Author Topic: उत्तराखंडी नाटकों की शुरुआत (गढ़वाली, कुमाऊंनी) - UTTARAKHANDI PLAYS !!  (Read 19135 times)

Bhishma Kukreti

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Mero Nati: A Short Garhwali Drama Sharply Criticizing Blind Faith

(Review of Short Garhwali Drama ‘Mero Nati ‘(1989) written by Govind Kapariyal)


                  Bhishma Kukreti
  A social and cultural organization Uttarakhand jan Sanskriti manch, Gair Sain staged and presented a short Garhwali drama ‘Mero Nati ‘ on 26th April 1989 in Gairsain.  Govind kapriyal wrote the drama. The drama shows that instead of taking the help of proper medical practitioners people take help of Mantrik-Tantric and lose the beloved ones.  In this drama, a child becomes ill and family members do not visit to doctor but do treatment from Mantrik and tantric. In this way the end is pathetic.
    Mathur Dev Arya provided background music. I.P. Uniyal States that the drama Mero Nati ‘criticizes the blind faith and its bad effects very sharply and loudly.

Reference:
Garh Aina, Dehradun, 27 April 1989 page 3

Copyright@ Bhishma Kukreti, 24/6/2012

Bhishma Kukreti

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Byau: A Garhwali Drama -part of Temperance Movement 

(Review of Garhwali drama ‘Byau’ (1995) by Om Prakash Semwal)

                                       Bhishma Kukreti
[ Notes on temperance movement; temperance movement in Asia; temperance movement in South Asia ; temperance movement in SAARC Countries; temperance movement in Indian subcontinent; temperance movement in India ; temperance movement in Africa; temperance movement in South pacific region; temperance movement in Europe; temperance movement in Canada; temperance movement In USA] 
[शराब विरोधी आन्दोलन, एसिया में शराब विरोधी आन्दोलन,यूरोप में शराब विरोधी आन्दोलन, अमेरिका में शराब विरोधी आन्दोलन, कनाडा मेंशराब विरोधी आन्दोलन, नोर्वे में शराब विरोधी आन्दोलन, रूस में शराब विरोधी आन्दोलन, श्रीलंका में शराब विरोधी आन्दोलन, ऑस्ट्रेलया में शराब विरोधी आन्दोलन, न्यूजी लैंड में शराब विरोधी आन्दोलन, उत्तराखंड में शराब विरोधी आन्दोलन; कुमाऊ में शराब विरोधी आन्दोलन. गढ़वाल में शराब विरोधी आन्दोलन लेखमाला ]
                       
       Om Prakash Semwal wrote and staged many Garhwali dramas for social awareness among students and community people. ‘Byau’ is one of fine dramas written by playwright Om Prakash Semwal making people aware about evils of liquor consumption.  ‘Byau’ was staged in September 1995 in (Old) Chamoli Garhwal district of Uttarakhand.
     These days, it is very common all over India people take opportunities for taking liquor. The addicted people do not see the time and the situation. If there is marriage Nyoto night offering of liquor is a must from the side of host. When there is “Haldihath/Bbana ritual the males find the reason for taking liquor. When there is start of marriage procession the people find ground for enjoying liquor consumption. For liquor takers the Manglachar,  Gotrachar, Lagan, Jaimala, Gaidan rituals are the reasons for taking alcohol.
        Playwright Om Prakash Semwal shows in the drama ‘Byau’ about the dramas of these liquor addicted people finding the excuses for taking liquor in early hours of sun rise and late night. Semwal successfully shows the results of taking liquor at the time of marriage procession and the effects of liquor on human mind that drunken persons start misbehaving with older people or start teasing girls without any hesitation about social norms and humanity norms. Semwal ends drama with bang on liquor consumption.
       The dialogues and characters are from the daily life of Garhwalis all over world. 
 The drama ‘Byau’ by O.P Semwal is part of temperance movement in Garhwal. The drama ‘Byau’ reminds us the temperance movement of Australia (1830s); height of temperance movement of Canada (1920); initiation of temperance movement in Iris by priest Theobald Mathew of 1838, first temperance movement   in Bay of Islands of New Zealand in 1836; temperance movement as part of independence movement of Sri Lanka; temperance as mass movement of united kingdom in 19th century; temperance movement   of U.S. America in 1846; temperance movement in Russia in late 19th century; temperance movement   in 1850 in Norway; temperance movement   in late 19th century that many playwrights wrote dramas against liquor consumption.  Tinchri Mai’s movement against liquor consumption of late twentieth century in Garhwal is famous temperance movement of Garhwal.       

Copyright@ Bhishma Kukreti, 24/6/2012
temperance movement; temperance movement in Asia; temperance movement in South Asia ; temperance movement in SAARC Countries; temperance movement in Indian subcontinent; temperance movement in India ; temperance movement in Africa; temperance movement in South pacific region; temperance movement in Europe; temperance movement in Canada; temperance movement In USA to be continued…..
शराब विरोधी आन्दोलन, एसिया में शराब विरोधी आन्दोलन,यूरोप में शराब विरोधी आन्दोलन, अमेरिका में शराब विरोधी आन्दोलन, कनाडा मेंशराब विरोधी आन्दोलन, नोर्वे में शराब विरोधी आन्दोलन, रूस में शराब विरोधी आन्दोलन, श्रीलंका में शराब विरोधी आन्दोलन, ऑस्ट्रेलया में शराब विरोधी आन्दोलन, न्यूजी लैंड में शराब विरोधी आन्दोलन, उत्तराखंड में शराब विरोधी आन्दोलन; कुमाऊ में शराब विरोधी आन्दोलन. गढ़वाल में शराब विरोधी आन्दोलन लेखमाला जारी ....

Bhishma Kukreti

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Chandan: A Garhwali Drama about Struggle against Local Liquor Mafia

(Review of Garhwali drama ‘Chandan’ (1990) written by playwright Narendra Bahuguna)

                        Bhishma Kukreti

[Notes on Dramas about struggle against Liquor Mafia; Garhwali Dramas about struggle against Liquor Mafia; Kumauni Dramas about struggle against Liquor Mafia; Uttarakhandi Dramas about struggle against Liquor Mafia; Mid Himalayan Dramas about struggle against Liquor Mafia; Himalayan Dramas about struggle against Liquor Mafia; north Indian Dramas about struggle against Liquor Mafia; Indian Dramas about struggle against Liquor Mafia; South Asian Dramas about struggle against Liquor Mafia; Asian Dramas about struggle against Liquor Mafia]
      Narendra Bahuguna wrote a fine and graceful drama ‘Chandan’ that was published in Garhwali’s first daily Garh Aina (9th May to 20th May 1990).
    The drama is about a retired army man Subedar, his family members, teacher –master Ji, Mahila mandal   and its leader Parvati want their village liquor free village where nobody should take alcohol. However, the country liquor producers don’t like their idea and they create various hurdles. There is violence between the anti liquor movement workers and liquor makers and Patwari has to intervene in the subject.
  There are ups and downs in the drama and at the end the movement becomes success due to heavy  price. There are events of other issues as better and modern education for girls and boys or issues of parenting.
 The drama is totally moral oriented and very sophisticated one.
Reference-
Garh Aina, Dehradun, India dates 9th may to 20th May 1990)
 Copyright@ Bhishma Kukreti 25/6/2012
Notes on Dramas about struggle against Liquor Mafia; Garhwali Dramas about struggle against Liquor Mafia; Kumauni Dramas about struggle against Liquor Mafia; Uttarakhandi Dramas about struggle against Liquor Mafia; Mid Himalayan Dramas about struggle against Liquor Mafia; Himalayan Dramas about struggle against Liquor Mafia; north Indian Dramas about struggle against Liquor Mafia; Indian Dramas about struggle against Liquor Mafia; South Asian Dramas about struggle against Liquor Mafia; Asian Dramas about struggle against Liquor Mafia to be continued..

Bhishma Kukreti

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Bal Narayan: A Lyrical –Dance Garhwali Mythological Drama
(Review of Garhwali Lyrical Dance Drama ‘Bal Narayan’ (1990) written by Dr. Bhagwati Prasad Mishra)

                                     By: Bhishma Kukreti

[Notes on lyrical-dance-mythological dramas; lyrical-dance-mythological Garhwali dramas; lyrical-dance-mythological Uttarakhandi dramas; lyrical-dance-mythological Mid Himalayan dramas; lyrical-dance-mythological Himalayan dramas; lyrical-dance-mythological North Indian dramas; lyrical-dance-mythological Indian dramas; lyrical-dance-mythological Indian subcontinent dramas; lyrical-dance-mythological  SAARC Countries dramas; lyrical-dance-mythological South Asian dramas; lyrical-dance-mythological Asian dramas]
[धार्मिक नृत्य-नाटक; गढवाली धार्मिक नृत्य-नाटक;उत्तराखंडी धार्मिक नृत्य-नाटक;मध्य हिमालयी धार्मिक नृत्य-नाटक;हिमालयी धार्मिक नृत्य-नाटक;उत्तर भारतीय धार्मिक नृत्य-नाटक;भारतीय धार्मिक नृत्य-नाटक;भारतीय उप महादीप के धार्मिक नृत्य-नाटक;सार्क देशीय धार्मिक नृत्य-नाटक;दक्षिण एशियाई धार्मिक नृत्य-नाटक;एशियाई धार्मिक नृत्य-नाटकलेखमाला]

   Dr. Bhagwati Prasad Mishra is famous poet who wrote a lyrical Garhwali drama and was published in Garh Aina (12th May to 20th May 1990). The drama is mythological drama. The God or lord Vishnu incarnates himself for various forms as per the need of people security, safety and deities’ safety.
      There are many stories and twist in the lyrical drama. Therefore, the lyrical, dance drama of mythological subject contains the audience.  There is thrill, chivalry, conflicts between deity and God; spirituality, rage, jealousy, philosophy and love etc in this Garhwali mythological drama.
                         The drama writer uses lyrics in place of prose dialogues and narration.  The example of lyrical dialogues and narration is as under:
( नारायण )
त्वे जना पापी कु करदू छौं मी कटान
औ धौं मीरा पास लमडान्दूछौं चट्टान
अबि छमा मंगली त द्योलू छ्मादान
छोड़ देवलु पापी तेरी, ज्वा च प्यारी जान
(सहस्त्र )
अरे कण सा सी केटा अज्ञान
देनी छै में ठुला सि ज्ञान
बोल्यु तू आज मेरु मान
निथर गववै जाण एक प्राण
ले-लड़ाई -चलौ जरा बाण
अब त कची भुजी तेरी खाण
( युद्ध हुंद सहस्त्र कवच का नौ सौ निन्यायव कवच टूटी जान्दन ..
सहस्त्र सूर्य देव का पास भगद )
  Certainly the dance-lyrical mythological drama is an entertaining drama.
Reference-
Garh Aina , Dehradun (issues of 10yj May to 20th May 1990)
Copyright@ Bhishma Kukreti, 26/6/2012
 Notes on lyrical-dance-mythological dramas; lyrical-dance-mythological Garhwali dramas; lyrical-dance-mythological Uttarakhandi dramas; lyrical-dance-mythological Mid Himalayan dramas; lyrical-dance-mythological Himalayan dramas; lyrical-dance-mythological North Indian dramas; lyrical-dance-mythological Indian dramas; lyrical-dance-mythological Indian subcontinent dramas; lyrical-dance-mythological  SAARC Countries dramas; lyrical-dance-mythological South Asian dramas; lyrical-dance-mythological Asian dramas to be continued…
धार्मिक नृत्य-नाटक; गढवाली धार्मिक नृत्य-नाटक;उत्तराखंडी धार्मिक नृत्य-नाटक;मध्य हिमालयी धार्मिक नृत्य-नाटक;हिमालयी धार्मिक नृत्य-नाटक;उत्तर भारतीय धार्मिक नृत्य-नाटक;भारतीय धार्मिक नृत्य-नाटक;भारतीय उप महादीप के धार्मिक नृत्य-नाटक;सार्क देशीय धार्मिक नृत्य-नाटक;दक्षिण एशियाई धार्मिक नृत्य-नाटक;एशियाई धार्मिक नृत्य-नाटकलेखमाला जारी ....

Bhishma Kukreti

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    भग्यान अबोध बंधु बहुगुणा क दगड भीष्म कुकरेती क इंटरव्यू  - फाड़ी  -१ गढ़वळि नाटकुं मा हौंस

 

 (भीष्म कुकरेती न गढवळी साहित्य मा हास्य पर भग्यान अबोध जी से कुछ सवाल पूछि  थौ. वांको  एक भाग तौळ च)

 

भीष्म कुकरेती - गद्य की तुलना मा गढवळि नाटकु मा हास्य प्रचुर मात्रा मा छ. याँ पर आपका क्या विचार छन?

अबोध बंधु बहुगुणा- गद्य कि तुलना मा नाटकुं मा हास्य अवस्य इ काफी छ. म्यरो ख़याल छ लोक नाट्य की शैली विकसित कर्यी अथवा ऊंका अनुकरण  मा हैंसोड़ी नाटक अपणो विशिष्ठ स्थान बणै सकदन.


 भीष्म कुकरेती - गढवळि मा हास्य नाटककार कु  कु छन ?

अबोध बंधु बहुगुणा - गढवळि नाटक का क्षेत्र मा अभि त सर्वट या फट कै बि नाटककारो नौ नि लिहे स्क्यान्द कि वो हास्य नाटककार च . तबी बि भग.भवानी दत्त थपलियाल का 'प्रहलाद' मा 'दुर्जन कि कछेड़ी'  वळो दृश्य  ता हैंसोड़ी  को बेजोड़ नमूना छ. ललित मोहन थपलियाल का 'खाडू लापता' अर घर  जवैं ' नाटक हास्यप्रधान छन. श्री राजेन्द्र धष्माना का 'अर्ध ग्रामेश्वर' या श्री स्वरूप  ढौंडियाल का 'मंगतू बौळया ', श्री सोनू पंवार का 'झौडा लाटू, अर 'बख्त्वार बाड़ा'; श्री कांता प्रसाद गढ़वाली क 'द्वी ब्यौ' मा बीच बीच मा हास्य का खूब चटकारा छन. भीष्म कुकरेती क 'बखरों स्याळ' एक व्यंग्यात्मक नाटक छ जखमा हास्य की छळाबळि च। अबोध बंधु बहुगुणा को 'छैलाअ छौळ' हास्य का जिकुड़ा बुक्ड़ा ल्हेकी रच्यु छ. यूँ विशिष्ठ कृत्यु का अलावा गढ़वाल, दिल्ली, देहरादून , मुंबई आदि जगों मु कुछ नाटक मंचित ह्वेन जुन्मा बल ईं दिशा मा अग्रसर होणो प्रयास करिगे.    खेद च वूंको ब्योरा उपलब्ध नि ह्व़े सक्यो. 


भीष्म कुकरेती- गढ़वाल भ्रात्रि मंडल (स.संस्था) क भूतपूर्व महासचिव रमण मोहन कुकरेती न एक हिंदी अर एक मराठी  नाटक गढ़वळि मा अनुवाद करीन. अर अच्काल म्यार दगड चार्ली'ज आंट को अनुवाद पर काम करणा छन. यून  द्वी नाट्कू मंचन मुंबई मा बि कर्युं च रमण कुकरेती क   बुलण  च बल जु गढ़वळि तै नाटक विधा से जुड़ण त नाटकुं  मा हास्य तै ज्यादा से ज्यादा जगा दीण  चएंद (मुंबई क अनुभव से रमण जी क मतलब छौ कि गढव ळी नाटक जाड लाउड होण चयेंदन).  क्या आप यीं बात से सहमत छन.

अबोध बंधु बहुगुणा -हास्य नाटकुं  क्षेत्र मा श्री  रमण मोहन कुकरेती क हिंदी अर मराठी नाटकु रूपांतर एक सान्सदार अर रगर्यटोत्पादक काम छ. पर वूनका मत से सहमत हूण  सर्वट कठिन छ. नाटक दृश्य काव्य छ, काव्य का प्रमुख रस कि उपेक्षा नि ह्व़े सकदी. श्रृंगार, , वीर, करुण मा हास्य की जुळामुंडी भी काम ह्व़े सकदन , ह्वेलि बि त  वूं निपौंद्यौं  भंगतेल मिट्ठो होण. नाटकूँ मा हंसोड़ी जादा देणा बजाय हैंसोड़ी नाटक जादा लिखणै बात कनि रालि?


 सन्दर्भ

१-गढ़ ऐना , १३- १६ फरवरी १९९१

२- धाद , मई, १९९१

Bhishma Kukreti

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Dwipalya: A Garhwali Morality Play (seeing is better than believing on words) 
(Review of a Garhwali drama ‘Dwipalya’ (1989) written by Kukreti)

                                Bhishma Kukreti

[Notes on Moral based dramas; Moral based Garhwali dramas; Moral based Uttarakhandi dramas; Moral based Mid Himalayan regional language dramas; Moral based Himalayan regional language dramas; Moral based  regional language dramas; Moral based  north Indian regional language dramas; Moral based  Indian regional language dramas; Moral based Indian sub continent  regional language dramas; Moral based  SAARC Countries regional language dramas; Moral based  South Asian regional language dramas; Moral based  Asian regional language dramas]
[क्षेत्रीय भाषाई नाटक;गढ़वाली नाटक; क्षेत्रीय भाषाई उत्तराखंडी नाटक; क्षेत्रीय भाषाई मध्य हिमालयी नाटक;क्षेत्रीय भाषाई हिमालयी नाटक;क्षेत्रीय भाषाई उत्तर भारतीय नाटक;क्षेत्रीय भाषाई भारतीय नाटक;क्षेत्रीय भाषाई भारतीय उप महाद्वीपीय नाटक;क्षेत्रीय भाषाई सार्क देशीय नाटक;क्षेत्रीय भाषाई दक्षिण एशियाई नाटक;क्षेत्रीय भाषाई एशियाई नाटक लेखमाला ]

       ‘Dwipalya’ a Garhwali drama is published in Garh Aina (Year-2, issue -310, 18th June 1989, page -3)
           Jeetu is shocked when he comes to know that his own younger brother Nathi pushed the Wad (a small demarcation or petitioning stone between two farms) to increase his portion of fertile and plain farmland.
  There is quarrel between two brothers and they are ready to beat physically each other. When Sudama opens the real secrete both are shocked.
   The setting is very simple and setting is as happens in rural Garhwal of old age. The dialogues are from day to day life. The quarrel for ‘Wad Sarkan ‘(shifting of demarking stone in own favor) scene is also common (there was opportunity for playwright for more sharp quarrel as happens in daily life). The shocking news is also happens many time.
  The drama is a mini drama and director may add many more scenes connected to the theme.  At the end, there is moral story without preaching speeches. The drama is interesting.

Copyright@ Bhishma Kukreti, 27/6/2012
Notes on Moral based dramas; Moral based Garhwali dramas; Moral based Uttarakhandi dramas; Moral based Mid Himalayan regional language dramas; Moral based Himalayan regional language dramas; Moral based  regional language dramas; Moral based  north Indian regional language dramas; Moral based  Indian regional language dramas; Moral based Indian sub continent  regional language dramas; Moral based  SAARC Countries regional language dramas; Moral based  South Asian regional language dramas; Moral based  Asian regional language dramas to be continued..
क्षेत्रीय भाषाई नाटक;गढ़वाली नाटक; क्षेत्रीय भाषाई उत्तराखंडी नाटक; क्षेत्रीय भाषाई मध्य हिमालयी नाटक;क्षेत्रीय भाषाई हिमालयी नाटक;क्षेत्रीय भाषाई उत्तर भारतीय नाटक;क्षेत्रीय भाषाई भारतीय नाटक;क्षेत्रीय भाषाई भारतीय उप महाद्वीपीय नाटक;क्षेत्रीय भाषाई सार्क देशीय नाटक;क्षेत्रीय भाषाई दक्षिण एशियाई नाटक;क्षेत्रीय भाषाई एशियाई नाटक लेखमाला जारी ...

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Bhat: A Garhwali Stage Play Exposing Hypocrisy in Caste System of Upper Caste Brahmins

(Review of Garhwali Stage Play ‘Bhat’ (December 1996) by Playwright Om Prakash Semwal)

                                        By: Bhishma Kukreti

[Notes on worldwide Stage Plays or Dramas Exposing Hypocrisy; Garhwali Stage Plays or Dramas Exposing Hypocrisy; Uttarakhandi Stage Plays or Dramas Exposing Hypocrisy; Mid Himalayan Stage Plays or Dramas Exposing Hypocrisy; Himalayan Stage Plays or Dramas Exposing Hypocrisy; North Indian Stage Plays or Dramas Exposing Hypocrisy; Indian Stage Plays or Dramas Exposing Hypocrisy; Indian sub continent Stage Plays or Dramas Exposing Hypocrisy; SAARC Countries Stage Plays or Dramas Exposing Hypocrisy; South Asian Stage Plays or Dramas Exposing Hypocrisy; Asian Stage Plays or Dramas Exposing Hypocrisy]
[जातीय ढोंग-पाखंड को दिखाते नाटक; जातीय ढोंग-पाखंड को दिखाते गढ़वाली नाटक;जातीय ढोंग-पाखंड को दिखाते उत्तराखंडी नाटक;जातीय ढोंग-पाखंड को दिखाते मध्य हिमालयी नाटक; जातीय ढोंग-पाखंड को दिखाते हिमालयी नाटक;जातीय ढोंग-पाखंड को दिखाते उत्तर भारतीय नाटक;जातीय ढोंग-पाखंड को दिखाते भारतीय नाटक;जातीय ढोंग-पाखंड को दिखाते सार्क देशीय नाटक;जातीय ढोंग-पाखंड को दिखाते दक्षिण एशियाई नाटक;जातीय ढोंग-पाखंड को दिखाते एशियाई नाटक लेख माला]

         There has been tendency of creating stage-plays or drama for lambasting hypocrisy in society in every community and every language.
               ‘Coming Home’ by playwright George Halitzka is a drama about hypocrite mother taking alcohol drink regularly but preaching children not to take alcohol; Senior Trip by same playwright about hypocrisy; ‘Tartuffe’ drama by playwright Jean-Baptiste (1664) is about hypocrite man pretending as deeply religious and moral man; Henrik Ibsen exposing hypocrisy in his stage plays or dramas; are a couple of examples of dramas or stage plays exposing hypocrisy in each community or in each language.
    The stage play or mini drama ‘Bhat’ written by playwright Om Prakash Semwal was stage in 1996 in a school district Chamoli Garhwal now Rudraprayag.   Two Brahmins Bhawani and Geeta from same village are close friends and share rice-mutton, alcoholic drink together in a town restaurant. They don’t mind taking ‘Bhat-Shikar (rice –mutton) from the same plate and taking drink from same glass.  However, when the time comes to sit together for taking meal in a common platform of village marriage party Bhavani refuses to attend for marriage party as Geeta is coking Bhat (rice). Geeta’s mother was from lower cast Brahmin.
   ‘Bhat’ drama is an educational drama and is aimed at young student audience. The language and events of the stage play are simple to engage the teen ager students. The student audience definitely would feel awkward about watching the exposure of hypocrisy of two types of Brahmins.

Copyrights @Bhishma Kukreti 28/6/2012

Notes on worldwide Stage Plays or Dramas Exposing Hypocrisy; Garhwali Stage Plays or Dramas Exposing Hypocrisy; Uttarakhandi Stage Plays or Dramas Exposing Hypocrisy; Mid Himalayan Stage Plays or Dramas Exposing Hypocrisy; Himalayan Stage Plays or Dramas Exposing Hypocrisy; North Indian Stage Plays or Dramas Exposing Hypocrisy; Indian Stage Plays or Dramas Exposing Hypocrisy; Indian sub continent Stage Plays or Dramas Exposing Hypocrisy; SAARC Countries Stage Plays or Dramas Exposing Hypocrisy; South Asian Stage Plays or Dramas Exposing Hypocrisy; Asian Stage Plays or Dramas Exposing Hypocrisy to be continued….
जातीय ढोंग-पाखंड को दिखाते नाटक; जातीय ढोंग-पाखंड को दिखाते गढ़वाली नाटक;जातीय ढोंग-पाखंड को दिखाते उत्तराखंडी नाटक;जातीय ढोंग-पाखंड को दिखाते मध्य हिमालयी नाटक; जातीय ढोंग-पाखंड को दिखाते हिमालयी नाटक;जातीय ढोंग-पाखंड को दिखाते उत्तर भारतीय नाटक;जातीय ढोंग-पाखंड को दिखाते भारतीय नाटक;जातीय ढोंग-पाखंड को दिखाते सार्क देशीय नाटक;जातीय ढोंग-पाखंड को दिखाते दक्षिण एशियाई नाटक;जातीय ढोंग-पाखंड को दिखाते एशियाई नाटक लेख माल जारी ...

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Meetu Rawat: A Historical and Folk Story base Garhwali Drama

(Review of Garhwali Drama ‘Meetu Rawat’ (1982) written by Sacchida Nand Kandpal)

                                    By Bhishma Kukreti

[Notes on historical dramas; Garhwali historical dramas; Uttarakhandi historical dramas; Mid Himalayan historical dramas; Himalayan historical dramas; North Indian  historical dramas; Indian historical dramas; Indian sub continent historical dramas; SARRC Countries historical dramas; South Asian historical dramas; Asian historical dramas )
[ऐतिहासिक नाटक; गढ़वाली ऐतिहासिक नाटक; उत्तराखंडी ऐतिहासिक नाटक; मध्य हिमालयी ऐतिहासिक नाटक; हिमालयी ऐतिहासिक नाटक; उत्तर भारतीय ऐतिहासिक नाटक; भारतीय ऐतिहासिक नाटक; दक्षिण एशियाई ऐतिहासिक नाटक; एशियाईऐतिहासिक नाटक लेखमाला ]


    Sacchida Nand Kandpal (Kandai, Chamoli Garhwal, and now Rudra Prayag1930-2002) was a Garhwali, Sanskrit and Hindi languages and he wrote a Garhwali drama ‘Meetu Raut’ in 1970 but published in 1982 in Gadhsudha, Chandigarh. Sacchida Nand Kandpal wrote the historical drama Meetu Raut’ on the life of Meetu Raut and his son Nandu Raut
                 Meetu Raut was a king of Nagpur region of upper Garhwal at the time of Kanturi regime. He was a philosophical and spiritual king. Yogini, Dakini and Anccheri (super souls) were at his command. When Kantyuri king attacked Nagpur area, along with the army of Raut; Yogini, Dakini and Anccheri also fought on behalf of Meetu Raut against Kaintyura king. Nandu raut died on the stair case of Tungnath temple.
   The drama Meetu Raut’ has mixture of real historical events and imagination of playwright Kandpal. Kandpal tries to take readers to the time of Meetu Raut. Kandpal depicts the physical and spiritual power of Metu Raut effectively. Sacchida Nand used dialects of (Old) Chamoli Garhwal in the drama. The characters, events and places of the drama are vivid.
References and Source:
1-Dastak, 2011 a magazine, Rudraprayag
2-Dr D.R Purohit, HNB Uni. Shrinagar
3- D.D. Sundariyal, Chandigarh
4-O.P Semwal, Rudraprayag
5--Urmila Kandpal, Semwal (Daughter of Sacchida Nand Kandpal)
6- Dr Nand Kishor Dhoundiyal, 2012, Garhwal ki Divangat Vibhuityan, Kotdwara, Garhwal.

Copyright@ Bhishma Kukreti, 29/6/2012
Notes on historical dramas; Garhwali historical dramas; Uttarakhandi historical dramas; Mid Himalayan historical dramas; Himalayan historical dramas; North Indian  historical dramas; Indian historical dramas; Indian sub continent historical dramas; SARRC Countries historical dramas; South Asian historical dramas; Asian historical dramas to be continued…..
ऐतिहासिक नाटक; गढ़वाली ऐतिहासिक नाटक; उत्तराखंडी ऐतिहासिक नाटक; मध्य हिमालयी ऐतिहासिक नाटक; हिमालयी ऐतिहासिक नाटक; उत्तर भारतीय ऐतिहासिक नाटक; भारतीय ऐतिहासिक नाटक; दक्षिण एशियाई ऐतिहासिक नाटक; एशियाईऐतिहासिक नाटक लेखमाला जारी ....

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                        Dagdi: A Social and Family Conflict based Garhwali Drama

 (Review of a Social-family Conflicts base Garhwali Drama ‘Dagdi ‘(1998) by Om Prakash Semwal)

                                             By Bhishma Kukreti

[Notes on Social-Family Conflicts based Dramas; Social-family Conflicts base Garhwali Dramas; Social-Family Conflicts based Uttarakhandi Dramas; Social-Family Conflicts based Mid Himalayan Dramas; Social-Family Conflicts based Himalayan Dramas; Social-Family Conflicts based north Indian Dramas; Social-Family Conflicts based Indian Dramas; Social-Family Conflicts based Indian sub continent Dramas; Social-Family Conflicts based SAARC Countries Dramas; Social-Family Conflicts based South Indian Dramas; Social-Family Conflicts based Dramas;  Social-Family Conflicts based Oriental Dramas; Social-Family Conflicts based Asian Dramas]
   Om Prakash Semwal is multitalented literature creator of Garhwali language. Semwal is story writer, poet and playwright of Garhwali language.
     In the age of when all national television and core regional channels, national and core regional periodicals are busy to show negative and as if everything going in doomed Om Prakash Semwal comes there to show hope for every Indian through his notable short dramas.
      Om Prakash Semwal wrote a social family conflict base Garhwali drama ‘Dagdi ‘staged in August 1998 in a school of (Old) Chamoli Garhwal.
      The drama is about conflicts, conspiracy among Mundeet (close to one family to other family by blood) embers. There was very cordial relation among the various family members of a Mundeet of Saunu and Gundaru. However, due to selfish intention of Naudi and Murkhalya, there is division among members of Mundeet.   
           However, when Naudi shows his real character Murkhalya was under threat. Murkhalya finds another way to get rid of Naudi.
   The social family conflict base Garhwali drama ‘Dagdi is a short drama and Om Prakash wrote the drama keeping teen age students and young students in mind. The drama shows effectively the self interest of minority members can harm the unity of families and society. The dialogues are having full influence of Rudraprayag region and nobody should mind as even the knowledgeable Garhwali literature creators will be happy to get newer words from Rudraprayag and Tungnath regions.
  The story flow is fast.
  Concussively, the drama is useful for teen age and young students for understanding the loss by tension among families of a Mundeet.

Copyright@ Bhishma Kukreti, 30/6/2012   
Notes on Social-Family Conflicts based Dramas; Social-family Conflicts base Garhwali Dramas; Social-Family Conflicts based Uttarakhandi Dramas; Social-Family Conflicts based Mid Himalayan Dramas; Social-Family Conflicts based Himalayan Dramas; Social-Family Conflicts based north Indian Dramas; Social-Family Conflicts based Indian Dramas; Social-Family Conflicts based Indian sub continent Dramas; Social-Family Conflicts based SAARC Countries Dramas; Social-Family Conflicts based South Indian Dramas; Social-Family Conflicts based Dramas;  Social-Family Conflicts based Oriental Dramas; Social-Family Conflicts based Asian Dramas to be continued….


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Naukari: A Garhwali Drama about Exploiting own Relatives

(Review of Garhwali drama ‘Naukari’ (1999) by playwright Om Prakash Semwal)

                                     Bhishma Kukreti

(Notes on Dramas about Exploitation; Garhwali Dramas about Exploitation; Uttarakhandi  regional language Dramas about Exploitation;  Mid Himalayan regional language Dramas about Exploitation; Himalayan regional language Dramas about Exploitation;  North Indian regional language Dramas about Exploitation;  Indian regional language Dramas about Exploitation; Indian subcontinent regional language Dramas about Exploitation;  SAARC Countries regional language Dramas about Exploitation;  South Asian regional language Dramas about Exploitation;  Asian regional language Dramas about Exploitation)

               One of the exclusive factors of prose literature –stories and dramas by Om Prakash Semwal is that the writer is of firm opinion that there are many opportunities in rural Garhwal in terms of wealth earning.  The ’Naukari ‘drama written by Om Prakash Semwal was staged in December, 1999 in a school of (Old) Chamoli Garhwal now, in Rudraprayag.
        The drama is aimed at young generation who is aspiring employment in cities and is dreaming for leaving the village. Mangtu is studying in tenth standard in village school. Mangtu’s father wants is married to a Kamgati girl (expert in agriculture works) after getting suitable job in city. The mother of Mangtu wishes that Mangtu is married to a rich family that their family get dowry. She is not worried about job for Mangtu.
      Nartu who is working in Delhi comes to village and assures his uncle that he will arrange best job for Mangtu in Delhi. Nartu takes his cousin Mangtu to Delhi for getting him best job. However, Mangtu is shocked to see the exploiting behavior of Nartu.
   The mini drama ’Naukari ‘is very simple and shows the exploitation of unskilled young man by all. The story and dialogues match with the situation of Garhwal.

Copyright@ Bhishma Kukreti, 2/7/2012 
Notes on Dramas about Exploitation; Garhwali Dramas about Exploitation; Uttarakhandi  regional language Dramas about Exploitation;  Mid Himalayan regional language Dramas about Exploitation; Himalayan regional language Dramas about Exploitation;  North Indian regional language Dramas about Exploitation;  Indian regional language Dramas about Exploitation; Indian subcontinent regional language Dramas about Exploitation;  SAARC Countries regional language Dramas about Exploitation;  South Asian regional language Dramas about Exploitation;  Asian regional language Dramas about Exploitation to be continued…

 

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