Author Topic: Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटकों का विवरण  (Read 44875 times)

Bhishma Kukreti

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                         चीन मा स्वांग

                          Bhishm Kukreti
                         

१- पुरातन चीनी सिद्धांत

२- पाश्चात्य सिद्धांत

३-- भारतीय सिद्धांत

४- मनोविज्ञानऔ ज्ञान

                                             चीन मा स्वांग

चीन मां स्वांग भैर बिटेन आई . मंगोल स्वांग तैं चीन मा लैन पण चीन मा स्वांग बढण मा कन्फ्युसिस  अर बुद्धौ सिधांत दगड़ी चलीन. इलै 

चीन मा उद्येसात्म्क स्वांग जलदा मिल्दा छ्या

चीन मा क्वी भरत या अरस्तु जन क्वी नाट्य शास्त्री नि  ह्व़े जैन क्वी किताब लेखी ह्वाओ . पण चीन का पुराणा स्टाइल च .

चीन मा आठवीं  सदी पैथर इ  नाटक जादा विकसित ह्व़े . अर इन बुले जान्द बल हरेक गाँ मा स्वांग खिले जांद छा.

पैल स्वान्गुं मा  नाच अर गाणा जरुरी छ्या. स्वान्गुं  मा प्रतीक को जादा इस्तेमाल हूंद  छयो.  'टछौउएन खि' प्रकारौ (७०० -९०७  ई.) वीर रसौ स्वांग छ्या.

संग राज मा (९६०-१११९) स्वान्गु मा हौर विकास ह्व़े .अर ये जुगौ स्वांगु खुण  'हाई-खिओ' बुल्दन. ये जुग मा अब स्वान्गुं मा एक बड़ो महत्वपूर्ण चरित्र आई

जु गांदो बि छयो .

                 ११२५ बिटेन १३६७ ई. क टैम चीनी स्वान्गुं खुण  सौब से बढिया टैम बुले जान्द . ये बग तौ स्वान्गुं कुण -यूएन-पेन अर टसाकी बुले जांद यूएन-पेन

क छ्वटु रूप .कुण यें किया बुले जान्द.

ये बगत सैकड़ों स्वांग रचे गेन

काओ टोंग किया क स्वांग 'पी-पा-की' (१४ वीं सदी ) अबि तलक भौति रौन्स्दार स्वांगु  मादे  एक स्वांग  माने जांद.ये स्वांग को मुख्य उदेश्य च चरित्रवानऔ गुण अर शिक्षा.

असल मा यू  ड्रामा  दुस्चरित्र  वळा स्वांगु विरुद्ध लिखे गे छौ अर भाती पोपुलर ह्व़े. याने कि चीनी ड्रामा मा शिक्षा अर चरित्रवान गुण पैलो शर्त माने गे .

शास्त्रीय  चीनी स्वान्गुं  मा चरित्र वान, सीख  अर उदेश्य होण जरुरी छौ. 

चीन मा बि भारतौं तरां नाटकों  तैं पाश्चात्य जन खाली ट्रेजिडी अर कौमेडी मा नि बंटे गे.  चीन मा विसयुं क हिसाब से बारा तरां शास्त्रीय स्वांग होन्दन

चीन स्वांगु मा धार्मिक प्रवृति -धर्म पर विश्वास, भगवत कृपा, दैवीय शक्ति , त्याग भावना, (बुद्धौ नियम आदि) , 

ऐतिहासिक नाटक बि शास्त्रीय स्वांगु  मा मिल्दन  ट ऐतिहासिक चरित्र बि चीनी स्वांगु  मा चीन मा मिल्दन.

अपराधी चीनी स्वांग बि भौत छन अर यूँ स्वांगु खासियत च - पापी/पाप कि खोज अर निर्दोष तैं न्याय-निसाब.

चीन मा प्रेम युक्त -हंसदर्या ड्रामा बि मिल्दन

 जन कि चीन मा भारत जन जाति हिसाब नि होंद त नाटकों मा बि जात क हिसाब से स्वांग चरित्र नि रचे जान्दन.

शास्त्रीय चीनी स्वान्गु मा  चरित्र पद का हिसाब से रचे जान्दन. स्वान्गुं कथों मा पद पर जोर होंद

भौत सा सीन अर चरित्र केवल प्रतीकुं से चित्रित होन्दन.

चीनी नाटकूं मा जनान्यूँ चरित्र प्रकार भौत छन- उच्च पदासीन से  जुड़ी  , त्यागी जनानी से नौकर्याण तक

सौत्या  डाह आदि बि खूब मिल्द.

चीनी नाटकूं मा अंक अर सीन होन्दन अर पैल त विषय भौति लम्बा होंदा छ्या त चरित्र चित्रण बि वनी होंदा छ्या.

तौ ळ का कुछ विषय चरित्र चित्रण  औ अन्थाज लगाणो बान काफी छन

-दर्शकुं  समणि भुक डुबण, विष से, फांसी से, त्रास आदि  से मिरत्यु

-अचरज/आश्चर्य

-जादू/जादूगरी

-भूत/पिचासुं से बदला लीण या भूतुं से न्याय दिलाण

-भौं भौं किस्मौ ब्यौ

-पैत्रिक सत्ता क वर्चव्स

-राजा तैं महान बथाण 

चीन का पुराणा स्वान्गु एक बडी खासियत छे - लेखक इ मुख्य कैरेक्टर अर मुख्य वक्ता बि होंद छौ.

-नाटक मा गितांग होण जरूरी छौ, माना कि गितांग को चरित्र नाटक मा मोरी जान्दो त फिर दुसर चरित्र गाणा गालो 

-प्रतीक अर अलंकृत भाषाऔ  भरमार होंदी छे

 चीनी  ड्रामा दर्शकुं रूचि हिसाब से इ रचे जांद छ्या याने कि ड्रामों मा  पॉप-कल्चर छौ , याने कि मौज -मस्ती क बान ड्रामा रचे  जान्द छ्या ( संस्कृत  मा इन नि छौ, ड्रामा शास्त्रीय हिसाब से लिखे जांद छ्या जन कि कालिदास का स्वांग)

चीन मा पाठ खिलण वाळ तैं ट्रेनिंग मा भौत मेनत करण पड़दो छौ.  नाट्य गुरु दर्शकुं समणि इ वैकी (च्याला) परीक्षा लीन्दा छ्या

चीनी नाटकूं मा चरित्र /पाठ खिलण वाळ तैं  यूँ चीजुं पर  ध्यान दीण पड़दो छौ

१- वाच/स्पीचअर गीत गाणो ढंग /गीतुं मा माहरथ   
 
२- चलणो ढंग

३- सरैल से पाठ खिलण  याने बौडी  लैंगवेज को स्वांग मा महत्व

४-कपड़ा, मेक अप, स्टेज कि जानकारी

  चीनी नाटकों मा मास्क /मुखौटों महत्व अर मुखौटों प्रतीक

१- सुफेद मुखौटा - पापी, दोषी, राक्षस , कुमति ,  धोकेबाज, घुन्ना, अण-अंथंजण्या याने कि विलियन या प्रतिनायक

२-हौरू मुखौटा  - भिरंगी, दौन्कार/ गुस्सैल्  , टणक्या, जु अफु पर काबू नि कौर सकदो   

३- लाल मुखौटा - भड़ , वीर, भक्त . समर्पित

४-काळो मुखौटा - जडबडो,  बबर, खरो

५-पिंगुळ मुखौटा - महत्वाकांक्षी , बबर, ठंडो-दिमागौ

६-नीलू मुखौटा - इरादा पक्को , अडिग निष्ठावान             
 
 

                               

 

सन्दर्भ -
 
१- भारत नाट्य शाश्त्र अर भौं भौं आलोचकुं मीमांशा

२- भौं भौं उपनिषद

३- शंकर की  आत्मा की कवितानुमा प्रार्थना

४-और्बास , एरिक , १९४६  , मिमेसिस

५- अरस्तु क पोएटिक्स 

६- प्लेटो क रिपब्लिक

७-काव्यप्रकाश, ध्वन्यालोक ,

८- इम्मैनुअल कांट को साहित्य

९- हेनरिक इब्सन क नाटकूं पर विचार

१०- डा हरद्वारी लाल शर्मा

११ - ड्रामा लिटरेचर

१२ - डा सूरज कांत शर्मा

१३-  इरविंग वार्डले, थियेटर क्रिटीसिज्म 

१४- भीष्म कुकरेती क लेख

१५- डा दाताराम पुरोहित क लेख

१६- अबोध बंधु बहुगुणा अर डा हरि दत्त भट्ट शैलेश का लेख

१७- शंकर भाष्य

१८- मारजोरी बौल्टन, १९६०.  ऐनोटोमी ऑफ़ ड्रामा 

१९- अल्लार्ड़ैस  निकोल

२० -डा डी. एन श्रीवास्तव, व्यवहारिक मनोविज्ञान

२१- डा. कृष्ण चन्द्र शर्मा , एकांकी संकलन मा भूमिका

२२- ए सी.स्कौट, १९५७, द क्लासिकल थियेटर  ऑफ़ चाइना

Bhishma Kukreti

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Hundred Years of Garhwali Dramas

               Basanti:  A Garhwali Drama dealing with Social Problems

(Review of ‘Basanti’ a Garhwali Drama by Vishwambar Datt Uniyal)
(Garhwali Dramas, Kumauni Stage Plays, Dramas of Uttarakhand, Himalayan Dramas)

                       Bhishm Kukreti

                       Vishwambar Datt Uniyal (Uniyal Ganv, Saklana, Tihri Garhwal, 1904-1945) was the first Indian who became the member of Mossurie Municipal Corporation.
              Vishwabar Datt Uniyal published a social Garhwali drama ‘Basanti ‘ from Uttarakhand, press, Dehradun, 1932 and dedicated the book to late Mahant Lakshman Das Ji of Guru Ram Rai Sahib. 
               Basanti is about five acts and fourteen scenes.  The drama is idealistic and with clear objectives that society should stop mismatch marriage (old man and young female), the youth should have Neetivan and should have good conduct, and the saint should act always in selfless behavior. 
                   The story is about parents of Basanti from a village who are worried about marriage of their young daughter and as the prevailing custom of that time are ready to marry her daughter to an old man. The parents feel that their duty is limited just to marry their daughter. The parents of a young man Hari Singh are also worried about marriage of their unmarried son.   Well educated Hari singh is rebellion in Dehradun and fights many battles against wrong people or social evils. At the end hari singh and Basanti are engaged. There are other characters to develop the drama as saint, pundit and Gatti. Gatti is badi and sings song in the drama. The drama has many folk songs for expressing emotions which can’t be expressed through dialogues or prose.
                     Basanti drama is successful in showing the struggle of parents who are worried about their children marriage. The acts of Hari Singh preach for requirement of idealistic youth in the society with least preaching speeches.
             The dramatist took care in developing characterization of the characters.
              The dialogues are as per the nature of characters. The dialogues are effective and provide speed to drama as –
Basanti – didi !dekh dhaun   hindu logun ma kano buro rivaj ch ki naunyun byau budyaun se kar dendan. Bhai ! ina karan se t jai din hweai vai I din baghai dyon t acchho rhee. Jindagi bhar ka ron dhon se t ni hon hi bhalo.
Or
Gatti- d1 thakuru ki chhween sunaan. Mai sani abi teen beesi ar paancho baras lagyun thakuro! Log t assi pichaasi baras ma byau kardan maaraaj
              The chorus song at the end of drama is an example of imagining power of Vishwambar Datt Uniyal.
    Hari Datt Bhatt Shailesh states that due to its dialogues and social needs, the drama was staged many times. Bhatt informs the people were influenced by the theme of this drama. The drama is less literature and is more of communication medium. Basanti drama  worked well in its time to influence people going against mismatched marriages custom.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga
3-Dr Sudharani, Garhwal ka  Rangmanch
4-Drama special issue of Chitthi Patri magazine
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth

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bckukreti@gmail.com

Garhwali Dramas, Kumauni Stage Plays, Dramas of Uttarakhand, Himalayan Dramas to be continued …..

Bhishma Kukreti

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Hundred Years of Modern Garhwali Drama

                      Parivartan: A Garhwali Social Theme Drama 

(Review of Parivartan a Garhwali drama by Ishwari Datt Juyal)
(Garhwali Dramas, Kumauni Stage Plays, Dramas of Uttarakhand, Himalayan Dramas)

                                             Bhishm Kukreti

                     In all the era, social theme is always there in the dramas. In real sense, the initiation of modern Garhwali poetry started first quarter of twentieth century. Most of the Garhwali poetries are about social development and eradication of in human social customs. The poetries of this age are preaching oriented.  The reason was quite obvious that the Indian culture is such that the educated and knowledgeable person has to preach the society. That is why in most of the Indian languages, the initiating literature is about preaching and idealistic features.
              In Garhwali drama circle too, the initial dramas are with the objectives of teaching the society and development of the society as a whole.
            Parivartan drama by Ishwari Datt Juyal (Khetu, Khatali, Pauri Garhwal, expired in 1969 in Sahranpur) is also about social theme and eradication of social wrongs happening in the society. Ishwari Datt was with Indian Railways at Karachi before independence and he published Parivartan drama in Karachi in the year 1934
             Abodh Bandhu Bahuguna remarked about the drama by Juyal,” The dialogues, language and screenplay are marvelous in this social drama- Parivartan”.  The dialogues are mixture of Hindi and Garhwali and are the source of bringing involvement of the audience.
         The following is an example of dialogues in the drama Parivartan by Ishwari Datt Juyal –
A-Mausa Ji! Hamku ayan bhaut din huya hain. Tu to badaa aadim hai hamkun thai milne ko bhi nai ayaa
B- Aajkal bhai Ji Karachi ma fukafat machyan hai
             Hari Datt Bhatt appreciated the sharpness of language.
               The story is about the migrated Garhwalis and Garhwali village. Due to migration, the changes were taking place in Garhwal not only in physical dimensions but in the thought processes of migrated Garhwalis and Garhwalis in the village too. The drama writer Ishwari Datt Juyal was able to show these changes and the struggle or conflicts happenings because of changes.
     Ishwari Datt Juyal was able to mirror the society of his time in Parivartan drama.
                 
References:
1-Dr Anil Dabral, Garhwali Gady Parampara
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga
3-Dr Sudharani, Garhwal ka  Rangmanch
4-Drama special issue of Chitthi Patri magazine
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth

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Garhwali Dramas, Kumauni Stage Plays, Dramas of Uttarakhand, Himalayan Dramas to be continued …..

Bhishma Kukreti

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Critical History of Community theatres
Critical History of World community theaters
Critical history of Uttarakhandi community theaters
Critical History of Garhwali community theatres
Review of Garhwali community theaters 
Hundred years of Modern Garhwali Dramas

                                     Garhwali Community Theatres from 1936- 1942

                                                             Bhishm Kukreti

              From publishing drams point of view, there is reference of only single book of drama in the introductory note of Gad Matyaki Ganga by Bahguna and article of Dr Hari Datt Bhatt. Vani Bhushan Sharma ‘Nipun’ published a drama ‘Prem Suman’ in 1936.
            Dr Bhatt briefs that the migrated Garhwalis of Mumbai, Delhi, Agra, Lahore, Dehradun and other places established social organizations. These organizations started organizing community stage plays or cultural programs in the lyrical forms. Many migrated people created prose plays and dramatized locally. The drams created locally were having full of folk songs in the theatrical plays. Since, the aim of these community programs were to involve migrated Garhwalis into community activities, the playwrights of this time never tried to publish dramas or keep the historical details of stage plays performed in the cultural programs.
           Community theatres are still the medium of strong binding among the migrated Garhwalis. For example, the community lyrical drama created by Baldev Rana has been being staged  in Mumbai since 2007 and is a medium to call migrated Uttarakhandis together  whenever the plays is staged  in a theatre. A known social worker D.D Sundariyal informed from Chandigarh that every year, Uttarakhandi communities have been staging a new community play in the cultural programs at theaters. By this way Garhwali and Kumauni theater is alive everywhere. 
     Since, this was the era of freedom movement the lyrical drams of community theaters were largely influenced by social reforms and freedom related ones. The lyrical dramas of community theaters were having the subject of history, religion, and social reforms.
           Community theatres provide initial exposures for the talents. Many Garhwali artists of film and television got initial exposures in the community theatres.  Famous TV artists Varun Badola and his sister played child artist in community drama Rajula Malu shahi when it was staged in Mumbai.
       Community theatres provide chance of people socializing too. The communities theatres provide chances bring feelings of togetherness create self esteem and community identity too. The volunteers working for community theatres boost the morale of the societies.
    The community theatres of migrated Garhwalis and Garhwalis of Garhwal before independence provided the foundation in respective places for progress of Garhwali theatres for coming years.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Theatres from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali theatres from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Garhwali theatres from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali theatres and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali theatres playwrights till 1985)

Copyright@ Bhishm Kukreti
Critical History of Community theatres , Critical History of World community theaters, Critical history of Uttarakhandi community theaters, Critical History of Garhwali community theatres , Review of Garhwali community theaters  , Hundred Years of Modern Garhwali Dramas  to be continued …..

Bhishma Kukreti

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Critical History of Dramas
Critical History of Indian Dramas
Critical History of Uttarakhandi Dramas
Critical History of Garhwali Dramas
Hundred Years of Garhwali dramas

               
                                      Bhuton ka Khoh: A Garhwali Problem Play

      (Review of Bhuton ki Khoh Drama by Bhagwati Prasad Panthari )

                                    Bhishm Kukreti


                      The contribution of Professor Bhagwati Prasad Panthari (Tihri, 1914-1991) is immense for developing Garhwali literature. That is the reason that Dr. Nand Kishor Dhoundiyal calls the period of 1937- 1942 as ‘Panthari Era’ in modern Garhwali literature.
                   Bhuton ki Khoh drama is not fully a problem play as defined by western drama critics” Problem play deal with contentious social issues through debate between the characters on the stage who typically represent conflicting points of view within a realistic social context.”  However, in many ways the drama is nearest to problem plays as suggested by Ramsden Balmforth in his books as ‘The ethical and religious values in drama ‘(1925) that there have been other social problems than * and married life as the problem of peace, problem of violence, etc.
                    The drama ‘Bhuton ka Khoh deals two aspects of life. Whether a person should allow his conscious to work for him or he should be victim of parental wishes. The dramatist deals this aspect with philosophical manner. Another aspect is parents want their children get /do jobs and become caws that all milk them. The drama deals the conflict between ‘Follow the bliss’ and ‘Follow the materialistic world’.  Bhagwati Prasad Panthari had been a freedom fighter against Tihri Riyasat and he was aware the conflicting situation between a young boy willing to go for freedom movement against British rule  and parents who want that their son get job for parental and his own security. 
                 Bhagwati Prasad Panthari published ‘Bhuton ki Khoh ‘drama in 1940 through Garhwali Sahity Kutir, Banaras.
             The story   of‘Bhuton ki Khoh ‘drama  is about a boy Kanti who lives in ‘Bhutha Makan’ with parents , is an idealistic youth and due to following his consciousness he is ready to sacrifice everything. Parents want that he should leave the freedom fighting activities of opposing the state and become a family man. Deputy Sahib wishes that Kanti marries his daughter. Due to high persuasion from parents and Deputy Sahib, Kanti agrees to take the job of British government and marry the daughter of deputy sahib. However, at the same time there is severe earth quack and everything vanishes.
              The drama deals with the long going conflicts of parents and young generation about young wants to jump into an unknown well of new creativity, innovation or new path but parents want that youth should take a materialistic path where future for all is secured. ‘Bhuton ki Khoh ‘drama discusses creativity and its fearful but unknown results.
            The ‘Bhuton ki Khoh ‘drama also discusses about the conflicts between ‘Atma ki Awaj’ and ‘Rivaj ki Awaj’ with very interesting and attracting dialogues.  Father is purely materialistic and mother understands the inner values of son but takes the side of her husband who suggests son to choose prosperity, respect in the society against new creative path. . 
Baap-  tu hamari bhi naukari chalao . ijjat mitti ma milalo, sapoot
Kanti- ijjat mitaundaron ki ijjat paili mitdi
Bap- unh
Man- (Nirshyan jyun ma ) aakhir ham kah juanla ?
Kanti – atma ka Pradesh ma , jakh sab prakash ch, jakh andhero ujala ka dar se palla ni fatkdo
Baa- bak, bak , bak t.. t..t. ghrbaar grihasthi par saub bhanglo boi dya.
  The dialogues and language ‘ Bhuton ki Khoh ‘ drama are lively that audience feel that everything is walking . The author of ‘Bhuton ki Khoh ‘ drama took care about keeping dialogues as per the characters. The dialogues for son are poetic, philosophical, idealistic and more sophisticated, while the dialogues of father are of rural vocabulary in nature
   The ‘Bhuton ki Khoh ‘drama is one of the bright stars in the modern Garhwali drama world.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Garhwali Dramas  from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116,  about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)

Copyright@ Bhishm Kukreti

Critical History of Dramas, Critical History of Indian Dramas, Critical History of Uttarakhandi Dramas, Critical History of Garhwali Dramas, Hundred Years of Garhwali dramas to be continued……

Bhishma Kukreti

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History of Drama
History of Indian Dramas
History of Uttarakhandi Dramas
History of Garhwali Dramas
Hundred Years of Garhwali dramas


               Adh:Patan : A Garhwali Drama by Bhagwati Prasad Panthari
           
                                                     Bhishm Kukreti

                    Professor Bhagwati Prasad Panthari  (1914-1991)was a prolific Garhwali and Hindi literature creative. When Bhagwati Prasad was studying , Panthari published two Garhwali dramas Bhuton ki Khoh (1940) and Adh:Patan (1940-41).
                 Both the plays were staged in various places in Tihri Riyasat. The subject of both the dramas was against Tihri Riyasat and British rule. Therefore, the Tihri riyasat administration banned both the dramas for staging.
                         Adh:Patan is also about the people’s hardship, struggle for food etc, poverty  under Tihri Riyasat and misdeeds of Tihri riyasat administration.  The Adh:patan dram is also take problem as central part  and take it in its high.There is struggle for freedom and conflicts between the ruler and freedom fighters.
            The dialogues are in Tihri dialects and as per the characters of the drama. There are two examples of dialogues as-
  “ tu Ransu , ransu , gau ka lekh ni thai. Ransu , gad bhuchal dekh dain pani ma kani chh teri mukhdi. T takh dekhdi de gngal fal. Ee machu gaun ka saari pirthi ka firdi firdi aundan ar jaraa si pani pen ma yunkaa khuta tadak tuti jandan, abari ghas katan thau , bajariyon ka nauna t budend budend talai randan phun lgyaan”
And read this dialogue-
Naunu- paisa nit ha t pyar t thau. Main apanu Ransu pyar kardaun aur veenko pyaari abhilas puri karan ko mera pas dhan ni t pyaar t chh. Kyakanoon pyar ka vasta bhi paison k muchlka chando / kya sona ki kunji hi pyar ka darvajon khol sakdi? Kya kangal ki abhilasha dhool ma hi liptanaa ko hondi? Ve ko pyaar ki kulain dali kya doosaron ka such ki holi jalaun ko hi lapkadi ? kyon, kyaa lal topi de sakdi yanko jabab?
                        As in ‘ Bhuton ka Khoh’ Bhagwati   discusses the problem through discussion that the drama takes speed. 
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Critical History Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Brief History of Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Brief History of Garhwali Dramas  and Staging of dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (History of Garhwali Dramas and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)

Copyright@ Bhishm Kukreti

History of Drama, History of Indian Dramas, History of Uttarakhandi Dramas, History of Garhwali Dramas, Hundred Years of Garhwali dramas to be continued…..


Bhishma Kukreti

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History of Drama
History of Indian Dramas
History of Uttarakhandi Dramas
History of Garhwali Dramas
Hundred Years of Garhwali dramas
                 
                                 ‘Bhari Bhul’: A Social and Philosophical Garhwali Drama

                    (Review of a Garhwali Drama ‘Bhari Bhul’ by Jeet Singh Negi)

                                            Bhishm Kukreti


             Critics as Abodh Bandhu Bahuguna and Dr. Nand Kishor Dhoundiyal had been partial for not providing the deserved recognition to Baldev Prasad Sharma (Rami Baurani) and Jeet Singh Negi (Tu Holi Veera unchi nisi dandyun ma) for developing Garhwali poetry. These poets have influenced the modern Garhwali psych. However, critics did not name the era as Baldev Prasad Sharma era or Jeet Singh era.
                Same way, much was talked about Chatak or Bahuguna for their contribution by many as if they transformed the modern Garhwali drama. Even Dr Anil Dabral provided more pages to Bahuguna and Chatak than Negi. Nobody can deny their contribution in developing intellectualism in Garhwali drama but from staging point of view Chatak and Bahuguna were not the masters. However, in real sense, after independence, Jeet Singh Negi is who developed Garhwali stage in cities where Garhwalis were migrated.
                 In fact Jeet Singh Negi dominated Garhwali stage more than thirty years. The period from the Panthari era ends starts Jeet Singh Negi era. Since, Jeet Singh Negi infused his own songs in the drama and intellectual critics did not provide Negi his dues except Dr Sudharani provided full credit to Jeet Singh Negi for his contribution in Garhwali stage play world. Dr Sudharani provides credit to the overwhelming success of ‘Bhari Bhul’ drama by Jeet Singh Negi for the entry of Lalit Mohan Thapliyal into Garhwali drama world.
           Jeet Singh Negi staged an audience oriented stage play ‘Bhari Bhul’ around 1955-1956 in Dehradun and published it in 1957. This mile stone drama ‘Bhari Bhul’ was staged in Mumbai, Delhi and in other many cities. Audience appreciated this blockbuster lyrical drama.
           Blockbuster lyrical drama   ‘Bhari Bhul’ has two acts and eleven scenes.
                  The lyrical, morality oriented and philosophical drama is about conflicts between for earning money or doing social activities through ethical means and earning or taking social activities through unethical means.  Jaggu is the son of a rich contractor. Instead of taking interest Jaggu takes interest in social causes. Hari Singh is a social worker and takes the job of building a school in village. The philosophy of Hari Singh is to collect money through ethical means for building the school. Jaggu also wants to help the society but wants to collect money by unethical means.  Hari Singh becomes angry on Jaggu for deceptively, Jaggu wedding an old man with forty year old man for money sake.  Hari Singh shouts on Jaggu and in retaliation, Jaggu leaves the social work and goes to city for taking contract jobs.
                    Jaggu becomes addicted for alcohol drinking, womanizing, gambling and other harmful habits. Due to these activities, Jaggu loses his father’s property. His mother dies and father becomes insane due to shock. Hari Singh calls Jaggu to village where Jaggu sees the worsening condition of his wife in village and Jaggu realizes the result of his misdeeds.
                             There are songs and dacnes  in the drama to express the emotions and they are woven successfully that they become the source of speed in the drama.
                  The dialogues in the drama are in normal conversational ways and are effective in engaging the audience.
Jaggu- dada! Aaj mero jyu kakhdi kahnau bulnu ch. Ek kakhdi mai diyaali !
Gayalu(hukka chhodik)- n-n-n khabardar kakhdyun nau na lhe ikh, nithar min twe paili gaali dianan
Or
“ buba ..! par meri bwarin ky khoye. Min t pap karye , logunk swagvanti bwaryun ka patyun ma sut byaj leki karjaa deya, ar oo karjaa chukana ban pardesh ma lapata hwe gaini . mi t oon swagvanti byaryun k sarap ch lagnu . par meri bwari kilai ch mera kayun ko fal bhugtani .”
     Jeet Singh Negi wrote dialogues for ‘Bhari Bhul’  drama of daily uses as criticizing others, false appreciation, sadness, enthusiasm, illusion, sating, laughing, contentment etc.
   Jeet Singh Negi has been successful in developing characterization and each character impresses the audience.
               The drama ‘Bhari Bhul’ is definitely a popular class drama and overwhelming response of audience for this drama paved the way for encouraging dramatists as Lalit Mohan Thapliyal, Hari Datt Bhatt Shailes, Damodar Prasad Thapliyal to enter into Garhwali drama world. ‘Bhari Bhul’ is the drama which created the audience for Garhwali drama in cities as Delhi and Mumbai.
              ‘Bhari Bhul’ by Jeet Singh Negi is a mile stone in the history of Garhwali drama world.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Critical History Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Brief History of Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Brief History of Garhwali Dramas and Staging of dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (History of Garhwali Dramas and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)

Copyright@ Bhishm Kukreti
History of Drama, History of Indian Dramas, History of Uttarakhandi Dramas, History of Garhwali Dramas, Hundred Years of Garhwali dramas to be continued…..

Bhishma Kukreti

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History of Drama
History of Indian Dramas
History of Uttarakhandi Dramas
History of Garhwali Dramas
Hundred Years of Garhwali dramas

                        Contribution of Jeet Singh Negi in Developing Garhwali Drama Culture

                                  Adaptation -Bhishma Kukreti
           
“ Too wheli Beera uchi nisi dandyun man ghasiyaryun ka bhesh man…” stirred so much the insight of Uttrakhand written by Jeet Singh Negi that not only common men but even the knowledgeable Uttarakhandis perceive that this famous song is folk song .
      A couple of few people knew that Jeet Singh Negi created this song on the road, Agara road, Bhandup , Mumbai at around 11PM. This author is fortunate that he listened the autos-story of Jeet Singh Negi about creation of this song by Jeet Singh himself at the residence of Mrs Pushpa Dobhal and her husband Professor Radha Ballabh Dobhal, Garhwal Darshan, Mumbai. Professor Dobhal have the recorded tape told the story of creation of ‘too wheli beera…” by Negi .
     He was the initiator of creating Garhwali song, singing, performing cultural shows in various parts of India
I tried for searching on the net about complete biography of Jeet Singh Negi. However, my surprise that nothing much is written about this great personality of India in web-world.
This write up is to provide full honor to a legendary creative ever born in Uttarakhand.
It is Negi’s popularity that census department (jangana vibhag) of government of India (1961) in its Vol.XV, Uttar Pradesh, Part V, Gramya Survekhsan, page48, describes the popularity of song “too wheli beera…”
Great Uttarkhandi personality Govindh Ballabh Pant was fond of the talent of Negi and he used to call Jeet Singh Negi for performing of welcoming cultural show before foreign delegates as cultural show by Negi’s troop before Chines delegate, when Pant was home minister of India.

Father-----Sultan Singh Negi

Date of Birth: ----27February, 1927

Place of birth or village: Village-Ayal, Paidalsyun,Pauri Garhwal

Present address----108/12,Dharmapur, Dehradun

Education---

Primary education---Myanmar (Burma)

High school in Pauri and D A V College Dehradun

Garhwali literature or creativity

Published :

Geet Ganga (Song collection)

Jaul Mangari (Song Collection)

Chham Ghungru Bajala (Song Collection)

Maleth ki Kool (Historical musical drama (geet natika )

Bhair Bhool (social musical drama)

Manuscript ready for publication:

Jeetu Bugdwal (historical musical play)

Raju Postman (Drama)

Rami baurani (Musical play)

Unpublished Hindi work

Pativrata Rami (Drama form)

Raju Postman (Drama)

Dramas staged by Negi and his troop

1- Bhari Bhool: Staged in, 1952, damodar hall, Mumbai in the program of Garhwal Bhratri Mandal . The play was instant hit and the drama stirred not only the mind set of migrated Garhwali Mumbakrs but across the India, migrated Garhwali became aware about the importance of drama in their cultural programs. The dialogues are in hindi and Garhwali and that was the unique experiencing point (UEP) , Jeet Singh Negi was conceptualizer , writer, director and stage manager of Bhari Bhool. Bhari Bhool is a mile stone in the history of Garhwali stage and cultural programs. Himalaya Kala Sangam, Delhi staged this drama in 1954-55. Later on this drama was stage many places and many times. Sudharani a research scholar of Garhwali drama writes, “ Is natak ko dekhne sabhi jagah darshak toot pade and this was the reason that Lalit Mohan thapliyal entered in Garhwal drama taking leave from Hindi drama.

2-Maletha Ki Kool:
This is historical drama and based on famous Maletha canal built by Chief of army staff of Garhwali a sovereign kingdom, the winning warrior of Tibet and father of brave bhud Gajendra Singh Madho singh Bhandari . The dram is staged 18 (eighteen ) times in Dehradun, Mumbai, Delhi, Chandigarh, Mussorie, Tihri and many places. Jeet Singh Negi wrote and directed this drama.
3-Jeetu Bagdwal:
Jitu Bagdwal is famous folk lore of Garhwal. Jeetu Bagdwal was a brilliant flute player. Singh wrote the musical drama on this folk lore and more than eith times this melodious drama is staged at various places under his direction, stage administration.
4-Pativrata Rami: Parvatiya Munch Delhi staged the Hindi drama Rami Baurani conceived and created by Jeet Singh Negi in 1956 and staged many times.

5-Rami :
At the occasion of Tagore centurion year , Rami a Garhwali musical drama (geet natika ) was staged first in Narendra Nagar in 1961 . Later on more than hundred of stage shows have been all across India.
6-Raju Postman:
This is a Dhabadi Garhwali drams and dialogues are mixed Hindi and Garhwali. Raju Poastman Garhwal sabha Chandigarh staged this dhabadi drama first and more than ten times this drama is staged
7-Relays from Akashvani :
His first Garhwali song was relayed from Akashvani in 1954. His dramas and songs are relayed more than six hundred times and it is great achievement for any regional language artist. Jeetu Bagdwal and Maletha ki Koo the radio-geet-natika are also relayed more than fifty times from Akashvani
8-Relay from Doordarshan:
The Hindi version of Rami was relayed by Delhi Doordarshan
Achievements fo Jeet Singh Negi

1-
He is called swar samrat. He collected many lost Garhwali folk music methodologies notes and preserved the for our future . . He also showed many Garhwali music instruments to our generation and showed that our conventional instruments are important to create Garhwali music . Jeet Singh Negi is great admirer of late kasha Anuragi the expert of dhol Sagar .
2-
Jeet Singh Negi is first Garhwali folk singer whose six songs were recored by His master Voice (HMV) in 1949
Cultural Activities

1942- Started cultural programs, staging dramas, and singing programs in Pauri city

1954: Worked as assistant director in Khalifa and Chaudaheen Rat (Hindustani Movies) in Mumbai

1954: He worked as Deputy Music Director in National Gramophone Company , Mumbai

1955 : First Garhwali Song Batch Singer in Akashvani Delhi

1955 ; Directed cultural program in Raghumal Arya Girls School, Delhi

1955: Lead the cultural show before Chinese Foreign delegates in Kanpur

1955-56: was connected with cultural programs of Sarswati Maha Vidyalaya Delhi

1955: Sung Garhwal land reform related progressive songs at Garhwali progressive front conference in Delhi

1956, Lead the Garhwali Cultural Team for participating in Parvteeya Lok Geet program , Delhi, inaugurated by Indian Home minister Govind Ballabh Pant

1956: Participated and sung in Buddha Jayanti program in Lansdown

1956; All India tour for organizing Garhwali musical and cultural programs in many cities

1956: Uttarapradesh lok Sahitya Sameeti Lucknow recorded those songs which were created sung and provided music by him only

HMV Mumbai recorded his song (music by him) in 1956 and 1964

1957: Participated and lead the singers and Garhwali cultural team in the program of Uttar Pradesh Suchana Vibhag and Lok Sahitya samitee, Lucknow

1957: Participated in first Greesma kalin festival, Lainsdown

1960-He represented and led the Garhwali cultural team in participating in historical Viraat Sanskrit Sammelan Dehradun and later, Negi Ji on became secretary of this organization

1962-He organized and participated with zeal in Parvatiya Sanskritik Sammelan

Trained the child artists for participating as Garhwali performers for collecting money for Rashtriya Surakhsa Kosh through Harijan Sevak Sangh Dehradun

1964-Organized a famous Garhwali cultural show for arijan Sevak Sangh in Shrinagar Garhwal

1966- Led the Garhwali cultural team for participating in cultural program of Garhwal Bhratri Mandal Mumbai

1970- Member of organizing body of Sharad Utsav Mussurie

1972-Led the cultural team of Dehradun for Garhwal Sabha Moradabad

1976- Trained the local Mumbai performing team for the cultural show of Garhwal Bhratri Mandal Mumbai. In Garhwali society, this is historic moment that local performers Mumbaikars came out on the stage

1979- Led the cultural team at occasion of inauguration of Door Darshan TV tower in Mussorie

1979-Particpated by staging cultural program in Central Defence Account Sahtabdi celebration , Dehradun

1979-lded the Garhwali cultural team for Sharadotsava in Mussorie

1980-Staged a Garhwali cultural show in Chandigarh for Garhwal sabha

Organized piratical Kala manch Dehradun and staged four Garhwali cultural shows in that year

1982-Staged a cultural show in Chandigarh

Selected secretary of piratical kala manch

1986 Presided Garhwali Kavi Sammelan Kanpur

1987 led the Garhwali cultural team for participating in Uttar Madhya Sanskrit sammelan of Government of India in Allahabad

One of the organizer of cultural program in Rashtriya Drishtibadharth sans than Dehradun

Garhwali Movies

He wrote dialogues and song for Meri Pyari Bwai

Total creation of Cithara (Video cassette ) of Rami and maletha Ki Kool

Wrote song for Samaun (till now, un-exhibited )

Awards /Appreciations


1955-Raghumal Arya Kanya Pathshala

1956-Garhwal sabha , Dehradun

1956 District Magistrate Dehradun for program in Prantiya Raksha dal

1956-Parvitiya jan vikash delhi

1956 Sarswati mahavidyalaya Delhi

1957 Prashastrti patra by Bhagta Darshan (MP) and Naredndra Dev Sgashtri (MLA)

1958, Parvatiya Sanskritik sammelan Dehradun

1962 Lok Vidyalaya Chamoli awarded hi by“ Lokaral’award

1970, himalaya kala sngh awarded him for Maletha ki Kool

1979, Central Defense Account Department Dehradun awarded him for his contribution in promoting cultural program

1980-Akshvani Naziabad awarded as “Lok Sangeet Swar”

1984, Doon memoranda club

Vishishtha samman

1990, Gadhratna, by garhwal Bhratri Mandal Mumbai

1995 Academy award by uttar Pradesh sangeet Academy of Uttar Pradesh government

1995, Doon Ratna by Nagrik Parishad SanshthanDehradun

1999, Meeel ka Pathar award by Uttarakhand Mahotsava Dehrdun

2000, First “ mohan Upreti lok Sanskriti Puruskar” by Almora sangh

2003, Eighteen social organizations of Dehradun facilitated him by “ samuhik Nagrik Abhnandan ”

Uttaranchal government

2007, New Tihri club facilitated him on 25/5/2007

His relation with social and cultural organization

Manonranjan Club Pauri

Shail Suman Mumbai

Himalaya kala sangam Delhi

Parvtiya jan kalyan samitee Delhi

Garhwal Bhratri Mandal Mumbai

Himalaya Kala sangam Dehradun

Parvatiya Sanskrit sammelan

Sarswati mahvidyalaya Delhi

Garhwal Sabha dehradun

Garhwal ramleela parishad Dehradun

Garhwali Sahitya mandal Delhi

Uttar Pradesh Harijan Samaj Dehradun

Bharat Sevak Samaj

(Curtsey by Hilliwood News , Mussorie, Vars-1, edition-4th,March, 2009, pages 8-12 )
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Critical History Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Brief History of Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Brief History of Garhwali Dramas and Staging of dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (History of Garhwali Dramas and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)

Copyright@ Bhishm Kukreti

History of Drama, History of Indian Dramas, History of Uttarakhandi Dramas, History of Garhwali Dramas, Hundred Years of Garhwali dramas to be continued…..

Bhishma Kukreti

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Comedy, Humorous Dramas of World Literature
Indian Comedy, Humorous Dramas 
Himalayan Comedy, Humorous Dramas
Uttarakhandi Comedy, Humorous Dramas
Garhwali Comedy, Humorous Dramas


               Ghar Javain: A Hilarious, Satirical and Humorous Garhwali Drama   

                 (Review of ‘Ghar Javain’ Drama by Lalit Mohan Thapliyal)

(Notes on Comedy, Humorous Dramas of World Literature; Indian Comedy, Humorous Dramas; Himalayan Comedy, Humorous Dramas; Uttarakhandi Comedy, Humorous Dramas; Garhwali Comedy, Humorous Dramas)

                                            Bhishm Kukreti


                    ‘Ghar Javain’ is one of the humorous and satirical dramas of famous Garhwali playwright Lalit Mohan Thapliyal. Lalit Mohan Thapliyal wrote his four great dramas in Garhwali from 1958 to-1964. Garhwali Sangit Natak samaj New Delhi published the hilarious drama ‘Ghar Javain’ 1964. However, before its publication, the Garhwali community organizations in various cities staged this humorous and amusing drama ‘Ghar Javain’.
                   ‘Ghar Javain’ means the bride lives in bride’s home and is settled there forever.
            The story of humorous and thoughtful drama ‘Ghar Javain’ is having humor and morality too.  The cunning persons of the village instigate ‘Ghar Javain’ to have alcohol and then these conning people activate the ‘Ghar Javain’ for gambling. In gambling, by shrewdness, a cunning person wins the wife of Ghar Javain’. The aim was that these crooked ones would take money ‘sinuously ‘from the wife of Ghar Javain.  However, in reality, it turns just opposite and unexpected. The wife of Ghar Javain’ asks the winner of her in gambling to become Ghar Javain’. The crooked one has to become Ghar Javain and she takes all house hold hard work from the crooked one as Ghar Javain’. The crooked one runs away from the new situation.
          Without preaching the playwright provides a couple of message against alcohol and gambling. In India, there is a certain image of a Ghar Javain’ and the drama writer Lalit Mohan Thapliyal cashes on the same images by showing the insulting situation of a Ghar Javain’. The humorous drama is very successful in binding audience.
              The story and the dialogues   of ‘Ghar Javain’ a comedy drama are entertaining and create laughter. The characters look real ones.
             Marvva (bald se) – ankwae, ankwe! Lola lamsingya tathga mijaj ni kaudi. Bheentaa und podi gau. Kauthig t paunchhi ja sukhi santi-kain leenaa ik singtutto.
                Everybody will appreciate the imagination power of playwright of humorous drama ‘Ghar Javain’ The speed of the drama is again exclusivity of Lalit Mohan Thapliyal.
          Humorous, hilarious and at the same time moral provider ‘Ghar Javain’ a comedy drama is one of the finest dramas of Garhwali language.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Garhwali Dramas  from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)
5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)

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Notes on Comedy, Humorous Dramas of World Literature, Indian Comedy,  Humorous Dramas, Himalayan Comedy , Humorous Dramas, Uttarakhandi  Comedy , Humorous Dramas, Garhwali Comedy , Humorous Dramas to be continued………

Bhishma Kukreti

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                           Garhwali Plays Staged in Mumbai

                                Hindi article by late Dinesh Bhardwaj

                             Translated by Bhishm Kukreti

         Parsi theatre has been dominating Mumbai theatre world. Parsi theatre style influenced modern popular Marathi drama too.
               It is difficult to find the birth of Garhwali play staged first time in Mumbai. ‘Bhari bhul’ is remembered by most of the people that Bhari  Bhul by Jeet Singh Negi is first drama staged in Mumbai (around 1952)
              From Mumbai’s playwright’s concerned, the first Garhwali play staged in 1962-1963 by Garhwal Bhratri Mandal. Late Deen Bandhu Dwivedi wrote this drama.
   Garhwal Bhratri Mandal staged another Garhwali play ‘ Guldasta’ writtern by playwright late Jagdish Prasad Balodi. National integrity is the theme of ‘Guldasta’ and is purely morality based play.
             As far as Garhwali plays are concerned in Mumbai, the period 1960-1 970 is ‘Lalit Mohan Thapliyal Era’.  Social organizations staged ‘ Khadu lapata’ for more than eight times. Bhratri Mandal staged ‘ Ekikaran’ and ‘Ghar jvanin’  Garhwali plays written by Lalit Mohan Thapliyal .
          Alaknanda Delhi drama group headed by Swarup Dhoundiyal staged ‘Ardhgrameshwar a famous Garhwali play by Rajendra Dhashmana in Mumbai in 1973-1974.
                  Alaknanda Delhi drama group headed by Swarup Dhoundiyal staged ‘Adalat’ and ‘ Mangtu Baulya’ plays written by Swarup Dhoundiyal in Mumbai in 1975-1976.
                   The ‘kala Shakha’ of Garhwal Bhartri Mandal staged ‘ Ghar Javain’ of Lalit Mohan  Thapliyal in 1975-1976.
                   Uttarakhand Jan Kalyan Samiti , Mumbai staged ‘ Maletha ki Kool’a Garhwali play written by Jeet Singh Negi in 1975-1976
                  Garhwal Bharatri Mandal staged a lyrical play ‘Tilu Rautela’ in 1989. Dinesh Bhardwaj wrote song, dialogues of the said stage play. Dinesh Bhardwaj and Ummed Singh Bisht (father of famous singer Kalpana Chauhan)   produced and directed ‘Tilu Rautela’ with a troop of forty artists.
   Dinesh Bhardwaj and Ummed singh Bisht (father of famous singer Kalpana Chauhan) wrote produced and directed a Garhwali play ‘Palayan’ under the banner of Garhwal Bhratri Mandal in 1989. The theme of ‘Palayan’ is based on the problem of migration from Garhwal to urban regions.
              Garhwal Bhartri Mandal staged a couple of times a Garhwali play ‘Budya lapata’ written by Dinesh Bhardwaj and Raman Kukreti.
       Around 1990-1995, Sonu Panwar staged ‘ Jhoudu latu’ a Garhwali play written by him two times. The drama is influenced by Amitabh Bacchan fame ‘ Shahnshah’a  Hindi feature film
                                   Garhwal Kala Kendra, Jogeshwari , Mumbai  staged a Garhwali play ‘ Murkhalya Budya ‘ written and directed by Mahaveer Singh Bisht. The drama attacks sharply on the modern culture for not providing due respect to old values and at the same time criticizes the orthodox culture not understanding the need of transformation to adjust new culture. Dialogues are marvelous and are as per the characters. 
                Recently (2009-2011) , Baldev Rana has been staging a lyrical Garhwali play ‘ Bhad Madho Singh Bhandari’ in Mumbai and the Garhwali play has been getting good response from audience too.
Copyright@ Bhishm Kukreti

 

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