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Author Topic: Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटकों का विवरण  (Read 92247 times)

Bhishma Kukreti

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Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #160 on: April 10, 2013, 04:49:59 PM »
  सोळवीं सदी मा  गढ़वाळम   ढोल -दमौ  बजाण पर बबंडर -बखेड़ा
                        सांस्कृतिक विचार विमर्श पर एक लघु नाटक
     
                                              भीष्म कुकरेती



समय -सन 1582 , बैसाख
 जसपुर गां -कुकरेतीयूं मूल गाँव (मल्ला ढांगू), ऋषिकेश से बीसेक मील पूर्व मा अर कोटद्वार से पैंतीस-चालीस  मील पश्चिम मा   
बड़ेथ गां -जसपुर से एक मील दूर बड़थ्वालुं मूल गां
डाबर -जसपुर से आठ दस  मील दूर डबराल स्यूं  डबरालुं मूल गां
 नैथाणा -जसपुर से अठरा उनीस मील दूर नैथाण्यु मूल गां
  कठुड -कुकरेतीयुं बसयुं जसपुर से तीन मील दूर को गां   
[(अन्य गां -हथनूड़-कुठार (जसपुर से पांच छै मील दूर, बन्नी (जसपुर से द्वीएक मील दूर ), ढौंर -ढासी( कठुड़ से तीन मील दूर , जूड्ड - जसपुर से आठेक मील दूर डबरालस्यूं का गाँव )]
जसदेव कुकरेती (जसपुर को )- अछा त मेरी बेटी ब्यावक  सौब इंतजाम पूरो ह्वे ग्याइ कि ना?
पुरुषोत्तम कुकरेती (कठुड़ ) भैजि ! इंतजाम तो ठीक च पण मै लगद नैथाणा बिटेन आण वाळ उ क्या बुल्दन ढोल अर दमाऊ या नगाड़ा पर ल्वै-खतरी (खून का बहना ) को डौर च।  क्षेत्र का राजपूत अर आदि जाति ढोल-दमाऊ बजण त राइ दूर ढोल-दमाऊ तैं इना आण इ नि दीण चाणा छ्न।
जसदेव कुकरेती - भुला पुरुषोत्तम ! इकै काम एक दें। पैल ब्यावो इन्तजामौ ठीक से छाण निराळ , निरीक्षण आदि करि लीन्दवां   फिर ढोल अर दमाऊ या नगाड़ा की परेशानी से निबटणो बात होलि तैबर तलक  मनियारस्यूं बिटेन थपलियाल पंडी जि बि ऐ जाला। हां जी हथनुड़ -कुठारो थोकदार जी क्या इंतजाम ह्वे भै?
 हथनूड़-कुठार कु थोकदार- बामण जी ! तुमन द्वी  साल  पैल पौणु सीणो खातिर   मंदर बणाणो बोलि छौ त दस मंदर मादे सात मंदर  पौंछि गेन अर तीन मंदर आज भोळ पौंछि जाला।
जसदेव कुकरेती -अर खाणो बणाणो बान मृतिका पात्रों क्या हाल छन।
 हथनूड़-कुठार कु थोकदार- माटो भांड बि -- तीन मृतिका तौलि, पांचेक हिसर, दाळ पकाणो माटौ  बंठा, पाणि बान घौड़, माटौ पयळ (गहरी थाली ). कुछ कुल्हड़ सौब ऐ गेन। अर मृतिका पात्रों संट्वर मा हमन पत्थरूं पयळ बि पैडुळस्युं बिटेन मंगैन।       
 जसदेव कुकरेती -अर मृतिका  चासणि?
 हथनूड़-कुठार कु थोकदार- माटौ चासणी अर काठौ खरोऴया आर डाडू बि इख ऐ गेन। पण बामण जी पुरुषोत्तम बामण जी ठीकि बुलणा छन।  हमर जिनां का खस्या अर राजपूत जजमान बि तुमर बेटी ब्यौ मा नैथाणा की बरात मा  मुस्ल्टों बाजा क बातों से खफा छन। हमर क्षेत्र मा बि खून खराबा की बात होणि च। अब हम तैं तो तुमारो आदि पुरषोंक बासायुं च तो हम तो तुमर दगड़ छंवां पण बकै ....? 
 जसदेव कुकरेती- थोकदार! चिंता तो मी तैं बि च पण वेद  रीति च बल  बाड़ी  इकदड़ि नि खाए जांद। इकै गोळी करिक खाए जांद। पैल ब्यावो इन्तजामौ निस्तार करे जावो तो ! अछा ! भुला ! अम्बा दत्त ! इन कौर हथनूड़-कुठार कु थोकदार जी तै क्यार जिना को बौण दे दे।
 हथनूड़-कुठार कु थोकदार- जुगराज रयां बामण जी।
  जसदेव कुकरेती- अर पौणु ठैरणो क्या इंतजाम च भै  म्याथा, टटरि का जजमानो? 
 म्याथा क जजमान - बामण जी ! हम टटरि , म्याथा अर खरीक का लोगुंन नया नया पल्ल बणैक  तुमारि चौड़ी खांडीम सारि   आलीन।
  जसदेव कुकरेती- बढ़िया! भुला रघुबर दत्त तू टटरि , म्याथा अर खरीक को हिसाब रखदी तो हिसाब से कुछ जंगळ द्वी चार सालों कुण  यूं लोगुं तैं दे दी।
रघुबर दत्त कुकरेती (जसपुर )   - जी भैजि।
  जसदेव कुकरेती- हां त बन्नी का नेगी जी तुम ब्वालो! पता च ना कि बरात इख पांच दिन ठैरलि अर खांण पीणो इंतजाम पूरो हूण  चयेंद। समदी पुरिया नैथाणी जीक कुटुंब क छन। 
बन्नी का नेगी  - जी हम बन्नी -खेंडुडि वाळुन  तैडू, कणमणो लीसो, जंगली पिंडाळु जलड़, माळु टांटी आदि सब जमा करिक चौड़ी खांडीम धौर आल। अर बरात ठैरणो दिनों मा रोज बसिंगो टीपिक बि लै औंला। पण ढोल पर ऐतराज हमर जिना बि होणु च।
 जसदेव कुकरेती- भलो भलो !  शीस राम देखि लि बन्नी खेंडुडि वाळु  कुण बी कुछ जगा द्वी  सालो कुण दे दी
 शीस राम कुकरेती (जसपुर ) -जी भैजि
जसदेव कुकरेती- पुरुषोत्तम ! उ कमळ पौंछि गेन कि ना?
पुरुषोत्तम कुकरेती - हाँ भैजि ! फूल चट्टी , माळा  बिजनी वाळु तैं द्वी जंगळ पांच सालौ बान करणों देंन तो ऊन एक नाव बणाइ अर गंगा पार  (टिहरी गढवाल ) वाळुन  नाव को एवज मा कम्बल देन।
जसदेव कुकरेती- बकै पूरी बान ग्युं आटु अर द्वी जीमणो बान चौंळु प्रबंध हुयुं इ च। दाळ अर खीरा अपण खेतों  का छें च। ढाकर से अर मर्छ्यों से लूण गुड, तेल अर कर्मकान्डो समान क प्रबंध ह्वेइ गे। पाणि आदि बान छ्वटि बड़ी काठौ परोठी बि छें छन।
 रघुबर दत्त कुकरेती- जी भैजि।
जसदेव कुकरेती- ये ल्यावो मनियारस्युं बिटेन पंडित थपलियाल जी बि पौंछि गेन। ऊंकुण पल्ल अर खटला मा दिसाणो प्रबंध त छें इ च ! आवो पंडी जी प्रणाम।
थपलियाल पंडी जी-ये जी क्या करणा छाँ ? मि त रिश्ता मा तुमर भणजो लगद। मेरि ब्वै बरसुडी कुकरेतण जि ह्वे।
अम्बा दत्त -पण अबा दें तुम हमर काम मा पंडिताई करणों अयाँ छंवां।
जसदेव कुकरेती- ये ल्यावो डाबर बिटेन पंडित सदा नन्द जी बि पौंछि गेन।
पंडित सदानंद डबराल - प्रणाम।
सबि कुकरेती भै -प्रणाम! अब क्या करां तुमर बैणि हमर भायुंम अर हमर बैणि तुमर भायोंम। रिश्ता लगौवां तों क्या लगौवां।
जसदेव कुकरेती - हां पुरुषोत्तम अब बोल नैथाणा की  बरातम   ढोल बजण  से खून खराबा किलै अंदेशा च?
पुरुषोत्तम कुकरेती -अब यो तो सब्युं तैं पता ह्वे गे कि तुमर बेटीक ब्यौ नैथाण़ा क पुरिया नैथाणी जीक क नाति दगड होणु च अर सरा क्षेत्र का राजपूत जाति जन कि ढौंर -ढाशि का बिष्ट अर सबि नेगी लोग अर सरा क्षेत्र का शिल्पकार  गर्व महसूस करणा छन बल पुरिया नैथाणी का कुटुंबम हमारी अडगैं (क्षेत्र )की बेटी जाणि च।
रघुबर दत्त कुकरेती (जसपुर ) - हां इख तलक कि डबराल स्यूं का डबराल लोग बि  खुस छन। उना का बिष्ट बि खुस  छन। इख तलक कि उदयपुर पट्टी का  रिगड्वाळु  ( रिषी अड्डा वाळ ) बि रैबार ऐ छौ कि या बड़ी गर्व की बात च कि ढांगू वाळु  रिश्ता पुरिया नैथाणि नाती दगड़ होणु च।
पंडित सदानंद डबराल -हां ! कुकरेती या डबरालुं रिश्ता नैथाण्यूं दगड़ तों होंदी रौंद पण जो मनिख शिरीनगर राजा को राजदूत बौणि मुग़ल दरबारम गे ह्वावो अर हरद्वार को  जजिया डांड (कर ) ख़तम करै ऐ ह्वावो। इन सिरमौरी मनिखौ नाति अडगैं को  जंवै ह्वावो तो सरा क्षेत्र वास्युं तैं गर्व होण लाजमी बात च।
पुरुषोत्तम कुकरेती  (कठुड़ ) - डबराल जीजा जी! बात नैथाण्यु क नी च बात च बल नैथाणी लोग ब्यौ मा मुसल्टों (मुसलमानुं) बाजा बजैक आला। अर यां से सरा अडगैं मा कम जाति बामणु . राजपूत , नेगी अर शिल्पकारोंम भंयकर रोष फैल्युं च। कथगा इ ढांगू का नेगी तो ब्यौ म उपद्रव कौरिक कुकरेत्यूं जगा छोडि  उदयपुर या डबराळस्यूं जाणो तैयार छ्न. बिष्ट लोग बि खुंकरी, तलवार का  बल पर बरात मा मुसल्टों  बाजा नि बजण द्याला।
अम्बादत्त कुकरेती (जसपुर)- हां भैजि लोग ढोल-दमाऊ बजाण पर विद्रोह करणो उतारु छन। बल मुसल्टों बाजा हमारो  सनातन धर्म  तैं ख़तम करणों जरिया च। इ लोग बुलणा छन बल गढ़वाली राजान कुकरेती इलै बसै छ कि इना सनातन धर्म बच्युं रालु अर अब कुकरेती ही सनातन धर्म पर ढोल दमाऊं तैं  परिश्रय देकि खचांग  लगाणा छन।
थपलियाल पंडी जी (मनियार स्यूं )-यी बचन असल मा कैक  छन ? किलैकि जब नैथाणा का नैथाणी   पुरिया नैथाणी जीक बड़ो नाति क ब्यौ मा असवाळस्युं ढोल दमाऊ लेक गे छया तो सनातन धर्म पर ढोल दमाऊं तैं  परिश्रय देकि खचांग लगाणै बात चलि छे।
 रघुबर दत्त कुकरेती (जसपुर )- जी वो बड़ेथ का बड़थ्वाळ सरा ढांगू क्या डबराळस्युं मा जै जैक लोगुं तैं ढोल दमाउ आण पर सनातन धरम खतम हूणों  बात करीक लोगुं तैं भडकाणा छन।
 पंडित सदानंद डबराल -हां! कुमना नन्द जी हमर गां डाबर अर स्यंळ कठुड़ बि ऐ छा इख तलक कि जूड्ड ( डबराल स्यूं ) का बिष्टो म बि गेन कि यी बिष्ट लोग ढांगू का बिष्टो अर नेग्युं तै कठा करिक ब्यौम बिघन डाळन अर सनातन धरम  बचावन।
जसदेव कुकरेती - अरे भै बड़ेथ वाळ अबि बि हम से नाराज छन।
थपलियाल पंडी जी - किलै?
 शीस  राम कुकरेती (जसपुर )- हमर चचेरा  भैजि बृषभ  जी बड़ेथ वाळु बेटी बीच गोर मांगन स्युं गोरुं भगैक जि लै छया।
 थपलियाल पंडी जी (मनियार स्यूं )- पण यीं बात तै कथगा साल ह्वे गेन अब तो बृषभ  जीक वीं नौनी से द्वी बच्चा बि ह्वे गेन। बृषभ जी  कख छन?
शीस राम कुकरेती - अबि तलक बड़ेथ का बड़थ्वाळ ईं बात नि बिसरि सकणा छन। बृषभ   भैजि शिरीनगर राजमहल म  कर जमा करणा जयां छन। ब्यौ से पैलि पोंछि जाला .
जसदेव कुकरेती - ये अम्बा ! यी बड़ेथ वाळ यीं बात से बि चिरड्या छन कि हम ऊं तैं कै बि कीमत पर खंड अर गडमोळा क बौण नि दीणा छंवां। वो बड़ेथ वाळ सदा नन्द डबराल जी अर थपलियाल पंडी जी बात तैं ना नि करि र सकदन। आज कुमना नन्द जी बड़थ्वाल आणा छन कि ना ?
  पुरुषोत्तम कुकरेती  (कठुड़ ) - हाँ आज ! थ्वडा देरम जुड्ड , ढौंर , ढासी , धारी का बिष्ट अर ख़ास ख़ास नेगी अर शिल्पकार सबि आण वाळ छन।
जसदेव कुकरेती - अछा अछा ! खाण पीणो , रात रौणो  प्रबंध ..
शीस  राम कुकरेती - हाँ जौ पिस्यां छन, झंग्वर कुट्या छन। कुछ जजमान अयेडि खिलणा जयां छन , द्वी एक बुगठ्या बि मारि द्योला। रौणो पल्ल छन अर सबि अपुण दगड़ अपण कमुळ लांदा इ छन।
जसदेव कुकरेती - द्याखो! यूं सब्युं तै ढोल दमाऊ पर ऐतराज तो होलु ही  पण असल मा यी लोग ढोल दमौ क अलावा कुछ हौरि मांग का वास्ता बि लड़ना छन।
अम्बा दत्त - जन कि ?
जसदेव कुकरेती - जन कि  ढौंर , ढासी , धारी का बिष्टों तैं कुछ हौर जंगळ चयाणा छन। बड़ेथ का बडथ्वाळु  तैं   गडम्वळ को बौण चयाणु च। इनि जूड्ड वाळु रिस्तेदारी ढौंर , ढासी , धारी   च तो वो ढौंर , ढासी , धारी वाळु तरफदारी करणा छन।
थपलियाल पंडी जी -  हां या बात  सै च कि लोग बगैर ढोल दमाऊ अवाज सुण्या  ढोल दमाऊ का विरोध करदन अर उना हमारि अडगै मा याने मनियार स्युं , असवालस्यूं , कपोंळस्यूं मा कति ब्यौउं मा  ल्वैखतरी (खून खराबा ) बि ह्वेन. कुछ जगा तो बरात्यु मौणि इ काटे गे छा। एक जगा तो नयार नदी  को पाणि मनिखों ल्वै से लाल तक ह्वे।  पण जादा जगा इ दिखे गे कि राजपूत ,  लोगुन थोकदारों से जंगलात मांगिक शान्ति हूण दे अर  ढोल दमाऊ बजाण दे।
जसदेव - तो ठीक च। चूँकि हम नैथाण्यु ढोल दमाउ बजाणो इच्छा तै नि रोकि सकदां। जौंक खानदान राजा का राजदूत ह्वावन ऊंक दगड़ रिश्तेदारी हूण बड़ी बात च। तो ढोल दमाऊ बजल अर यांक एवज मा ठाकुरों अर जजमानो तैं कुछ जंगळ दिये बि जावन तो क्वी बड़ी बात नी च . हां ! हे रघुबर , अम्बा अर शीस राम एक  बात ध्यान रखां कि जौं जंगळ तैं हम यूं तैं द्यूँला उख पर इ लोग कै बि हिसाब से कबि बि पुंगड़ नि खोदि सकदन।
सबि -जी भैजि           
पुरुषोत्तम कुकरेती  (कठुड़ ) -या ल्याओ  ढौंर , ढासी , धारी का बिष्ट बि सि ऐ गेन
अम्बा दत्त कुकरेती - अरे वाह क्या बात च जूड्ड का बिष्ट बि ऐ गेन।
बिष्ट - पाय लागुं पंडित लोगुं
सबि बामण - विजयी भव।
 हथनूड़-कुठार कु थोकदार- ल्या सि ख़ास ख़ास जगा का नेगी लोग अर शिल्पकार बि सि  ऐ गेन
नेगी लोग -सबि बामणु तै पाय लागुं
बामण -विजयी भव
एक नेगी - ल्या सि शिल्पकारों जनता बि ऐ  गेन
सबि शिल्पकार - समनैन ठाकुरों
सबि बामण अर राजपूत  -दीर्घायु रावो . नागराजा तुमारो सरैल स्वस्थ राखो।
एक जसपुर को शिल्पकार -अरे  सि द्याखदि ! कुज्याण कथगा सालोंम बड़ेथ का बडथ्वाळ जसपुरम दिख्याणा छन। निथर हम तैं इ दाथि , हुक्का , नाड़ो निसुड़ लेक बड़ेथ जाण पड़दो छौ।
तीन बड़थ्वाळ -डबराल जी, थपलियाल जी प्रणाम।
सदानंद डबराल , थपलियाल - मिंतर लोगो !  (जीजा , जेठू , साले ) नमस्कार, चिरंजीव
जसदेव कुकरेती -  बड़थ्वाळ लोगो ! डबराल जी अर थपलियाल जीक दगड़ बैठो। भुला को ससुरासी छंवा तो हम सब तुम तैं प्रणाम करदां।
कुमना नन्द बडथ्वाल - हम तुमारो प्रणाम लीणो नि अयां छंवां। वो तो डबराल जी अर थपलियाल जीक रैबार ऐ छौ तो हम इख ..
थपलियाल जी - मिन्तर लोगो भै मि ह्वाइ नैथाण्यु बामण अर इख कुकरेत्यूं बि बामण तो मीन जब सूण बल तुम ये ब्यौ मा बिघन बाधा करण वाळ छंवा तो ...
सबि बड़थ्वाल - अजी जु बरातम मुसल्टों गाजा बाजा ढोल -दमाऊ आई तो बरात बड़ेथखाळ   से उण्ड क्या आलि? बरात्युं तैं सिल्ल पाखौ  भेळ जोग नि कार तो हमर जात बड़थ्वाल नी।
कुछ नेगी , शिल्पकार - हा या मा हम बड़थ्वाळु  दगड़ छंवां। मुसल्टों रीति रिवाज हमर क्षेत्र मा हम  बरदास्त नि कौर सकदां। ब्रह्म हत्या को पाप लगल तो लगी जैन पण हमन ढोल -दमाऊ अपण सारि माँ नि बजण दीण                 
  ढौंर कु बिष्ट - जी हां जसदेव जी ! जब आपका पुरखा इख राजान बसै छया तो खस्याओं से बचाणो बान हम बिष्टो तै बि भेजि छौ। अर राजान हम अर तुम तैं आदेस दे छौ कि ढांगू मा सनातन धर्म अर पंवार बंश की रक्षा ही हम द्वी जात्युं धरम -करम  रालो।
एक नेगी- अर हम नेग्युं  कुण जागदो बद्रीनाथ (राजा ) की आज्ञा छे कि हम नेगी लोग तुमारी सेवा करणा रौंला कि सनातन धर्म बच्युं रावो।
थपलियाल -  तुम मादे कैन ढोल -दमाऊ की आवाज सुणि च?
सबि - न्है जी। यीं अडगैंम पैलि दें ढोल दमाऊं आला?
थपलियाल -  तो फिर इथ्गा मार कटाई की बात किलै?
ढासिक  बिष्ट - पंडी जी मुसल्टों रीती रिवाज अपनाण से सनातन धरम खतम नि होलु?
डबराल - बिष्ट जी आप पर यु अंगरखा अर रेबदार सुलार बडो बिराज दीणु च।
ढासी क बिष्ट - जी वू क्या च म्यार रिश्तेदार छन हरिद्वार जिना का  ऊंन अंगरखा अर रेबदार सुलार  भेंट मा दे।
डबराल - पता च यु पैनावा सफाचट मुसलमानों को च।
ढासिक बिष्ट - पता नी च पण अब तो अंगरखा अर रेबदार सुलार पैरणो   रिवाज च।
थपलियाल - पण अंगरखा अर रेबदार सुलार बि त मुसल्टा रिवाज ही त छौउ
बिष्ट - पण जब बोल्दां बद्रीनाथन अंगरखा अर रेबदार सुलार पैरण शुरू कार तो हम जनता तै अपनाण इ चयेंद।
थपलियाल - अर ढोल दमाऊ बजणै  शुरुवात बि शिरी नगर को राजमहल अर राज मन्दिर बिटेन ही ह्वे भै।
एक नेगी - न्है न्है . हमन सूण बल ढोल गोरुं खाल से बणद
डबराल - अर  डौंरू बि त खलड़ से बणद।
बिष्ट - बखरौ खलड़
जसदेव -ह्यां पण मि अपण बेटी ब्यौ मा ढोल दमौ बजाणो डंड भरणो तैयार छौं।
सबि - क्या क्या डंड?
जसदेव - द्याखो ढौंर , ढासी , धारी का लोगुं मांग छे कि ऊंक गांवक तौळो जंगळ दिए जावो। उनि कौंदा वळ तै तौळ गदन चयाणु छौ। फिर गूम घंडालु का नेग्युं तैं बि कुछ बौण चयेणा छा। मि जगळ दीणो तयार छौं पण कै तैं बि पुंगड़ खोदणो इजाजत नि होलि।
परमा नन्द बड़थ्वाल - तुम कथगा बि लोभ द्यायो पण बरात तो  हमारी सारि  ह्वेकि इ आलि अर हमन ढोल दमाऊ अपण सारि मा नि आणि दीण।
अम्बादात -परमा नन्द जी ! मेरी दिली इच्छा छ कि तुम मेरो समदी बौणि जावो। मेरि बेटी अन्गीकार  कारो अर मि दहेज मा दूर तलक का खंड अर गडमोळा  सारि तुम तै अबी दे दींदा।
थपलियाल - मेरी समज मा यां से बड़ो डंड कैन नि भौर ह्वालो। जावो थ्वड़ा देर आपस मा विचार विमर्श करिक आवो।
(सबि अलग अलग जुंटा (झुंड ) मा जांदन अर फिर सूब आंदन )
परमा नन्द बडथ्वाल - डंड तो स्वीकार च पण ढोल -दमाऊ की आवाज सुणिक ही हम सुनिश्चित करला कि क्षेत्र मा ढोल दमाऊ बजण चयेंद कि ना।
थपलियाल - यांकी जमानत मी दींदो कि ढोल दमाऊ की आवाज से सरा गाँव नि नाचल  तो मेरो नाम स्वयम्बर दत्त थपलियाल नी च।
जसदेव  कुकरेती- अच्छा सूणो नयार तक बरात को जिमा त नैथाण्यु की च। फिर नयार नदी  पार करणों बाद बरात की जुमेदारी हम लोगुं च। एक रात बरात ठांगर   ठैरलि। तो सब लोग अपण अपण जुमेदारी ल्याओ कि नयार नदीक किनारा मरोड़ा से ठांगर अर फिर ठांगर से सिलोगी डांडो अर सिलोगी से जसपुर तलक बरात को साथ कु कु राला। ढोल दमाऊ का विरोध नि होण चयेंद। मनियार स्यूं का लोगु बीच ढांगू वाळु  नाक नि  कटण चयेंद।
साबि - ठीक च हम सौब अपण काम बांटी लींदा। थपलियाल जी ! जु  जरा बि  ढोल दमाऊ की आवाज बेकार होलि तो हम ब्रह्म हत्या करणों तयार छैं इ छंवा।

थपलियाल - मी बेटी सौं घटिक बोल्दु।
एक बिष्ट - मेरि राय च कि बरात की रक्षा वास्ता दगड़म खुंकरी , तलवार बि रखण जरूरी च
डबराल -  हां बात सै च कुछ लोगुम वै बगत तलवार अर खुकरी रखण मुनासिब च
वी बिष्ट - तो ठीक च नायर नदी छल से इख तलक नैथाण्यु  बरात का दगड़ हम बीस पचीस लोग खुंकरी अर तलवार लेकि चलला   
जसदेव -भलो भलो . अच्छा तो  पांच गति बरात  ठांगर पौंछलि अर छै गति जसपुर ..
सबि -ठीक च
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छै गति स्याम दें जसपुरम --
जसदेव - अरे सि ग्वील बि अछलेण बिसे गे पण बरात को अता पता नी च। कुज्याण ढोल दमाऊ को कारण से क्वी अणभरवस, क्वी अपजस  तो नि ह्वे गे। हे ग्विल्ल ! हे नागराजा सब काम ठीक ह्वे जैन। जु सब काम सुफल हवे जावो तो मि पंच पंच बुगठ्या चढौल।
बृषभ कुकरेती - भैजि मीन तुमकुण बोलि बि छौ कि मरोड़ा न्यार नदिक छाल  से बरात की रक्षा मि करुल।
जसदेव कुकरेती - भुला बृषभ ! यो क्वी जंगळ रक्षा के लडै नी च। सामाजिक अर सांस्कृतिक बदलाव को बगत समाज मा उथल पुथल होंदी ही च अर इन मा विरोध्यु तै ही रक्षा की जुमेवारी दीण न्यायसंगत अर तर्क संगत होंद।
थपलियाल - जसदेव जी ऊ तुमारो हलकारो याने दूत को नाम क्या च छमण जी वो बि त नी ऐन जब कि छमण जी तै आदेस छौ कि कुछ इना उना ह्वावो तो तैं तैं सूचना भेजी द्यावो।
जसदेव - वांकि त फिकर हुंई च कि अबि तलक छमण काक सूचना लेकि नि आई कि बरात को क्या हाल च।
पुरुषोत्तम - ल्या स्यु छमण काका  बि दौड़ दौड़िक आणो च अर सि रिख्वा दाक मुख पर खून ही खून ?
जसदेव - हे ग्विल्ल ! हे नागराजा !
जसदेव - क्या ये छमण काका तीन त दुफरा मा सूचना लेक आण छौ अर सि रिख्वा डा को मुख पर ....?
छमण- ह्यां दुफरा तलक तो
जसदेव - अरे बरात नि आई ?
  छमण- बरात तो आज नि ऐ सकदी
जसदेव- कनों कुछ अणभरवस ?
 छमण- नै नै इन कुछ नी च।
थपलियाल - हैं ?
छमण- हां जी उख ठांगरम  ब्याळि  घाम अछल्याण म जु ढोल दमाऊ बजण शुरू ह्वाइ तो सरा इना उना का गावों से लोग उज्यळ बाळिक ठांगर ऐन अर सरा रात ढोल  दमौ का ताल पर नाचणा रैन.
जसदेव - ह्या पण बरातन त आज दिन मा पौंछण छौ ?
छमण- हाँ पण ब्यौ तो नितरस्यूं च। उख क्या ह्वावि कि सरा क्षेत्र का लोगुंन नैथाण्यु से मिन्नत कार बल आज दिन अर रात  ढोल दमाऊ बजण चएंदन अर सब्युं इच्छा नाचणौ च। नैथाणी लोगुंन बात  मानि तो बरात अब भोळ ही आलि। रात सबि लोग ढोल दमाऊ क ताल  पर नाचल।
जसदेव- हे परमेश्वर ! इ सौब त्यार  आशीर्वाद च कि ढोल दमाऊ बजण  पर मेरि बेटि ब्यौ मा क्वी खून खराबा नि ह्वे। अर तै रिख्वा क मुख पर खून ?
  छमण- ओ रिख्वा तैं अतड्या लग तो मुख ही छिले गे
जस्द्देव - हे भगवान सब ठीकि हूणु च। अरे जरा बन्नी का संग्राम नेगी तै ब्वालो कि आज खुसि मा रात भर डौंर थाळि बजाण  भोळ बिटेन तो ढोल दमाऊ बजल।                                             
                                 
      (इस लेख या नाटक में पात्र , समय ,स्थान,  जातिया सभी काल्पनिक हैं )             
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Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #161 on: May 03, 2013, 05:43:10 PM »
  Pani Ki Gani:  Modern Garhwali play/Drama about Water Conservation or Water Harvesting

                                        Bhishma Kukreti
             All overworld, in every region there is a discussion about problems of water shortage. The future is very dark as far as water availability for all is concerned. One of the main reasons for water shortage is that people are leaving the traditional system of water harvesting or water conservation.
         There were traditional water conservation or water harvesting system through Kul in Himachal Pradesh and Uttarakhand; water protection or water harvesting through Naula, water conservation or water harvesting Khatri in many hill provinces, water upkeep or water harvesting through 'khul' in Himachal and Uttarakhand; water conservation or water harvesting through Zabo in Nagaland; water management or water harvesting through Cheo Ozihi in Nagaland; Virdas, katas, Korambus, and Jackwalls are other water maintenance or water harvesting systems of Indian rural regions. In Garhwal and Kumaon, making big ditches on hill Plato that is building Khal or chahel was a common traditional system of water preservation or water harvesting.
   One of the prolific Garhwali theatre activists and drama writers Gajendra Nautiyal smartly, and marvelously discusses the prevailing condition of water shortage in villages, towns, cities, and big cities. Through this wonderful awareness play, Gajendra takes the audience to the United Nations Conference on Water Conservation, New York too. Gajendra is successful in creating a desire to conserve water for the next dry season and for next-generation too.
 The drama does not have any single story but honestly and cleverly Nautiyal creates such scenes that the audience is attracted to watch the drama from beginning to the end. The stage play writer took the help of Sutradhars to connect the scenes of different regions and places very elegantly.
 The dialogues of drama for awareness of water protection are simple and easily connect to the audience. Yes of course, there are dialects of Tehri Garhwal but Salanis (South Pauri Garhwal) would also understand those Tehri dialogues in the drama.
The drama style is satirical and humorous the audience digests the serious subject.
 The Playwright used traditional songs and cultural practices related to understanding the importance of water management to start the drama and is a marvelous example of connecting the play with the audience immediately-
               प्रथम  दृश्य
[वाद्य यंत्रों की धुन के साथ मंच पर तीन चार क्लालाकर आते हैं। गीत की धुन पर ब्योली और सहेली धारा पूजते हैं ]
कोर्स गीत - ब्योली हे ब्योली तेरि खुटी पड़ी गौं मा
              ब्योली हे  ब्योली, ब्योली हे  ब्योली
              पैलो काम त्वेकू, ब्योली हे  ब्योली
              पाणी भरिल्ये -ब्योली हे  ब्योली
               ब्योली हे  ब्योली, ब्योली हे  ब्योली
               पाणी की धारा , पैली पुजीले। ब्योली हे  ब्योली
              पैली पुजीले

  This drama was staged in fifty-eight villages of Devprayag Garhwal region and became so much effective that people of the region built thirty-six Khali or Chehel.
Pani Ki Gani is one of the Garhwali marvelous dramas of this century for public awareness.
Definitely, the playwright Gajendra is a modern hero for creating much-needed awareness for water preservation.
Copyright @ Bhishm Kukreti 3/5/2013
Review on Popular Garhwali Drama, Kumauni Plays, Uttarakhandi Stage Plays, and Himalayan Dramas to be continued

   Let us celebrate of hundred years of Modern Garhwali Theatre! 

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Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #162 on: May 04, 2013, 08:05:59 PM »
‘Yan kya Hwe’: Environmental Stage Play representing Ecological theatre

             All overthe world, sensitive thinkers are concerned about the environment, forest protection, water conservation, and soil conservation for saving the future human beings. Forest protection, water conservation, soil maintenance, and the survival of human beings are interrelated. The writers and social activists are finding media for creating awareness for forest safety, water preservation, and soil conservation as sources of survival of human beings. Staging plays related to environment and ecology in regional or people’s languages is one of the strong media to create awareness among people for environment protection.  For example, stage plays such as Giants in the Wilderness by Thomas Fraser; Forest Hideout by M.L. Coffman, and The trees and the Village by R.L. Fraser are good examples of plays creating awareness for the environment.
                Gajendra Nautiyal is a Garhwali language poet and social activist. Gajendra wrote a Garhwali stage play ‘‘Yan kya Hwe’ that discusses sensitively the issues of soil conservation, water management, forest protection, and the role of present societies to protect the environment for human survival.
             The Garhwali stage play ‘Yan kya Hwe’ was played at in 334 villages in Tehri and Uttarkashi districts.  The stage play ‘Yan kya Hwe’ created greater awareness among villagers of 334 villages for environment and ecology conservation.
      The stage play ‘Yan kya Hwe’ started with songs as
हरीं भरीं डांडी कांठी . चमलन्दि ह्युं हिंवाळि 
मुखडियों कु रंग उड्यु छ , हरचिणी छ मनख्याळि   
खरड़ा ह्वै ग्यन डांडा , गदन्यों कू पाणी कगै
हे दिदौ यनु क्य ह्वै, हे चुचौ यनु क्य ह्वै 
         The stage play ‘Yan kya Hwe’ also discusses the problems of migration and the effects of migration on the village life of Garhwal hills. 
       The dialogue of the drama re simple and easily conveys the message. The dialogues and story link create interest for the audience.
   Environmentalists will always appreciate the Garhwali playwright Gajendra Nautiyal for his concern for soil, water, and forest conservation necessary for humankind.
               The works of Gajendra Nautiyal will always be appreciated by eco dramatists such as  Emily Reid (director); Paula McCann (educationist); Alistair Edwards (performer); Eilidh MacAskill (performer); Caroline Mathison (performer);  Jode Wilkinson (Workshop leader); Kevin  Wratten (Workshop leader) of eco drama company the Unite Kingdom are appreciated. As critics admire very much the efforts of playwrights Bailey Williams (10 billion baby); Barbara Kingsley (Living in the blue Zone); Sarah Haught (collapse); Michael Anderson (Mr. Sasquatch goes to Washington) for their writing sustainable future oriented dramas , same way critics and social activists as Lokesh Navani appreciates the efforts of Gajendra Nautiyal  for his stage plays on environment .
 
Copyright @ Bhishm Kukreti 4/5/2013
Review on Popular Garhwali Drama, Kumauni Plays, Uttarakhandi Stage Plays, and Himalayan Dramas to be continued

   Let us celebrate of hundred years of Modern Garhwali Theatre! 

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Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #163 on: May 05, 2013, 12:47:21 PM »
Ghunghyat : A Garhwali Stage Play for spreading HIV Awareness

                                        Review by: Bhishm Kukreti
                 
HIV/AIDS should be avoided at all costs. Societies and governments are busy spreading HIV awareness among people. The dram/stage play/radio plays are one of the effective media for spreading HIV awareness.
‘Who Me?HIV/AIDS”  stage play written by Terry Fluker is a very good example of raising HIV awareness about testing and taking HIV treatments.
The stage play ‘Secret’ stresses HIV awareness to teens.
The stage play ‘Hanya Nani 3’ written by Tafadzwa Mozondo was staged in Harare in 2012 and was quite capable to create HIV awareness.
There was the performance of a stage play ‘Another Chance’ by New Life Support Services in Columbia Sc in 2012 that play created HIV awareness in the area.
 There is a project of UNESCO-CCIVS Africa that inspires people to do theatre for HIV awareness.
There has been regular news that the United States supports HIV awareness with Radio drama series. 
The Chinese government and societies are taking the help of theatre for HIV awareness as staged a play in Beijing in 2004.
South African people taking help of stage plays or dramas for HIV awareness.
It is a fact that in Nepal, Street theatre helps spread HIV awareness.
Kenyan TVs are effectively spreading HIV awareness through TV dramas. Shuga is an award-winning drama for spreading HIV awareness in Kenya (2010).
 In Malawi, social activists are taking the help of dramas for spreading HIV awareness in Malawi.
          Ghunghyat: A Garhwali Stage Play for spreading HIV Awareness
              Garhwali poet Gajendra Nautiyal is a social activist and dramatist too. Nautiyal wrote and staged a very sensitive play in 1997 that focuses on HIV awareness. The play is inspirational and talks about the reasons behind HIV disease. The play also talks about necessary treatments after HIV.
हाँ नियम संयम मा पति अर पत्नी व्रता धर्म धारण कर्यां। डाक्टरोंम इंजेक्सन उबाळि  लगायां। .....ढंग से खून चढ़ायाँ  ......खबरदार खबरदार   
 The dialogues are very simple meant for rural areas and easily digestible.
Gajendra is successful in creating a Garhwali drama that is helpful in creating HIV awareness.
Copyright @ Bhishm Kukreti 5/5/2013
Review on Popular Garhwali Drama, Kumauni Plays, Uttarakhandi Stage Plays, and Himalayan Dramas to be continued

   Let us celebrate of hundred years of Modern Garhwali Theatre! 
 
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« Reply #164 on: May 06, 2013, 04:57:44 PM »
Fund Fukka: A Garhwali Radio Drama/Play depicting Distress of Rural to Urban Migration 

                                        Review by: Bhishma Kukreti
            There are many reasons for rural to urban migration. The various reasons are discussed in various languages of modern literature, especially in stage plays/dramas/theatres.  The basic reasons are urban and rural divides. There is no employment guarantee in villages and urban cities provide employment opportunities.
 There are poor services as health, education, and standard of living in rural areas while these services are better in urban areas.
   If rural to urban migration brings betterment it also brings various types of distress too. The Garhwali radio drama ‘Fund Fukka’ by a poet and social activist Gajendra Nautiyal discusses these subjects and is able to show the reasons for rural migration and problems arising at both ends –in villages and cities as well.
 The dram is successful due to its dialogues and choosing the characters. The playwright also uses songs to speed up the interest of the audience.
 The dram was the first broadcast by Akashvani in 1997. Thereafter, the play is broadcasted more than ten times.
Copyright @ Bhishm Kukreti 6/5/2013

   Let us celebrate of hundred years of Modern Garhwali Theatre! 
Critical Review of  Radio drama about Distress by rural to urban Migration; Garhwali Radio drama about Distress by Rural to Urban Migration; Uttarakhandi Radio drama about Distress by Rural to Urban Migration; Mid Himalayan language Radio drama about Distress by Rural to Urban Migration; Himalayan language Radio drama about Distress by Rural to Urban Migration; North Indian regional language Radio drama about Distress by Rural to Urban Migration; Indian regional language Radio drama about Distress by Rural to Urban Migration; South Asian regional language Radio drama about Distress by Rural to Urban Migration; Oriental regional language Radio drama about Distress by Rural to Urban Migration;
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Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #165 on: May 07, 2013, 03:33:33 PM »
Ardh Nareshwar’: Satirically a Garhwali Drama Reviewing and Criticizing failures of Panchayat Raj 

                                        Review by: Bhishma Kukreti
                   Panchayat raj means the decentralization of power. The aim of Panchayat Raj was implementation schemes for the agriculture development, establishing and aiming at primary health care and primary education, supply of potable water, construction /repair of roads; development of cottage industries. 
 However, there are many lacunas in Panchayat Raj. Ardh Nareshwar’ a Garhwali drama written by Gajendra shows many lacunas in establishing real Panchayat Raj, especially in Rural Garhwal. The selfish leadership in Panchayat is spoiling all the marvelous aims of Panchayat Raj.
हाँ देख्यालि तुमन , आप जनता जनार्दन का खातिर बण्यी व्यवस्था पर कना -कना प्रपंच छिन होणा।खबरदार पंचैत व्यवस्था तुम्हारा वास्ता छ। समझदार लोगुं तैं चुन्या। जो यी व्यवस्था सम्भाळिक अपणा गौं, क्षेत्र अर जिला को विकास करी सको। निथर वनि होण ... 
    The play was staged first in a village in 2001. Thereafter, there have been more than 325 shows of the play. The play is written in simple words and even less educated people can perform the character.
 The Playwright uses the proverbs or phrases to create satire and humor in the play as साग पकी नि अर तुडका पैल्येइ लगैल्ये हैंइ अरे अभी हौर चा ...  The playwright uses songs for creating attraction in the play for an audience.
 The playwright is successful in creating a message about protecting the aims of Panchayat Raj.

Copyright @ Bhishma Kukreti 7/5/2013

   Let us celebrate of hundred years of Modern Garhwali Theatre! 
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« Reply #166 on: May 10, 2013, 08:35:33 AM »
Sabyun man Bolyan: Garhwali Drama creating Awareness for Registration of Birth and Death
!
                                        Review by: Bhishma Kukreti
       The registration of birth, marriage, migration of a girl as a daughter-in-law, and death are essential aspects of modern life.
           There is a problem with registration whose responsibility is to register the candidate’s relative, candidate or government person. The play ‘Sabyun man Bolyan ’ by Gajendra Nautiyal deals with the various aspects of registration. The play makes the public aware of the compulsion of registering the date of birth, marriage, entry of daughter-in-law into the village, and death. The drama is successful in stressing that it is everybody’s responsibility in the register.
          The theme and story are able to attract the interest of the audience. The dialogues are simple.
             The drama was first staged in 2002. The play had been staged 186 times (2002-2003)in Tehri and Uttarkashi districts.
Copyright @ Bhishma Kukreti 9/5/2013
 
   Let us celebrate of hundred years of Modern Garhwali Theatre! 
Critical review of Public Awareness Garhwali Drama, Public Awareness Kumauni Plays, Public Awareness Uttarakhandi Stage show, Public Awareness Mid Himalayan dramas; Public Awareness Himalayan Dramas; Public Awareness North Indian regional language Dramas; Public Awareness  Indian regional language Dramas; Public Awareness Asian regional language Dramas; Public Awareness Oriental  regional language Dramas to be continued …
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Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #167 on: May 10, 2013, 08:11:33 PM »
Apacchhyann: The Garhwali drama depicting the Life of Women and (dhol badak) Drum Players
(Review of ‘Apacchhyann ’ Garhwali Play/drama (2002) written by Gajendra Nautiyal)
           (Critical review Garhwali Dramas, Kumauni Plays, Uttarakhandi Stage shows, Himalayan theaters)
   Let us celebrate of hundred years of Modern Garhwali Theatre!
                                        Review by: Bhishma Kukreti
     Gajendra Nautiyal has written seven radio dramas, thirty-seven street plays, and ten other plays in the Garhwali language.
  The dramas by Gajendra Nautiyal throw light on various aspects of the people of rural Garhwal. The ‘Apacchhyann’ drama depicts aspiration, ambition, dreams, the pain of women, and the reality in the lives of Garhwali women.
  In this drama ‘Apacchhyann’, Gajendra shows the inner views of Dhol-Badak (Auji) and traditional drum players too.  Gajendra provides a message that the communities have a responsibility to enhance the self-esteem of traditional musicians of Garhwal.
            Gajendra uses traditional Garhwali folk songs and his own created lyrics for making the play very interesting.  Gajendra become s very exclusive playwright among other contemporary Garhwali playwrights for using traditional Garhwali poetries and his own poetries in the drama.
    Gajendra uses Garhwali proverbs for providing speed to the drama.
 The drama is an emotional and inspirational drama.
Copyright @ Bhishma Kukreti 10/5/2013
 
   Let us celebrate of hundred years of Modern Garhwali Theatre! 
Notes on drama depicting the Life of Women and (dhol badak) Drum Players; Garhwali drama depicting the Life of Women and (dhol badak) Drum Players; Uttarakhandi drama depicting the Life of Women and (dhol badak) Drum Players; Mid Himalayan regional language drama depicting the Life of Women and (dhol badak) Drum Players; Himalayan regional language drama depicting the Life of Women and (dhol badak) Drum Players; North Indian regional language drama depicting the Life of Women and (dhol badak) Drum Players; Indian regional language drama depicting the Life of Women and (dhol badak) Drum Players; Asian regional language drama depicting the Life of Women and (dhol badak) Drum Players; oriental regional language drama depicting the Life of Women and (dhol badak) Drum Players.
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Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #168 on: May 11, 2013, 06:31:48 PM »
Timla  Ful ’ Garhwali Play/drama (2005) written by Gajendra Nautiyal)
                                        Review by: Bhishma Kukreti
               Uttarakhandis whether they are in Uttarakhand or far away from their native place talk about development in their villages. There is big news about hill development; the leaders provide proof of spending money on village development in rural Uttarakhand.  The village councilors have records of showing developmental works in their hill villages. In fact, the hill developments are an illusion; delusion; mirage; hallucination; optical illusion; fantasy.
 The realistic and satirical drama Timal Ful by Gajendra Nautiyal raises the question of the real development of the hills of Uttarakhand. The questions of Gajendra Nautiyal in the Timal Ful drama are burning questions. The flowers of fig are invisible. Same way, the records of the hill village development are a real mirage.
  The simple dialogues, and realistic theme make the drama audience to think about what is the real requirements of hill village development 

Copyright @ Bhishma Kukreti 110/5/2013
Critical review Garhwali Dramas, Kumauni Plays, Uttarakhandi Stage shows, Himalayan theaters; Mid Himalayan dramas, North Indian regional language theatres, Indian regional language drams, Asian regional language stage plays, Oriental dramas and theaters to be continued…
   Let us celebrate of hundred years of Modern Garhwali Theatre! 
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Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #169 on: February 06, 2014, 07:24:00 PM »
                                                                                                                                         


                                                  Who Killed the Ram?

                                                         (   Khadu Lapata) 

                     (Script for One act Suspenseful, Hilarious, Humorous Stage Play)     
                                          Written by Lalit Mohan Thapliyal
                                           Translation by Bhishma Kukreti

 [The drawing room is of an Ayurvedic Vaidya or Ayurvedic doctor and an astrologer cum Karmkandi Brahmin. Hari Singh enters the drawing room with rage)
Hari Singh – Pundit Ji! Tell me the future.
Vaidyaraj – Sunny! Sit please. What is this Hari Singh? Without saluting me you are directly asking the future? Why are you in such a rage?
Hari Singh- You!  Tell me the future. I am not here to tell the matter. You have to find the matter. You tell the future. Today, definitely, I shall behead four five men.
Vaidyaraj (he searched his medicinal bag and takes two dose of medicines and fold them into a piece of paper or Pudiya) – Take one dose just now with cold water and take another dose after one hour. Sleep after taking medicine.
Hari Singh (with more rage)- Pundit Ji! Don’t joke with me. I lose my temper there will be bloodshed … 
Vaidyaraj (understanding the seriousness)- Well! Hari Sing! I understood …
[Vaidyaraj brings out a piece of paper, draws lines by pencil) There are Mekh, Mithun, Rahu out of Sun orbit and Ketu entering into mars though Jupitor. Hari Singh! Go inside and bring burning coal on Sajala   ..
(Hari Singh goes inside room)
Vaidyaraj (self communication) – What might have happened? Till yesterday, nothing was news about Hari Singh and his family members. That means his family members are not sick. Hari Singh has big sheep and goat herds. That means something is wrong about his sheep or goats.
(Hari Singh returns with Sajla with burning coal and put Sajla on Hukka. Vaidyaraj smokes Hukka)   
Hari Singh- You are great astrologer. Now, tell the truth…
Vaidyaraj- Son! Very sad. It is definitely about quadruped, any animal.. or …It seems that one or more quadruped is lost. May be in danger ….might be …
Hari Singh (with great enthusiasm) – Yes! Pundit Ji! You are hundred percent right. Who might have killed my huge and tall Ram? I want to break his legs and head.
Vaidyaraj (draws more lines on paper)- Saturn is heavy over Sun and Sun is watching marsh … It means no death but Jupiter is  parallel to Moon ..It is not sure that there is death. However, it is definite that the animal is lost.
Hari Singh – Pundit Ji! Do more calculation. I want the truth.
Vaidyaraj- Dear Hari! Sun is also watching Jupiter and there is always enmity between Jupiter and Venus. Definitely, the Lagna or star movements show that killing or death of animal is inevitable. However, Venus is watching Marsh too, therefore it is not predictable whether human killed the Ram or quadruped killed the Ram.  But life of Ram is either in danger or is dead.
Hari Singh (fearful and haplessness) –Pundit Ji! Don’t tell those inauspicious words. The huge Ram is for at least five thousand rupees.
Vaidyaraj- Nobody can stop the gad’s curse or anger. However, there are ways and means to lessen the curse by pleasing stars.
Hari Singh- Tell me the remedies.
Vaidyaraj- Nagraja deity is humble and does not require any life. What about Nar Singh deity? Dudhiya Nar Singh deity also does not go for killing any animal. That means there is sever curs of Daundya Nar Sing deity. It means you did not sacrifice a sheep for pleasing Daundya Nar Singh. The Daundya Nar Sing deity is unhappy and he requires an animal sacrifice to pacify Him.   
 Hari Singh- O My God! I lost my Ram and would lose another sheep.
Vaidyaraj- Nobody knows when our deity becomes unhappy on us. You have to organize Nar Singh deity ritual and sacrifice sheep. It is not me but my calculation of stars is telling the reality.
Hari Singh (frustrated) - What a fate! I lost my ram and I will have to sacrifice another ram.
Vaidyaraj – By the way! When did you lose your huge ram?
Hari Singh – I did see him day before noon. From that time, I could not see him.
Vaidyaraj- That ram was very fat and his thighs were also very fatty. Am I correct?
Hari Singh- Definitely, no ram was big as my ram.
Vaidyaraj – Yes! That’s why many mutton lovers had eyes on that meaty ram.
Hari Singh- Pundit Ji! You are absolutely right. Those buggers wanted to kill my meaty ram.
Vaidyaraj- Who were those, wanted your ram?
Hari Singh – Definitely, Nattha and Mangsiru killed my ram. They used to touch and press thighs of my ram. The notorious group of Nattha and Mangsiru and two three useless youths are dangerous for our village. Now, I am sure those dishonorable men killed my ram. I am rushing will see that this group is no more living in this earth.  I am rushing to behead them with my Khunkari (sword) (walks out).
Vaidyaraj- Hari! Wait a minute. Use your brain. The astrological calculation revealed that either biped or quadruped killed you ram. Therefore, don’t come to any conclusion. You are well familiar that foxes are roaming in our village binderies. Foxes or tiger might have killed your big ram. Don’t indulge in any violence.
Hari Singh- Pundit Ji! You are unnecessarily confusing me. As per your advice I am going to search in nearby rivulets. But I am sure those notorious buggers killed my ram. I am visiting rivulet valley to search ram. If I don’t get him I shall kill those notorious buggers.
Vaidyaraj- First, You search the ram here and there.
Hari Singh (going out) -I am going to search my ram. But I shall not leave those …
Vaidyaraj (Self) - Oh my god! Hari Singh does lose his temper very badly. Once, in temper, he ate his uncle’s nose. I don’t know what would happen.
(Vaidyaraj started grinding medicinal plants in the vessel)
(Tulsi enters)
Tulsi (bow his head) - Pranam Bada Ji (father’s elder brother)!
Vaidyaraj- Tulsi God blesses you. When did you come from Delhi?
Tulsi- I came one week before from Delhi. However, I had gone to my maternal uncle village.
Vaidyaraj- Was there any religious ritual?
Tulsi – Uncle! Just a trip…
Vaidyaraj- Do you live in Delhi?
Tulsi- Yes, Uncle. I got service there.
Vaidyaraj- What do you do there in Delhi?
Tulsi- There is one of the largest offices in Delhi.
Vaidyaraj- I asked what do you do there?
Tulsi- How do I make you understand?
Vaidyaraj- Just by telling in simple language …
Tulsi- There is one specific work in that large office. Somewhere it is electric department, other side is railway department, above it irrigation department and so on. In one room, engineers building dams, in other room, people are digging canals from dams. Here the clerks are writing on papers and there others are typing on computers. There are piles of files under the table and under the table. Even there are people sitting on files.  Thousands of people are engaged in taking files from one office to other office.
Vaidyaraj- Files? I am dead sure; these files would be very heavy.
Tulsi- Uncle! You know! It is government job. Therefore every work is very heavy and important. Forget about government job. Tell me about your family. You would not understand the complexity of offices and Delhi.
Vaidyaraj- Tulsi! Before taking medical practices and Punditai job, I was in Delhi. I was head peon in labor department.
Tulsi- Oh! When were you there in Delhi?
Vaidyaraj- it is quite old. On that time, rice was available sixteen kilos per rupee. Clean tap water was available for twenty four hours. Now, I heard that tap water is non potable.
Tulsi- Un1 Your complains have some sense. By boiling we set get fresh water. There is no harm in boiling water. Adjustment is the call of the day.
Vaidyaraj- There is no harm in taking boiled water. It’s very fine that you started liking Delhi. Now, definitely, you would not be enjoying rural life here in village.
Tulsi- Motherland uncle, motherland! It is must for me to enjoy here. Otherwise leaving good healthy season nothing is here in hills. In fact, this region is not suitable to live at all. There is vegetable available. There is no eggs and English bread available here.
Vaidyaraj- Yes! You are right. No fresh vegetables available here. We pass our time on dehydrated radish, onions and Badis. You Delhi fellow would be hungry as no vegetables are available here.
Tulsi- Yes! Uncle, just I was taking food for the sake of taking it. But, yesterday, I cherished meal.
Vaidyaraj- Cherished meal? What do you mean by cherishing dinner?
Tulsi- There was lamb mutton and fine rice in dinner. I never had such tender lamb mutton curry in my life.
Vaidyaraj- From where you got lamb mutton?
Tulsi- I don’t know. However, I was told that there was a religious feast in nearby village and a big ram was killed for that feast.
Vaidyaraj- It is just impossible a religious feast in nearby villages without my ritual performance. I am the priest. Who offered you lamb mutton?
Tulsi- There was one boy. I did not recognize him. He was selling mutton. I bought two kilo mutton at twelve rupees.
Vaidyaraj- What is this nonsense. If it was religious feast how anybody could sell the sacrificed lamb meat?
Tulsi- I did not ask. I was interested in lamb mutton and I bought the same.
Vaidyaraj- Sunny! Now, you will get interested knowing all that when the ram owner would come with Khukari (small sword) in his hand.  The ram owner Hari Singh was searching the culprit with Khukari.
Tulsi- What do you mean by Hari Singh was searching the culprit with Khukri in his hand?
(Parmanand enters)
Parmanand- Vaid Ji! I am dying. (He catches his stomach and sits uncomfortably.)
Vaidyaraj (checks the hand -Nabaj of Parmanand) Parmanand- I don’t think it the condition of dying.  (Now, checks eyes) – There is no sign of fatal disease too.  (Checks stomach as if playing a drum)- Oh my God! You stomach is tight as stone. The stomach is also warm as fire. Your stomach is sounding as Dhol.
Parmanand – Yes! My stomach is paining as if there are bees biting my intestine.
Vaidyaraj- Your stomach is also jumping like boiling water.
Parmanand – Give me some relief medicines. I am just to die.
Vaidyaraj- Bhula (younger brother in relation)! Have you gone to market and have you had a heavy feast?
Parmanand - I will tell you the truth. I Yesterday, in dinner, I took thirty two Rotis (Indian bread).
Vaidyaraj- Did you eat thirty two breads? What do you mean? What was the vegetable?
Parmanand – There was sheep mutton. Mother cooked mutton so tasty that I took thirty two Rotis. I am suffering from constipation. Please give me some tablets.
Vaidyaraj- Did you consume roasted sheep skin and intestine?
Parmanand- Yes Bhaiji (elder brother) , before dinner we had Kachboli means roasted sheep skin and intestine (he cries and catches stomach).
Tulsi- Every person should take care. Tasty food does not mean you consume out of proportion.
Parmanand – Who is this preacher?
Vaidyaraj- He is son of Raija.
Parmanand – Provide these preaching to Raija.  I heard yesterday, he bought two kilos sheep mutton.
Vaidyaraj- Brother! Take two tablets now and two in night.
Parmanand- Should I take tablets in hot or cold water?
Vaidyaraj- Definitely there would curry leftover from yesterday mutton curry.
Parmanand- Yes curry is there as leftover.
Vaidyaraj- Take tablets in mutton curry and go to cremation place your own.
Parmanand- Bhaiji! I am dying and you are joking. Deer is taking last breath and hunter is saying deer thighs are thin.
Vaidyaraj- Tell me! From where did that sheep mutton come?
Parmanand- Natthu sold  me sheep mutton and was saying that there was religious feast in nearby village.
Vaidyaraj- O! Foolish man! Don’t you know that mutton of religious ritual is never sold?
Parmanand – Yes! You are right that mutton of religious ritual is not sold. But I bought from Natthu. I don’t understand how come Natthu …..
Vaidyaraj- Don’t worry. Khukri of Hari Singh will make you understand.
Parmanand- What do you mean by Khukri of Hari Singh would make me understand?
Vaidyaraj- Just, wait for some time and Hari Singh will be coming with sharp Khukri in his hand?
Parmanand- but I did not harm him.
Vaidyaraj- Hari Singh lost his ram from day before yesterday. He is searching the ram killer and mutton eaters very badly.
(Loud call of Hari Singh comes from outside- I shall behead everybody. I shall not spare anybody who ate ram mutton)
Vaidyaraj- I would not intervene. You both take care from Hari Singh.
Parmanand- Hari Singh is very cruel man when he loses his temper. He is also stronger than me. I am hiding inside. (Parmanand takes cover of bed sheet and sits there)
(Tulsi goes out)
(Hari Singh enters with Khukri in his hand)
Vaidyaraj- did you find your ram?
Hari Singh (rage fully) - Those buggers consumed my ram.
Vaidyaraj- Hari Singh! Keep aside that fetal weapon. I am asking what about your ram and you are directing Khukari towards me.
Hari Sing (with softer gesture)- No No ! I am not directing Khukri towards you. I shall not leave that Parmanand alive. I shall cut his both the legs and will distribute his mutton to dogs.
Vaidyaraj (he took Khukri from Hari Singh) - What did Parma Do?
Hari Singh- Yesterday night, he consumed lamb mutton. From where did he bring ram mutton?
Vaidyaraj- He might have brought from city market.
Hari Singh – No, No! I saw big ram bones behind his house. I recognized bones of my ram.
Vaidyaraj- Were there your signatures on bones?
Hari Singh- Whatever you say but I shall kill Parmanand.
Vaidyaraj- I heard a rumor. You will know something about your ram. Sit , take Hukka and take some rest.
(Hari Singh sits on Parmanand)
Hari Singh – What is the rumor?
(Hari Singh feels awkwardness, Parmanand shakes)
Hari Singh – What type of seat is this that is shaking as if there is earth quake?
(Hari Singh got up from Parmanand)
Hari Singh – Who is here?
Parmanand Under cover)- I am patient.
Hari Singh- Why are you covered?
Parmanand- I have high fever and wants perspiration.
Hari Singh (recognizes voice)- Oh! You are Parmanand. (Hari Singh catches neck of Parmanand)
Hari Singh – Oh! The ram killer is here.
Vaidyaraj- Leave his neck.
Parmanand (towards Vaidyaraj) – Bhaiji! What is Hari Singh talking about ram?
Vaidyaraj- Bhula! Ram is an edible animal and is quadruped animal.
Hari Singh- Tell me all names who killed my ram.
Parmanand- I don’t know who killed your ram. However, yesterday, evening Natthu came to me and offered mutton. I spent five rupees.
Hari Singh- Was there Mangsiru with Natthu? Who else were there with Natthu in killing my ram?
Parmanand- Natthu was alone. Had I knew it was ram I would not accepted the offer. Ram mutton does not suit me. I don’t know anything about killing sheep and roasting that.
Hari Singh (taking Khukri from Vaidyaraj) – I shall not leave Natthu and Mangsiru. This notorious pair is destroying whole village. (He gets out with Khukri).
Parmanand - This Hari Singh is devil.
Vaidyaraj- When you did not do anything wrong then why were you afraid?
Parmanand- Angry man is always carnivorous animal. Nobody knew if Hari Singh would have harmed me by Khukri. But Bhaiji! I don’t have stomach pain.
Vaidyaraj- Not to worry.  You will need me in future.
Parmanand- I am just joking, your tablets are worthy.
Vaidyaraj- I have tablets and medicines for your any pain. But do not have any remedies if Hari Singh returns again.
Parmanand- Bhaiji! You have to calm down Hari Singh. You know that he ate nose of his uncle when he was in rage. I am afraid! He would do something unexpected.
Vaidyaraj- But, You all did the wrong most with Hari Singh. You all consumed the big, fat meaty ram in one night.
Parmanand – How could I knew that the lamb was theft by Natthu and Mangsiru.
Vaidyaraj- But, the bones are directing that you, Tulsi, Natthu or Mangsiru theft the ram and killed.
(Tulsi enters)
Tulsi- Uncle! Had Hari Singh come again?
Vaidyaraj- Wait and see Hari Singh is searching the ram eater very badly.
Tulsi- I am not afraid of anybody.
Vaidyaraj- Tulsi! You would not be afraid of Hari Singh but you definitely would afraid of his sharp Khukri.
Tulsi- I am not afraid at all. We found that Natthu and Mangsiru sell unauthorized country liquor and mutton too. They bring mutton and liquor from Bazaar.
Parmanand- It is very bad for our village.
Tulsi- They don’t do liquor business in village but do in other village and fair. Report has been communicated to Patwari and police too.
Vaidyaraj- That means, it is definite that Natthu and Mangsiru theft ram, killed the ram and sold to you all.
Tulsi- Surprisingly, you and me brought mutton from Natthu but not from village but from Kajrikhal market. It is now, disclosed that seven days before, he killed six rams or goats in fair and could not sel. Now he was selling mutton in Kajrikhal market.
Parmanand – Oh my god! That means we consumed quite old rotten mutton. That is why I got stomach ache.
Tulsi- Definitely.
Parmanand – These sinful persons spoiled my Dharma and Karma.
Vaidyaraj- Where are Natthu and Mangsiru?
Tulsi- Both are absconding. Police and Pradhan-Patwari are searching them. Hari Singh is also after them with Khukri in hand.
Parmanand- No body is safe when Hari Singh in rage.
(There is loud cal of Hari Singh – I beheaded! I beheaded in one shot)
Vaidyaraj- God saves them!
(Tulsi and Parmanand take shelter behind Vaidyaraj)
Hari Singh –Pundit Ji! I beheaded by him one shot from Khukri.
Vaidyaraj- O Hari Singh! It is unlawful and sin to behead somebody like that.
Hari Singh- Tit for tat. For whole night and a day I was a worried man. He also did harm to me. I took revenge by beheading.
Vaidyaraj- Did you find where was your ram?
Hari Singh – Yes and I beheaded.
Vaidyaraj- Where was the ram? Whom did you behead?
Hari Singh- That bad ram was in my grain store and he consumed and spoiled my whole grains.
All- What?
Vaidyaraj- Oh! The ram harmed a lot.
Hari Singh- yes! But I also beheaded the ram in one Khukri shot. His body was at one corner and head was at another corner.
Parma- You are always a strong man.
Hari Singh- Come with me to clean and roast that notorious ram and will sell mutton.
Parmanand and Tulsi- Why not? let us go to your house.
Vaidyaraj- Send me head and legs as gift for Pundit.
(Vaidyaraj started crushing herbs)
(Shutting the curtain)
Copyright @ Heirs of Lalit Mohan Thapliyal, NOIDA, Uttar Pradesh, 2014
Please take permission from heirs of Late Lalit Mohan Thapliyal for staging the play.
Xx                           xxx
Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal born in village Shrikot; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal born in Khatsyun Patti; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal belonged to Pauri Garhwal; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal born in Uttarakhand; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal who worked with Pioneer newspaper ; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal worked in WHO; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal worked in New York; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal worked Geneva; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal wrote five famous Garhwali dramas; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal wrote many Hindi dramas or stage plays; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal founder of Jagar and Sadhna Natya Kendra ; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal born in1920; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal expired in 2005;
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