.play immortal. The then in 1980it was directed by Ms Tripurari Sharma and Ravi Sharma.The Nautanki adaptation in Hindi msutanki form of Indraparthadarathi'Tamil play was done by Late Siddheshwar Awasthi.
In 1917 on the behest of Ravi Sharma, the rehearsal of Katha nandan Ki was started with totally new team. But because of Ravi Sharma's busy schedule he couldn't come to direct this musical classic.Hence it was Yashraj Jadhav who got an opportunity to redesign it in new digital era. He did but couldn't touch the sensitivity of the previous production. Although it was up to the mark but not a super duper production.
Afterwards Ranjit Kapoor gave a new concept in Surajmukhi aur Hamlet. It also won thousands applause.
|
Prayog
|
Indore, Bhopal, Rewa, Mumbai, Noida, New Jersey
|
1975 in Indore, 1983 in Bhopal, 1985 in Mumbai, 1991 in Rewa, 1992 in Noida, 2012 in New Jersey, USA
|
Prof Satish Mehta and Mrs. Jyotsna Mehta
Prayog is a well-known Hindi theatre group of India. It was established on 15 August 1975 by Prof. Satish Mehta and his wife Mrs. Jyotsana Mehta. The first play performed by Prayog was Doosara Darwaja (Writer - Dr. Laxmi Narain Lal) and this theater group has never looked back ever since. It has gone from strength to strength putting up 1500+ performances to date of 100 full-length plays.
Prayog is a Hindi language word, which means experimentation. As the meaning indicates Prayog is different in the sense that and it puts up its plays with experimentation in content, format and presentation. The plays seek to throw new and different light on social and political issues. Prayog's constant endeavor is to bring a fresh viewpoint. The remarkable factor in the plays performed by Prayog is the variety in form and way of presentation. Few Prayog plays are as follows:
a. Folk style Plays: Dulari Bai, Bakri, Jadugar Jungle, Rai
b. Comedy Plays: Saiya Bhaye Kotwal, Langdi Tang, Sharafat teri to, Adalat Ashiko ki, Badbad Savitri.
c. Political and Social satire: Andhon Ka Hathi, Natak Nahin, Ala Afasar
d. Social Plays: Pratibimb, Mansukh Lal Majithhiya, Hastakshar
e. Period Plays: Jis Lahore nahi dekhya, Ek aur Dronacharya
f. Mythological Plays: kandhe par baitha tha shap
g. Psycho-physical Plays: Bhoma
With its liking for purposeful theater, Prayog has broken new grounds with street plays as well - "Julus", "Samarath", "Bharat Ke Lal" and "Kargil Ke Sher" were performed to aware the public with different motives. The themes of these plays were patriotism, non-violence, national integration, communal harmony and other social causes. These street plays attracted a large number of people on the streets and conveyed the message effectively to them. Prayog has a remarkable record of presenting its Plays throughout India and in USA as well. Prayog has a brigade of very talented artistes, who support the very cause for which Prayog was established and has been working ever since. Prayog has established a good name in the field of theater and continue to rise to greater heights.
|
Kala Sangam
|
Patna, Bihar
|
1962
|
Satish Anand
|
Swatantra Theatre
|
Pune, Maharashtra
|
2006
|
Abhijeet Choudhary and Dhanashree Heblikar with Yuwaraj Shah
Abhijeet Choudhary with Dhanashree Heblikar and Yuwaraj Shah founded Swatantra Kala Group in Pune in 2006. The group focuses on contemporary and socio-political issues through its numerous performances and practices. It has performed at various public and private institutes of education including FTII, IITs, and NDA. It is known for its repertoire of community-based theatre and was invited by the UK Parliament for engaging in community-service through theatre. Some of its noteworthy productions are Jis Lahore Nahin Vekhya Wo Janmeya Hi Nahin- Asghar Wajahat, Tajamhal Ka Tender- Ajay Shukla, Mujhe Amrita Chahiye- Yohesg Tripathi, Kabira Khada Bazar Mein- Bhishm Sahni, Court Martial- Swadesh Deepak, Gagan Damma Bajiyo -Piyush Mishra, Jab Shehar hamara sota hai, Bakri-Sarveshwal Dayal Sharma, Ujbak Raja Teen Dacoit- Alakhnandan, and many more.
Abhijeet Choudhary, Dhanashree Heblikar Written Plays like Mashaal jao Diye Se, Tenaliram, Tukaram, Turning Pages with Sudha Murthy, DadaSaheb Phalke "Play Based on Father of Indian Cinema", Mansarovar Play based on Premchand's Short Stories, Bikhre Moti Play BAsed on Subhadra Kumari Chauhan's Life and her writings, Rabindra Sansar Play Based on Life of Rabindranath Thakur and his work and many more.
Jaag Utha Hai Raigad is a Hindi translation of Vasant Kanetkar's Marathi play Raigadala Jevha Jaag Yete Performed in 21st Bharat Rang Mahotsav 2020. Woven within the play is an inbuilt, terse and fine sense of controlled dramatic tension. It depicts the Maratha King, Shivaji and his youngest son, Sambhaji struggling with the gap between the two generations. Shivaji's efforts are to keep his family united, and the young descendant's efforts are to control and consolidate the huge legacy and empire. The play unveils the rich Maharashtrian culture, and the heritage of a bygone era.
|
|
Nat Nimad || Khandwa, M.P.|| 2000|| Vijay Soni
Further reading
[
edit
]
- Prof. Satish Mehta (2010).
Rangkarm - Aayam Dar Aayam by Prof. Satish Mehta), Volume 1
. Vikas Prakashan, Kanpur.
ISBN
978-9381317693
.
- Swatantra Theatre Selected to performed at National School of drama 2020 International Theatre Festival; a very famous marathi play in Hindi with very unique style and design
,
https://www.21brm.nsd.gov.in/jaag-utha-hai-raigad/
- Hindi drama and stage
, by Virendra Narayana. Bansal, 1981
- Sangeet Natak Akademi (1989).
Contemporary Indian theatre: interviews with playwrights and directors
.
Sangeet Natak Akademi
.
- Adhunik Hindi Natak Aur Rangmanch
(Modern Hindi Drama and Theatre), by N. C. Jain.
- Rang yatra: twenty-five years of the National School of Drama Repertory Company
, by National School of Drama. Published by National School of Drama, 1992.
- Hindi Natak: Udhbhav aur Vikas
(Hindi Drama: Its origin and Development), Dashrath Ojha. Rajpal and Sons, 1954.
- Mohan Rakesh's halfway house: critical perspectives
, by Subhash Chandra. Asia Book Club, 2001.
ISBN
978-81-7851-004-0
.
- Gender, religion, and modern Hindi drama
, by Diana Dimitrova. McGill-Queen's University Press, 2008.
ISBN
978-0-7735-3364-6
.
- Andha Yug
, by Dharamvir Bharati, Tr. Alok Bhalla. Oxford University Press, USA, 2010.
ISBN
978-0-19-806522-7
.
- 4th Hindi Theatre Festival, FTII Pune
,
http://www.mid-day.com/articles/a-tribute-to-hindi/15590193
- 2nd Chhotanagpur natya Mahotsav 2015
,Organised by Yuva Natya Sangeet Academy, venu Kanti Krishna kala Bhawan, Gorakhnath Lane, Upper Bazar, Ranchi,jharkhand-834001
- First Virtual Live Play of India
,
https://www.thehindu.com/entertainment/theatre/swatantra-theatres-rang-e-dastaan-season-2-a-virtual-theatre-festival-from-june-4-is-a-13-day-festival-featuring-13-plays-and-70-artistes-from-across-india/article31747723.ece
- Swatantra Theatre is the First who Performed on COVID-19 has a sociocultural message for humanity in Swatantra Theatre's Shehar-e-Naqab, available online
,
https://indianexpress.com/article/lifestyle/art-and-culture/a-character-called-corona-6324466/
References
[
edit
]
- ^
a
b
"Drama of the Indian theatre journey"
. The Financial Express. 17 September 2006.
- ^
a
b
Hochman, p. 44
- ^
a
b
c
Datta, p. 1074
- ^
Hansen, p. 64
- ^
Review
of Figueira's
Translating the Orient: The Reception of Sakuntala in Nineteenth-Century Europe
at the
complete review
website.
- ^
K. Moti Gokulsing, K. Gokulsing, Wimal Dissanayake (2004),
Indian Popular Cinema: A Narrative of Cultural Change
, Trentham Books, p. 98,
ISBN
978-1-85856-329-9
{{
citation
}}
: CS1 maint: multiple names: authors list (
link
)
- ^
Lakshmi Misra (1992).
Women's issues: an Indian perspective
. Northern Book Centre. p. 65.
ISBN
978-81-7211-017-8
.
- ^
Hansen, p. 75
- ^
Hansen, p. 77
- ^
Dimitrova, p. 14
- ^
Hansen, p. 62
- ^
Hansen, p. 78
- ^
a
b
Hansen, p. 81
- ^
Das, p. 159
- ^
Chambers, p. 380
- ^
Indian People's Theatre Association.
Article in mumbaitheatreguide.com
- ^
Rubin, p. 182
- ^
Kissing the firmament with Prithvi Theatre
The Hindu
22 November 2004.
- ^
National School of Drama ..over the past 50 years
The Tribune
, 2009.
- ^
a
b
Rubin, p. 200
- ^
Rubin, p. 190
- ^
"Capital's cultural affair began in 50s"
.
Hindustan Times
. 16 November 2011. Archived from
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. 22 June 2009.
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Shama Zaidi
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The Times of India
, 9 June 2009.
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. ABC-CLIO. p. 73.
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.
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"Remembering Jalan"
.
The Hindu
. 4 June 2010.
- ^
Richard Schechner
(1985).
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. University of Pennsylvania Press. p. 74.
ISBN
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.
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"Using theatre to voice her deepest concerns"
.
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. 20 September 2004.
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"Calcutta, home to Hindi Theatre"
.
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. 29 October 1997. Archived from
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on 25 July 2011.
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In Conversation With Prof Satish Mehta And Jyotsna Mehta - Ranjani Saigal, August 18, 2017
http://www.lokvani.com/lokvani/article.php?article_id=13701
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c
d
e
f
g
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.
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. Sahitya Akademi. pp. 166, 210?220.
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.
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- General
- "Staging a Dramatic Shift"
.
- "From Page to Stage"
. 21 July 2019.
- Stanley Hochman (1984).
McGraw-Hill encyclopedia of world drama, Volume 3
. VNR AG.
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978-0-07-079169-5
.
- Dr. Nagendra (1988).
Indian Literature
. Prabhat Prakashan.
- Martin Banham (1995).
The Cambridge guide to theatre
. Cambridge University Press. p.
526
.
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978-0-521-43437-9
.
hindi theatre.
- Sisir Kumar Das (1995).
History of Indian Literature: 1911?1956, struggle for freedom: triumph and tragedy
. Sahitya Akademi. p. 159.
ISBN
978-81-7201-798-9
.
- Sandria B. Freitag (1989).
"Chapter 2: The Birth of Hindi Drama in Banaras: 1868?1885, by Kathryn Hansen"
.
Culture and power in Banaras: community, performance, and environment, 1800?1980
. University of California Press.
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.
- Don Rubin (1998).
The World Encyclopedia of Contemporary Theatre: Asia
. Taylor & Francis.
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- Diana Dimitrova (2004).
Western tradition and naturalistic Hindi theatre
. Peter Lang.
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978-0-8204-6822-8
.
- Aparna Bhargava Dharwadker (2005).
Theatres of independence: drama, theory, and urban performance in India since 1947
. University of Iowa Press.
ISBN
978-0-87745-961-3
.
- Colin Chambers (2006).
Continuum Companion to Twentieth Century Theatre
. Continuum International Publishing Group.
ISBN
978-1-84714-001-2
.
- Gabrielle H. Cody; Evert Sprinchorn (2007).
The Columbia encyclopedia of modern drama, Volume 2
.
Columbia University Press
.
ISBN
978-0-231-14424-7
.
- Amaresh Datta (2006).
The Encyclopaedia of Indian Literature (Volume Two) (Devraj To Jyoti), Volume 2
. Sahitya Akademi.
ISBN
978-81-260-1194-0
.
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