Author Topic: Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटकों का विवरण  (Read 44885 times)

Bhishma Kukreti

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Social Theme in World Dramas
Social Theme in Indian Dramas 
Social Theme in Himalayan Dramas
Social Theme in Uttarakhandi Dramas
Social Theme in Garhwali Dramas
           

                             Ekikaran:  A Garhwali Drama Criticizing Deceptive Social Workers

                         (Review of a Garhwali Social drama Ekikaran   written by Lalit Mohan Thapliyal)

(Notes on Social Theme in World Dramas, Social Theme in Indian Dramas, Social Theme in Himalayan Dramas, Social Theme in Uttarakhandi Dramas, Social Theme in Garhwali Dramas)

                                                             Bhishm Kukreti

                       There is no doubt that the Migrated Garhwali social organizations and migrated social workers have been major role players in improving the economic conditions, education  development, and many other developmental works in rural Garhwal. In the field of Garhwali literature including dramas, before seventies, migrated Garhwalis and social organization contributed more than the inhabitants of Garhwal.  However, there had been many social workers and organizations those were just for the sake of being there. Many people don’t take any social work or social cause but they impose as if they were great social workers.  There are social workers who are collecting money for social causes but spend money on their own self interests. There are social organizations on letter heads only and the executives impose as if they were great social pain relievers.  It is a fact that there are tens of Garhwali social organizations in a city those do publicity in vernacular periodicals as if they were working for the society but in reality these social organizations are of no use to society from any angle.
              Great playwright Lalit Mohan Thapliyal takes such deceptive social workers in his Garhwali social drama ‘Ekikaran’ (published in 1964 and staged more than ten cities and towns of Garhwal). The story of           ‘Ekikaran’ a Garhwali social drama is that a very simple Garhwali Deen Dayal comes into the paws of one hundred fifty three social organizations and becomes victim of cunning, selfish, publicity loving so called social workers of Delhi. Deen Dayal offers donation and in turns he gets his hand fractured too.
              The story is very thin. However, the dialogues are interesting and continuity of dialogue delivery of each character engages the audience. The dialogues create curiosity among the audience. 
       This social drama is proof of imagination power of playwright Thapliyal but the scenes seem to be very realistic. The viewers identify the characters from their own social circles. The structure of ‘Ekikaran’ a Garhwali social drama is very accurate which brings speed in the drama.   The playwright has been successful in balancing between relationships, intentions, and circumstances.
         ‘Ekikaran’ a Garhwali social drama is still relevant in twenty first century.


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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Bhishma Kukreti

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Mysterious and Philosophical World dramas
Mysterious and Philosophical Indian dramas
Mysterious and Philosophical Himalayan dramas
Mysterious and Philosophical Uttarakhandi dramas
Mysterious and Philosophical Garhwali dramas


                            Ancchharyun ko Tal: A Mysterious and Philosophical Garhwali Drama

          (Review of Garhwali drama ‘Ancchharyun ko tal’ written by Lalit Mohan Thapliyal)
(Notes on Mysterious and Philosophical World dramas, Mysterious and Philosophical Indian dramas, Mysterious and Philosophical Himalayan dramas, Mysterious and Philosophical Uttarakhandi dramas, Mysterious and Philosophical Garhwali dramas)

                                                      Bhishm Kukreti

           ‘Ancchharyun ko tal’ drama by Lalit Mohan Thapliyal (pub1964) is definitely different than his other three famous dramas.  The drama is having always a mysterious mood in the scene.  There is similarity in the works of Carl Eric Soya (1896-1983) a Danish playwright and Lalit Mohan Thapliyal. Soya is famous for his satirical and farce plays .in 1940, Soya wrote a philosophical and mysterious (he called it neorealism) wrote a drama ‘Brudstykker of et monster’ (Pieces of a Pattern) that deals with mysterious confluence of apparent law and accident in human existence. Scottish playwright Bridie James (Dr Osborne Henry Mavor , 188-1951) wrote mysterious and philosophical dramas and in many drams , Bridie experimented with unresolved plot too. Italian playwright Luigi Pirandelo has been famous philosophical drama creator. Gabriel Marcel is also a famous drama writer of philosophical and mysterious dramas.
                   The story of mysterious and philosophical drama ‘Ancchharyun ko tal’ is the incidents happened in one or two hours of mid night.   Mani takes a charmer Jogdas towards mountainous pond  (where  unsatisfied female spirits live ) for a special performance to harm his enemy Gabr singh and his family who grabbed his fertile farm with unethical means.  The special performance requires no disturbance at all. Jogi das cautioned that if charmer performance is not done properly, many harmful incidents might happen. However, Madho Singh meets Mani there. Madho Singh lives a solitary life in mountain out of village and is victim of his  younger r brother Gabar Singh in village relation . In the mean time, a couple of surprising incidents take place at a time. Jasu son of Gabbar Singh informs that somebody murdered Gabbar Singh. Gabbar Singh’s last wish was that Madho should lit fire on his pyre. A woman (Madho’s bhabhi whom Gabbar Singh grabbed) does suicide there near pond of female spirits. Tiger takes Jogi Das.
     Today, all the characters are different than their past life as Madho who lives a disciplined life like  a saint but he becomes eager to kill Gabbar Singh. There is great mystery all the time in the stage due to characterization and dialogues of the drama.  The dialogues are not big but and each word has great importance in the drama. Lalit Mohan had been expert of speed in the drama. There is high speed in this mysterious and philosophical drama ‘Ancchharyun ko tal’ too.
   The drama is one of the great dramas among modern Garhwali dramas.

Further readings:

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)
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Notes on Mysterious and Philosophical World dramas, Mysterious and Philosophical Indian dramas, Mysterious and Philosophical Himalayan dramas, Mysterious and Philosophical Uttarakhandi dramas, Mysterious and Philosophical Garhwali dramas to be continued

Bhishma Kukreti

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World Social Dramas
 Indian Social Dramas
 Himalayan Social Drama
 Uttarakhandi Social Dramas
 Garhwali Social Dramas
Hundred Years of Garhwali dramas


      ‘Bwari’: A Garhwali Social Drama Showing the Pain of Daughter in Law

  (Review of a Garhwali Social Drama ‘Bwari’ ‘written by Dr. Govind Chatak)
(Notes on World Social Dramas, Indian Social Dramas, Himalayan Social Drama, Uttarakhandi Social Dramas, Garhwali Social Dramas)

                                                Bhishm Kukreti

                         ‘Bwari’ is one of the seven Garhwali drama collections ‘Jangli Fool’ published by Dr. Govind Chatak in 1956. Dr Chatak contributed in various fields of Garhwali literature.
                 The dramatist took the theme from a normal Garhwali family of fifties when taking work from a daughter in law was the right of a mother in law but there was no duty for mother in law to understand physical and psychological pain of her daughter in law. The story Garhwali Social Drama ‘Bwari’ is that a daughter in law is not keeping well has a high fever. However, daughter in law has to go to forest for collecting grass. When such person requires physical and mental soothing the mother in law can’t tolerate any sympathetic words from his son for his wife. The ‘nanad ‘is catalyst for showing cruel behaviors of a mother in law towards her daughter in law.
              The story is based on realistic incidents or rather custom of Garhwal of that era. The dialogues are perfect in showing psychology of society. The drama length is small but is enough to show the reality. The characters are woven very evenly and least complexity is there in this social drama ‘Bwari’.
                  The dramatist did not try to show any changes through any revolt acts   from the side of son or daughter in law as he found less revolt in the society at that time. In social drama ‘Adalat’ by Swarup Dhoundiyal of nineties we may see the revolt or resistance from daughter in law and from son too. The writer has been successful in showing physical and psychological struggle of normal villager of that time in Garhwal.
           Dr Chatak is successful in creating pathos rapture in the drama ‘Bwari’. There is plenty scope for director to adpt drama as per his directorial methodology.


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)

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Notes on World Social Dramas,, Indian Social Dramas,  Himalayan Social Drama,  Uttarakhandi Social Dramas,  Garhwali Social Dramas, Hundred Years of Garhwali dramas  to be continued…..

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                      Ghat:  A Garhwali Drama Attacking Blind Faith
         (Review of Garhwali drama ‘Ghat’ written by Dr Govind Chatak)
(Notes of Garhwali dramas, Uttarakhandi dramas, Himalayan dramas, Indian dramas) 

                      Drama Reviewed by: Bhishm Kukreti

                 When medical facilities were available with scarcity, there is no proper formal education and right social education in any society, the blind faith persists for curing the diseases.  In old age, instead of calling medicine practitioner, people used to call ‘Mantrik’ for curing the patient. Dr Govind Chatak deals the problem of people believing on ‘Mantrik’ in Ghat drama (1956)
                         A patient is affected by cold and day by day the disease is enhancing. The kind doctor come for taking care of the patient but the parents of patient ignore the doctor and provide priority and importance to Mantrik-Tantrik.  In this way the patient dies.
                The dram is simple and was very much relevant in fifties.  It is also observed that still many types of blind faiths exist in all the societies.  The dram seems to be relevant in many cases.
  The dialogues match and les conflict is shown between the characters. Abodh Bandhu Bahuguna appreciates the dramas of Dr.Chatak for depicting real life of rural Garhwal in his dramas.
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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               Dwi Hajar ki Dwi Ankhee: A Garhwali Drama about Woman Psychology
             
(Review of a Garhwali Drama ‘Dwi Hajar ki Dwi Ankhee’ written by Dr. Govind Chatak)
(Notes on Woman Psychology in Modern Dramas, Woman Psychology in Modern in Indian Dramas, Woman Psychology in Modern in Himalayan Dramas, Woman Psychology in Modern in Uttarakhandi Dramas, Woman Psychology in Modern in Garhwali Dramas)

                                                           Bhishm Kukreti


                                     Barring ‘Pankho’ , ‘Vasanti’ dramas, there has been less importance on the subject of women in Garhwal before Dr. Chatak.  Dr. Chatak repeated ‘Pankho’ subject but differently. In this drama the heroin revolt against the situation. Pankho was written in 1932 and Dr Chatal created ‘‘Dwi Hajar ki Dwi Ankhee’ in 1956. Garhwali dramas are mirror for informing the social changes taken place time to time. In ‘Pankho’, the woman takes the situation as it is but in ‘Dwi Hajar ki Dwi Ankhee’ the woman character is more rebellion and wants to be heard.
                The story is not complex in ‘Dwi Hajar ki Dwi Ankhee’ drama by Dr. Govind Chatak. Vasanti a young girl is married to an old man. Physically and psychologically, Vasantis is dissatisfied from her old husband.  Vasanti runs away from her husband with her cunning boy friend. He takes her to a Hotel in city. He sells her to the hotel owner for two thousand bucks.  The writer informs audience symbolically the hotel owner wants to us Vasant as call girl in his hotel. When Vasanti becomes annoyed on hotel owner the owner replies teasingly her,” dwi hajar ma t teri ankhi I chhan” and dram ends here.
                       The drama is memorable for character Vasanti. At one point Vasanti  leaves her husband and runs away with a cunning boy for the better physical and mental pleasure. However, when she comes to hotel she is worried about her old aged husband about his problem of cooking food and many other his problems due to his old age. This the best part of the drama which shows another aspect of a woman as a real care taker of this earth.
 The drama is simple and is able in creating curiosity among audience about ‘what happened next?’.


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 Woman Psychology in Modern Dramas, Woman Psychology in Modern in Indian Dramas, Woman Psychology in Modern in Himalayan Dramas, Woman Psychology in Modern in Uttarakhandi Dramas, Woman Psychology in Modern in Garhwali Dramas to be continued…….

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                          Ker: A Garhwali Drama for Human Right Fight
  (Review of Garhwali Drama ‘Ker’ (1956) written by Dr. Govind Chatak)
(Notes on Dramas about Human Right, Social right; , Indian Dramas about Human Right Social right ; Himalayan Dramas about Human Right, Social right ;, Uttarakhandi  Dramas about Human Right, Social Right  Fight; Garhwali Dramas about Human Right , Social Right Fight)
                 
                                                Bhishm Kukreti

                      In old time even after independent, there were social norms for Shilpkars (Untouchables) that they could not enter into any temple and the bride-groom were  not allowed to go by  Dola-Palki /palanquin in their marriage procession through village boundary or near temple.  Dr Chatak took the same subject of struggle for entry into temple by Shilpkars.  Gyan Singh is the leader of Shilpkar who inspire his socially deprived community to enter into temple. In this process Gyan Singh and his community fellows get beaten by upper caste people.
  Due to dialogues drama gets speed.
  The drama is purely a propaganda drama and Dr Chatak avoids emotional scenes into drama. Dr Anil Dabral calls this drama ‘ker’ as ‘sarkari natak’.
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 Dramas about Human Right Fight, Indian Dramas about Human Right Fight, Himalayan Dramas about Human Right Fight, Uttarakhandi  Dramas about Human Right Fight Garhwali Dramas about Human Right Fight to be continued……..

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                               Naunu Hondu t: A Garhwali Drama about Desiring a Son

 (Review of Garhwali Drama ‘Naunu Hondu t’  (1956) written by Dr. Govind Chatak)
(Notes on Indian Dramas, Himalayan Dramas, Uttarakhandi dramas, Garhwali Drama, Hundred years of Garhwali dramas)

                                               Bhishm Kukreti


                             There is acute desire to have son for carrying the family name in every society.  Parents take help of Mahatmas, Babas and exorcist. Having a son or daughter is a biological process and there is no role of Babas or exorcist in getting son or daughter. However, people take help of Babas or mahatmas for having a son. In this process, crooked Babas exploit the people. Dr. Chatak convincingly shows the acute desire for son and bitter ways of exploitation of situation by cunning, crooked Babas, or so called mahatmas in the drama ‘Naunu Hondu t’.  The drama is still relevant. The dialogues are taken from common life. Characterization is fair and characters are from average life. According to Dr. Anil Dabral, the writer did not use any imagination in creating situation or extraordinary characters.  The drama is interesting to watch.

               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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                Mundaro:  A Garhwali Drama about Marriages by Parent’s Choice 


 (Review of a Garhwali drama ‘Mundaro’ (1956) written by Dr. Govind Chatak)
(Notes on Indian Social Dramas, f Himalayan Social Dramas, Uttarakhandi Social dramas, Garhwali Social Dramas, Hundred years of Garhwali dramas)

                                     Bhishm Kukreti

              Now, it is less in practice in urban life that parents wish marrying their children from their angles. A few years back, it was very common in rural Garhwal or India that parents used to force their children for marrying as per parent’s choices.   It was customary that parents used to inform the boy/girl that they had been engaged.     
          Mundaro means a headache.      Garhwali drama ‘Mundaro’ (1956) written by Dr. Govind Chatak is about various tactics used by a father for his son marrying by parent’s choice and not by son’s choice. In this way, the son faces many uncomfortable situations and awkward circumstances.  The drama depicts the life style of Indian societies of sixties and is important to know the society of that time.
               The situation and dialogues create speed for the drama. The drama does not have any surprising twist.
    From knowing the social norms of past point of view, the drama is important.
               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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                           Jangli Fool: A Garhwali Social Drama about Compromise and Lust

                                   (Review of a Garhwali Drama ‘Jangli Fool’ written by Dr. Govind Chatak)
(Notes on Indian Social dramas, Himalayan Social dramas, Uttarakhandi Social dramas, Garhwali Social dramas, Hundred Years of Garhwali dramas)

                                            Bhishma Kukreti

                    ‘Jangli Fool’ a social drama is one of the seven dramas from Jangli Fool’ book drama collections by Dr. Govind Chatak published in 1956 from Dehradun.
                   ‘Jangli Fool’ a social drama is the next step of ‘Mundaro’ drama by Dr. Govind Chatak. The story is about an educated, urbanized and well settled boy Ramesh who is married to an uneducated, rural inhabitant girl due to his parent’s forceful choice. Ramesh could not go against his parent’s will. Now, the problems between husband and wife come for compromises in the areas of education, social behaviors, and life styles. Ramesh dreamt for well educated and modern life styled wife (the flowers cultivated by a gardener) but in reality the girl is as raw as ‘flower of a forest’ (‘Jangli Fool’). The girl is very beautiful and slowly Ramesh comes in compromising situation. The writer had been successful in creating a panorama for realism, lust and psychological aspects of mismatched couples.
   Dr .Anil Dabral calls the drama a classical drama and forever drama among Garhwali dramas. The dialogues and situations run together and as per characters.

    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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                       Nachi Narsing: A Patriotic Garhwali drama

(Review of ‘Nachi Narsing’ (1973) a Garhwali Patriotic Drama written by Jagdish Pokhariyal)
(Notes on Patriotic Indian drama, Patriotic Himalayan drama, Patriotic Uttarakhandi drama, Garhwali Patriotic Drama, Hundred Years of Garhwali drama)

                                            Bhishm Kukreti

                  The theme of ‘Nachi Narsing’ (1973) drama written by Jagdish Pokhariyal is about the Bangladesh Independent war in 1972. An army cadre is s sending his holiday with leisure and pleasure. Suddenly the India-Pak war broke due to Bangladesh freedom from Pakistan.  The army man Shuru shows his enthusiasm to fight for his country.
                             Before the news of war, the dramatist shows the weaknesses of village as alcoholism, gambling,laziness of male inhabitants etc. There are situations affection between Shuru and his wife Maya or between Shuru and his sister.
                 Narsing is the deity and symbol of chivalry. The remarkable scene of this drama is nursing dance and Jagar. The symbolic use of Narsing dance is the central point of ‘Nachi Nursing’ (1973) drama.
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


Notes on Patriotic Indian drama, Patriotic Himalayan drama, Patriotic Uttarakhandi drama, Garhwali Patriotic Drama, Hundred Years of Garhwali Drama to be continued……

 

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