Author Topic: Garhwali Folk Drama, Folk Theater, Community Rituals and Traditional Plays गढ़वा  (Read 37913 times)

Bhishma Kukreti

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 Nirvayav Rupak Alankar or Invisible Metaphor Figure of Speech in Garhwali Folk Drama 

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में   निरवयव रूपक  अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -75 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
                 Metaphor is defined as in which a word or phrase that ordinarily designated one thing is used to designate another thus making an implicit comparison.

      गढ़वाली  लोक नृत्य-गीतों  , लोक नाटक में  निरवयव रूपक अलंकार   का उदाहरण
ह्यूंचळि डांड्यूं की चली हिंवाळी कंकोर
रंगमंतु ह्वै , नचण लगे मेरा मन को मोर

 Here मेरा मन को मोर  (my heart’s peacock) phrase is example of invisible Metaphor figure of speech. Here the joy of heart is designated as peacock.


(*Reference- Dr Shiva Nand Nautiyal)

Copyright@ Bhishma Kukreti 8/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Nirvayav Rupak Alankar or Invisible Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Nirvayav Rupak Alankar or Invisible Metaphor Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Nirvayav Rupak Alankar or Invisible Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Nirvayav Rupak Alankar or Invisible Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Nirvayav Rupak Alankar or Invisible Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Nirvayav Rupak Alankar or Invisible Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Nirvayav Rupak Alankar or Invisible Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Nirvayav Rupak Alankar or Invisible Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  निरवयव रूपक  अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  निरवयव रूपक  अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  निरवयव रूपक  अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  निरवयव रूपक  अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  निरवयव रूपक  अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  निरवयव रूपक  अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  निरवयव रूपक    अलंकार ;
 

Bhishma Kukreti

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Savayav Rupak Alankar or Divisible Metaphor Figure of Speech in Garhwali Folk Drama

                   गढवाली लोक नाटकों / लोक  नृत्य -गीतों में  सावयव  रूपक  अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -76 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
 When an object is described by various comparative objects such figure of speech is called Divisible Metaphor figure of speech.

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटक में  सावयव रूपक अलंकार   का उदाहरण
त्वै ‘सरी गुलाबी फूल’ , मेरी भग्यानी बौ
मैं ‘सरी  का भौंर ‘, मेरी भग्यानी बौ
xxx
तू ‘स्युणी को धागा’ ,मेरी भग्यानी बौ
यु ‘गुलाब को फूल’ , मेरी भग्यानी बौ


(*Reference- Dr Shiva Nand Nautiyal)

Copyright@ Bhishma Kukreti 10/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Savayav Rupak Alankar or Divisible Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  सावयव रूपक  अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  सावयव रूपक  अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में सावयव रूपक  अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में सावयव रूपक  अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  सावयव रूपक  अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  सावयव रूपक  अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  सावयव रूपक  अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   सावयव रूपक  अलंकार ;

Bhishma Kukreti

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 Atmaparak Rupak Alankar: Vehicle Designing Tenor type of Metaphor Figure of Speech in Garhwali Folk Drama

           गढवाली लोक नाटकों / लोक  नृत्य -गीतों में  आत्मपरक  रूपक  अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -77 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
 When the vehicle designs the tenor in a figure of speech, that figure of speech is called Atmaparak Rupak Alankar.

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटक में  आत्म परक  रूपक अलंकार   का उदाहरण
 १-सुपा लाइ दैण , तू मेरी धरती , मै तेरो गैण
 २-सुपा लाइ दैण
भगतु की  गीता छुमा छुयों की रामैण
३- बांज की सोंटी
गळा की घण्डुली छई तोड़ी ना दौंळि


(*Reference- Dr Shiva Nand Nautiyal)

Copyright@ Bhishma Kukreti 10/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Vehicle Designing Tenor type of Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Vehicle Designing Tenor type of Metaphor Figure of Speech  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Vehicle Designing Tenor type of Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  आत्मपरक  रूपक  अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक  अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक  अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में आत्मपरक  रूपक  अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक  अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक  अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक  अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  आत्मपरक  रूपक   अलंकार ;

Bhishma Kukreti

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Mala Rupak Alankar or Extended Metaphor Figure of Speech in Garhwali Folk Drama
 
         गढवाली लोक नाटकों / लोक  नृत्य -गीतों में  माला  रूपक  अलंकार

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -78 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)

 Extended metaphor takes a single subject and uses multiple metaphors to describe it.

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटक में  माला रूपक अलंकार   का उदाहरण
 

आऊं चा इथ दीटु त चाइंथी  दियेरी बाटी
तू चाईंथ बौंरा, अउं चाइंथी कुजेरी कली। 
 कुजेरी कली पोरु बी मरेको रिजी
  आऊं चाइंथी सुरीज तू चाईंथ गैण निजी। 
निजी नाईं अफ़ूणी बाई बरेशे पाणी
तू चाइंथी गुड को आऊं चाइंथी बिजली राणी

I am your earthen lamp; you are my wick .The wick takes life by burning others
You become my bee and I shall be bud. The bud dies by felling down
I shall be sun you be clean sky. But clean sky does not rain
You become bursting cloud I shall be queen electricity 




Copyright@ Bhishma Kukreti 12/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Mala Rupak Alankar or Extended Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Mala Rupak Alankar or Extended Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Mala Rupak Alankar or Extended Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Mala Rupak Alankar or Extended Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Mala Rupak Alankar or Extended Metaphor Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Mala Rupak Alankar or Extended Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Mala Rupak Alankar or Extended Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Mala Rupak Alankar or Extended Metaphor Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में माला रूपक  अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  माला रूपक   अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  माला रूपक   अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  माला रूपक   अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  माला रूपक   अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  माला रूपक   अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  माला रूपक   अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   माला रूपक   अलंकार

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   Vastu Utpreksha Alankar (Uncommon Supposition by Essence) in Garhwali Folk Dramas

        गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में  वस्तु उत्प्रेक्षा अलंकार   का उदाहरण

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -79 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
         Utpreksha is Arthalankar. Vastu Utpreksha (Uncommon Supposition by Essence) describes that the comparable thing evokes the compared thing rather than modeling it. 

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में  वस्तु  उत्प्रेक्षा अलंकार   का उदाहरण
१- मौज तू दिखेंदी ,  भग्यानी बौ
'’डांडू सी मुन्याली’' भग्यानी बौ
२-विरहा की रात सुवा , विरहा की रात
आँख्यों '’बटी आंसू झड़ी , लागै बरसात ‘'


Copyright@ Bhishma Kukreti 13/1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Vastu Utpreksha Alankar (Uncommon Supposition by Essence) Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Vastu Utpreksha Alankar (Uncommon Supposition by Essence) Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Vastu Utpreksha Alankar (Uncommon Supposition by Essence) Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Vastu Utpreksha Alankar (Uncommon Supposition by Essence) Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Vastu Utpreksha Alankar (Uncommon Supposition by Essence) Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Vastu Utpreksha Alankar (Uncommon Supposition by Essence) Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Vastu Utpreksha Alankar (Uncommon Supposition by Essence) Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Vastu Utpreksha Alankar (Uncommon Supposition by Essence) Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  वस्तु उत्प्रेक्षा अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  वस्तु उत्प्रेक्षा अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  वस्तु उत्प्रेक्षा अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में वस्तु उत्प्रेक्षा अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  वस्तु उत्प्रेक्षा अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में वस्तु उत्प्रेक्षा अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  वस्तु उत्प्रेक्षा अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  वस्तु उत्प्रेक्षा  अलंकार ;


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Hetu Utpreksha Alankar or Parable by Objective Figure of Speech in Garhwali Folk Drama 

      गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में  हेतुप्रेक्षा /हेतु  उत्प्रेक्षा अलंकार 
Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -80 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)

 In this figure of speech, the nonobjective is taken as objective.

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में  हेतुप्रेक्षा /हेतु उत्प्रेक्षा अलंकार   का उदाहरण
“हिलांदी नाथुली” ,
‘हुंगरा लगौन्द भग्यानी , नाकै  नाथुली’
मुल मुल हंसदी छोरी, “दै खतणि जनी”
 त्वै कन लल्याळो प्यारी , “जनो दूदो को बाळी “
“मुखड़ी को हास देखे , मणियों  परकास”


(Dr. Shiva Nand Nautiyal, Garhwal ke Loknritya- Geet)

Copyright@ Bhishma Kukreti 14 /1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Hetu Utpreksha Alankar or Parable by Objective Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Hetu Utpreksha Alankar or Parable by Objective Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Hetu Utpreksha Alankar or Parable by Objective Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Hetu Utpreksha Alankar or Parable by Objective Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Hetu Utpreksha Alankar or Parable by Objective Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Hetu Utpreksha Alankar or Parable by Objective Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Hetu Utpreksha Alankar or Parable by Objective Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Hetu Utpreksha Alankar or Parable by Objective Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में हेतुप्रेक्षा /हेतु उत्प्रेक्षा अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  हेतुप्रेक्षा /हेतु उत्प्रेक्षा  अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  हेतुप्रेक्षा /हेतु उत्प्रेक्षा  अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  हेतुप्रेक्षा /हेतु उत्प्रेक्षा  अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  हेतुप्रेक्षा /हेतु उत्प्रेक्षा  अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  हेतुप्रेक्षा /हेतु उत्प्रेक्षा  अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  हेतुप्रेक्षा /हेतु उत्प्रेक्षा  अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  हेतुप्रेक्षा /हेतु उत्प्रेक्षा   अलंकार ;

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Antyanupras or Consonance Alliteration Figure of Speech in Garhwali Folk Drama

               गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में अंत्यानुप्रास अलंकार 

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -86 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
                 When in nay poetry the consonant at the end of poetry line is repeated it is called Consonance Alliteration Figure of Speech. Following is an example of Consonance Alliteration Figure of Speech in Garhwali Drama

गढ़वाली  लोक नृत्य-गीतों , लोक नाटकों में अंत्यानुप्रास अलंकार का उदाहरण
 लाल बणी होलि ब्वै , काफळ की डाळी
लोग खांदा होला ब्वै , लूण राळि राळी
xxx   
तू होली बीरा ऊँची निसि डांड्यु माँ  , घस्यार्युं भेष माँ
खुद मा तेरी सड़क्यूं माँ मि रूणु छौं परदेस माँ
(Song by: Jeet Singh Negi)

Copyright@ Bhishma Kukreti 21 /1/2014

Review of Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter.

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Antyanupras  or Consonance Alliteration Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Antyanupras  or Consonance Alliteration Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Antyanupras  or Consonance Alliteration Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Antyanupras  or Consonance Alliteration Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Antyanupras  or Consonance Alliteration Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Antyanupras  or Consonance Alliteration Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Antyanupras  or Consonance Alliteration Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Antyanupras  or Consonance Alliteration Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  अंत्यानुप्रास अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  अंत्यानुप्रास अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  अंत्यानुप्रास अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  अंत्यानुप्रास अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  अंत्यानुप्रास अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  अंत्यानुप्रास अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  अंत्यानुप्रास अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में    अंत्यानुप्रास अलंकार ;

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Punaruktiprakash Alankar or Epistrophe Figure of Speech in Garhwali Drama

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में पुनरुक्तिप्रकाश अलंकार 

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -87 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)


                When a word is repeated at the identical time, it is Punarukti Prakash Alankar.  As in following folk song म word is repeated at identical time and place.
गढ़वाली  लोक नृत्य-गीतों , लोक नाटकों में पुनरुक्तिप्रकाश अलंकार का उदाहरण

माटो पड़े कमकम ढुंगा , पड्या दम दम
पाड़ मा मोटर चले थ-रा-रा पम पम


Copyright@ Bhishma Kukreti 26 /1/2014

Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Punaruktiprakash Alankar or Epistrophe Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Punaruktiprakash Alankar or Epistrophe Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Punaruktiprakash Alankar or Epistrophe Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Punaruktiprakash Alankar or Epistrophe Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Punaruktiprakash Alankar or Epistrophe Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Punaruktiprakash Alankar or Epistrophe Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Punaruktiprakash Alankar or Epistrophe Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Punaruktiprakash Alankar or Epistrophe Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  पुनरुक्तिप्रकाश अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  पुनरुक्तिप्रकाश अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  पुनरुक्तिप्रकाश अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  पुनरुक्तिप्रकाश अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  पुनरुक्तिप्रकाश अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  पुनरुक्तिप्रकाश अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  पुनरुक्तिप्रकाश अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   पुनरुक्तिप्रकाश अलंकार ;

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Vipsa, Veepsa Alankar or Reiteration, Succession Figure of Speech in Garhwali Drama

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में  वीप्सा अलंकार 

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -88 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
         W hen in any poetry or dialogues, the repetition is used for expressing the sudden emotions as shock, surprise, respect, hate, etc it is called Vipsa or reiteration figure of speech.
गढ़वाली  लोक नृत्य-गीतों , लोक नाटकों में  वीप्सा अलंकार का उदाहरण
 मैं क तैं पायूं  सोहाग हरचे
मैं क तैं माँगी भीख खतेगे
कनी मैं क तैं देव रूठे

(संदर्भ: डा शिवा नंद नौटियाल)


Copyright@ Bhishma Kukreti 29 /1/2014

Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  वीप्सा अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  वीप्सा अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  वीप्सा अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  वीप्सा अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  वीप्सा अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  वीप्सा अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  वीप्सा अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में वीप्सा   अलंकार ;

Bhishma Kukreti

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Manvikaran or Personification Figure of Speech in Garhwali Folk Drama

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में  मानवीकरण  अलंकार 

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -89 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
 Personification in drama or writing means attributing an inanimate or non living object human traits and qualities such as desires emotions, physical, sensations  etc
गढ़वाली  लोक नृत्य-गीतों , लोक नाटकों में  मानवीकरण अलंकार का उदाहरण

१- सुकली दांतड्यूं को भलो निकसाट बतौँदे
२- हुंगारा लगौन्द भग्यानी नाकै की नाथुली
(संदर्भ: डा शिवा नंद नौटियाल)



Copyright@ Bhishma Kukreti 30 /1/2014

Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Manvikaran or Personification Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में मानवीकरण अलंकार,  टिहरी गढ़वाल के गढवाली लोक नाटकों में  मानवीकरण अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  मानवीकरण अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  मानवीकरण अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  मानवीकरण अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  मानवीकरण अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  मानवीकरण अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में मानवीकरण   अलंकार ;


 

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