Author Topic: Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटकों का विवरण  (Read 53140 times)

Bhishma Kukreti

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                       Bantwaro: A Garhwali Drama about Fracture in Joint Family Custom

   (Review on a Garhwali Drama ‘Bantwaro’ written by Vaidraj Govind Ram Pokhariyal Shastri)
(Notes on Social Dramas, Indian Social Dramas, Himalayan Social Dramas, Uttarakhandi Social Dramas Garhwali Social Dramas, Hundred Years of Modern Garhwali Dramas)
                 
                                          Bhishm Kukreti

                            In Garhwali, there are no words for ‘Naukar,, Chakar, or Majdoor. It means in old age there was no concept of ‘work force’ or Majdoor’ in old rural Garhwal. Agriculture or farming requires a workforce. Family members used to finish all agro-based jobs. Therefore, a joint family was the best alternative for agriculture or farming in that workforce is always available. However, when the migration started ‘Joint Family’ the concept got many jolts.  Vaidraj Pundit Govind Ram Pokhariyal had been a Garhwali poet who is more famous for his translating ‘Shrimad Bhagwat Geeta’ into Garhwali. Less people know about his contribution to the development of modern Garhwali Drama.
                      Vaidraj Pokhariyal published a Garhwali social Drama ‘Bantwaro’ in the eighties. There are twenty-two scenes for two acts play.  The drama deals with the problems of fracture in the joint family concept. In the social drama ‘Bantwaro’ when a family divides, initially there is happiness about individual freedom. However, later on, many problems come to the surface and there are individual losses such as the death of a child, the death of a mother, etc due to family division.  The dramatist had been successful in showing the conflict among women about individual freedom and the positive points of a joint family.
               The playwright also used folk songs for providing speed to the drama and for creating a special effects too. The conflicts of women are real.
   Dialogues develop the characters and are capable of providing speed to the story. The dialogues create satire, farce, and strength to the social drama ‘Bantwaro’
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 Social Dramas, Indian Social Dramas, Himalayan Social Dramas, Uttarakhandi Social Dramas Garhwali Social Dramas, Hundred Years of Modern Garhwali Dramas to be continued ….

Bhishma Kukreti

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                    Vidhwa Byoli: A Garhwali Drama about Sacrifice and brevity of a Garhwali widow.

          (Review of Garhwali Drama ‘Vidhwa Byoli’ written by Shanti Swarup Uniyal (1980) )
(Notes on Modern Indian dramas, Modern Himalayan Dramas, Modern Uttarakhandi Dramas, Modern Garhwali Dramas, Hundred Years of Modern Garhwali Dramas)

                                        Bhishm Kukreti


                  Shari Swarup Uniyal published a Garhwali drama ‘Vidhwa Byoli’ in 1980. Uniyal informs that the drama was already staged and male performers played the roles of female characters. There are 8 scenes in the drama.
                            The story is about the struggle, sacrifice, and brevity of a widow who did not experience physical acquaintance with her husband.  Sushila was engaged with Veeru. Veeru had to rush to the army due to the war between India and its enemy. Veeru advised his mother that in his absence she could proceed with the marriage and the sword would be his representative. In old age ‘The Takon Byau’ was commonly a custom of marriage where a sword used to be there to represent the groom and all rituals were performed around the sword as the groom.
                 The marriage of Veeru takes place in his absence and Sushila comes to her mother in law house with the marriage procession. In the meantime, Veeru loses his life in the battle. Now, Sushila is a widow who did not touch physically her husband. Veeru’s mother dies in grief. Sushila had to suffer and passes her life as a widow. From a social angle, she is a widow. One day a businessman Pathan comes to her house and wants to rest there. Pathan wants to take benefit of her being alone. Sushila kills Pathan with the same sword which was represented as a groom in her marriage.
                   The drama shows the struggle of a widow and her problems. The drama is of pathos rapture.

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 Modern Indian dramas, Modern Himalayan Dramas, Modern Uttarakhandi Dramas, Modern Garhwali Dramas, and Hundred Years of Modern Garhwali Dramas to be continue….

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                Chhilaa Chhaul : A Garhwali Lyrical-Prose Drama based on Folk Songs


(Review of ‘Chhailaa Chhaul छैलाअ छौळ’ a Garhwali Lyrical- Prose Drama by Abodh Bandhu Bahuguna)
(Notes on Indian Lyrical Drama, Himalayan Lyrical Drama, Uttarakhandi Lyrical Drama, Garhwali Lyrical Drama, Hundred Years of Modern Garhwali Dramas)

                                        Bhishm Kukreti

               Badi-Badan were the real source of creating folk drama and folk songs in Garhwal from medieval times. Badi -Badan used to create instant drama and used to play. That is why it is said, ’Badyun k Swang’.  Their dramas used to be with lyrical folk songs with less prose (Kukreti, Chitthi-Patri). Their dramas used to be of contemporary subjects and very agile that a dead man would rise from a pyre.
                       Abodh Bandhu Bahuguna took a cue from the centuries-old custom of Bad-Badan‘s swang and published a Garhwali Drama ‘Chhailaa Chhaul छैलाअ छौळ’ in ‘Uttarakhand captain, Muni ki Reti, 1959.
    The style is hundred percent ‘Badi-Badan Swang’ of Garhwal. The dialogues are just Badi-Badan use them while singing and dancing. The following dialogue by Sutrdhar is enough to prove the style :
सूत्रधार -- सामन्या ठाकुरों ! सामन्या साब! हाथ पर जान्ठो काँध मा बाघ. घुण्ड -घुञडो
की दाळ, कमर कमर को भात - पंडिजी की फेंकड़ी फ्यान जजमान जी कि ध्येंगणि
ध्याँ (डमडम, डमडम डमडम .....)
पोरु का पिण्डाळू खाड, ऐन्सू का पिण्डाळू खाड - पिण्डाळू खाड का खाड -अर अब
पिण्डाळू को भेळपापड़ो , भेळपापड़ा को मीन अर मीन का खजेणा दीन ----(डमडम, डमडम डमडम .....)

                  The drama is based on the lyrical folk story of Sangramu Budya. The playwright has been successful in creating a balance between love rapture and social norms. The dialogues are of theatrical style as found in ‘Bhakt Prahlad’. The drama creates humor and rapture due to the story of old man Sangramu Budya and young   Govindi. There is another character Banva in the drama who also loves Govindi.
                The drama ‘Chhailaa Chhaul छैलाअ छौळ’ is enjoyable.
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 Indian Lyrical Drama, Himalayan Lyrical Drama, Uttarakhandi Lyrical Drama, Garhwali Lyrical Drama, Hundred Years of Modern Garhwali Dramas to be continued

Bhishma Kukreti

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                    Nauchhami Narain: A Lyrical Garhwali Drama about Nine Characteristics of Lord Krishna


(Review of ‘Nauchhami Narain’ a Lyrical Garhwali Drama by Abodh Bandhu Bahuguna (1986)

(Notes of Indian Stage Plays, Himalayan Stage Plays, Uttarakhandi Stage Plays, Garhwali Stage Plays, Hundred Years of Modern Garhwali Stage Plays)

                                                   Bhishm Kukreti

                             ‘Nauchhami Narain’ a lyrical Garhwali play is based on nine aspects of life span of lord Krishna.  There are nine parts of ‘Nauchhami Narain’:
1-Krishna Janm
2-Pootana Maran
3-Kaliya Dahan
4-Govardhan Dharan
5-Ras Leela
6-Cheer Haran
7-Ban Devi Poojan
8-Rukmani Mangal
9-Updesh in Kurukshetra
                 The playwright Abodh Bandhu Bahuguna regionalized the story of Lord Krishna. There is no any story link. The drama is totally a poetic play and is on Jagar style where it is not necessary to have a link of one part to other stories.  There are many emotions in the drama to attract the attention of the audience. Bhishma Kukreti supports the statement of Dr. Anil Dabral that it is not a drama but a descriptive tale.  It may be said that Bahuguna wrote Jagar of lord Krishna in modern and Sanskritized Garhwali (for which Bahuguna is famous).
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)
8- Abodh Bandhu Bahuguna,1986,  ‘Chakrchal’ , 16 Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058

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

Bhishma Kukreti

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                                  Jeetu Haran: A Garhwali Poetic Drama about Jeetu Bagdwal

(Review of a Poetic Garhwali Drama ‘ Jeetu Haran’ written by Abodh Bandhu Bahuguna, 1986)
(Notes on Indian Poetic Drama, Himalayan Poetic Drama, Uttarakhandi Poetic Drama, Garhwali Poetic Drama, Hundred Years of Modern Garhwali Dramas)

                                                Bhishm Kukreti


                    All the plays compiled in ‘Chakrchal’ by Abodh Bandhu Bahuguna are radio dramas. There is one poetic drama in the collection ‘ Jeetu Haran’.  The poetic drama ‘ Jeetu Haran’ is based on the popular folk story of Jeetu Bagdwal.
       The story of Jeetu Bagdwal is narrated by sutrdhar in a whole poetic drama. The story is about the meeting of Jeetu Bagdwal with Bharana, there are many community songs in the poetic drama ‘ Jeetu Haran’ including a couple of folk work songs.  The drama does not end with anchheri  (fery) taking Jeetu Bagdwal but with a preaching Jhumailo song.
           The lyrical drama was written keeping in mind the radio audience. Bahuguna never leaves his intellectualism in each of his creations. Bhishma Kukreti calls Intellectualism in Garhwali literature ‘Bahugunaism’ and realism as ‘ Dandariyalism’.  The lyrics are  with figures of speech and create desired images.

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)
8- Abodh Bandhu Bahuguna,1986,  ‘Chakrchal’ , 16 Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058

Copyright@ Bhishm Kukreti Notes on Indian Poetic Drama, Himalayan Poetic Drama, Uttarakhandi Poetic Drama, Garhwali Poetic Drama, Hundred Years of Modern Garhwali Dramas to be continued……

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           Srishthi Sambhahv: A Philosophical Lyrical Garhwali Drama
 (Review of a Philosophical Garhwali Drama ‘Srishthi Sambhahv’ (The Birth of Earth) written by Abodh Bandhu Bahuguna)
(Notes on Indian Philosophical Drama, Himalayan Philosophical Drama, Uttarakhandi Philosophical Drama, Garhwali Philosophical Drama, Philosophical Dramas from  Hundred Years of Modern Garhwali Drama )

                                       Bhishma Kukreti

                 Philosophical approaches to creating drama are not new to Indian civilization. Even the modern French dramatist and Nobel Prize winner (1915) Romain Rolland (1866-1944) wrote various philosophical dramas based on Indian philosophical thoughts.
              As ancient Greece Meno and Mencius are very intellectual dramas, the same way, ‘Srishthi Sambhahv’ by Abodh Bandhu Bahuguna is also a very intellectual philosophical drama.  Many admirers of Bahuguna state that Bahuguna’s contribution to creating philosophical dramas is the same as the contribution of Sir Peter Levin Shaffer. However, Sir Peter Levin Shaffer mixed satire with philosophy in his plays but Abodh Bandhu Bahuguna did not mix humor in his philosophical drama.
                The philosophical and lyrical drama ‘Srishthi Sambhahv’ is based on the philosophy of Dhol Sagar and Nirankar jagar. Earlier to this, with the same subject, Dr. Chatak narrated a story of ‘Nirankar jagar ‘in his book ‘Garhwal ke lok geeton ka Sanskritik Adhyan’.
     This is an appreciable experiment done by Abodh Bandhu Bahuguna. There are Jagri, Garud, Garuda, and Soni to narrate the birth of the earth.

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)
8- Abodh Bandhu Bahuguna,1986,  ‘Chakrchal’ , 16 Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058
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Notes on Indian Philosophical Drama, Himalayan Philosophical Drama, Uttarakhandi Philosophical Drama, Garhwali Philosophical Drama, Philosophical Dramas from Hundred Years of Modern Garhwali Drama to be continued……

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Kathai Birali (काठऐ बिराळि): A Garhwali Social Drama depicting Frustration of Intellectual Migrated Garhwalis


    (Review of a contemporary Garhwali Drama Kathai Birali (काठऐ बिराळि) by Abodh Bandhu Bahuguna)
(Notes on contemporary Indian dramas, contemporary Himalayan dramas, contemporary Uttarakhandi dramas, contemporary Garhwali dramas, hundred years of modern Garhwali dramas)   

                                               Bhishm Kukreti

          Kathai Birali (काठऐ बिराळि) is one of the sixteen contemporary Garhwali dramas of ‘Chakrchal’(1986) a contemporary Garhwali drama collection book by Abodh Bandhu Bahuguna. The drama deals with the emotional attachment of migrated Garhwalis of Delhi, and their desire to do something for their beloved motherland Garhwal. However, due to the necessary struggle for a better life in the cities of Delhi, Mumbai, etc they are unable to contribute physically there in Garhwal. 
              The contemporary Garhwali drama Kathai Birali (काठऐ बिराळि)   is about social workers such as Martand (a businessman), Tarang  (a poet and intellectual), Aruna (a student leader), Bedhadak (a journalist), Raghu (Peon at  Garhwal Sabha Delhi, Ajad (a politician), Bhola (just came to Delhi for his wife‘s treatment) taking part in the conference. 
           There is no thrill in this contemporary drama but it opens many problems of Garhwal and pertaining to migrated Garhwalis. There is evergreen problem of contemporary Garhwal in the drama Kathai Birali (काठऐ बिराळि) as following dialogue states
मार्तंड - हाँ त आजै मिटिग्यौ कार्यक्रम क्या च?
तरंग- बात त पुराणि ही च गुरजि पण अमणि ज़रा हम लोग वां पर कुछ ण्या तरीका से
गंभीरता पूर्बक स्वचणा छां -पाड़ी माटो सौब उन्दों बौग्यी औणु च.
       The playwright of contemporary drama Kathai Birali (काठऐ बिराळि) also deals with the negative points in the contemporary political world. Azad lost election recent election. Now, he joins the ruling party and the characters of the contemporary drama Kathai Birali (काठऐ बिराळि) describe his political characteristics as –
 मार्तंड - अच्छा त आजाद जीन ह्रदय परिवर्तन कर यले ?
अरुणा - ये देश मा हौर हूणु क्या च. बगैर स्र्जारी का दिल बदलेणा छन -कमाल
     Bahuguna has been a leader in adopting popular Hindi and Sanskrit phrases in Garhwali as
तरंग-सूरज का समणि मु छ्याळो क्य रगर्यौण
            The contemporary Garhwali drama ‘Kathai Birali (काठऐ बिराळि)’ is successful in depicting the frustrating state of migrated Garhwali intellectuals and social workers who can only discuss the problems of contemporary Garhwal and Garhwalis in plains but are totally unable to act upon.
                         Bahuguna wrote this contemporary Garhwali drama ‘Kathai Birali (काठऐ बिराळि)’ for radio medium. Therefore, Abodh Bandhu emphasized more dialogues than the requirement of the stage in contemporary Garhwali drama ‘Kathai Birali (काठऐ बिराळि)’.
 References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (Contemporary  Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Contemporary 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 (Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Contemporary 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 Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna,1986,  ‘Chakrchal’ , 16 Contemporary  Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058
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 Notes on contemporary Indian dramas, contemporary Himalayan dramas, contemporary Uttarakhandi dramas, contemporary Garhwali dramas, hundred years of contemporary Garhwali dramas to be continued…..

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                        Jod Ghatuno: A Modern Garhwali drama about inner conflict among Migrated Garhwalis.

 (Review of a Garhwali Drama ‘Jod Ghatuno’ by playwright Abodh Bandhu Bahuguna)
(Critical History of Modern Indian Drama, Critical History of Modern Himalayan Drama, Critical History of Modern Uttarakhandi Drama, Critical History of Modern Garhwali  Drama, Hundred Years of Modern Garhwali Dramas)


                                     Bhishma Kukreti

                            ‘Jod Ghatuno’ is one of the modern Garhwali dramas of ‘Chakrchal a modern Garhwali drama collection by Abodh Bandhu Bahuguna.  Abodh Bandhu wrote this modern Garhwali drama for radio medium.
                     The modern Garhwali drama ‘Jod Ghatuno’ deals with inner conflicts among migrated Garhwalis. On one side the migrated Uttarakhandi has to improve his present condition in cities and struggle for materialistic world achievement. The Garhwali who is a first-generation migrated has sympathy, and memories for his motherland. The second generation is more realistic and outspoken. If the second generation does not hate Pahad and Pahdi gaon the new generation watches the situation with a realistic vision.
                   Fifty-seven years old Devi Prasad is a first-class government officer in Delhi. Devi Prasad and his wife always remember that they are upper caste among upper-caste Brahmin Chauthu Baman) and are proud of such a caste. However, their daughter marries a Maharashtrian boy (whose caste is unknown?). The son Divakar who represents the second generation is more realistic and criticizes a social worker Chakradhar swami for Garhwalis of Garhwal exploiting migrated Garhwalis.
                The modern Garhwali drama writer Abodh Bandhu Bahuguna has been successful in showing the conflict between first-generation migrated from Garhwal and second-generation brought to Delhi
Devki- are par duniyadari t nabhauni padd. Kano lata chhe tu
Divakar no no mummy! Apni jindagau apno time teble hono chaind ar parivar ko apno family budget fer dekh aish asrat.
Devi Prasad- jindagi hisab kitab kwee sarkaari budget nee chh, ki ithga ghato rai ar ithga munafa rai ----ghato ko bajat bi hond.
                  The incidents of modern Garhwali drama ‘Jod Ghatuno’ take place in every migrated family. The drama ‘Jod Ghatuno’ is realistic modern Garhwali drama.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Modern, Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Modern, Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Modern, Contemporary Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Modern, Contemporary 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 (Modern, Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Modern, Contemporary 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 Moder, Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna, 1986, ‘Chakrchal’, 16 Modern, Contemporary Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058

Copyright@ Bhishm Kukreti, Mumbai, India

Notes on Critical History of Modern Indian Drama, Critical History of Modern Himalayan Drama, Critical History of Modern Uttarakhandi Drama, Critical History of Modern Garhwali Drama, Hundred Years of Modern Garhwali Dramas to be continued…….

Bhishma Kukreti

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                  Kulangar: A drama about Crooked Persons
                  (Review of ‘Kulangar’ drama by Abodh Bandhu Bahuguna)

                         Bhishma Kukreti
                                 ‘Kulangar’ is one of the sixteen dramas of ‘Chakrchal’ a drama collection by Abodh Bandhu Bahuguna. Abodh Bandhu Bahuguna wrote the drama for radio medium. 
  The subject and aim of the drama are very confusing. The playwright wanted to tell many mottos and in making so the dramatist failed to convey the desired message.  There are characters such as Chitra Singh his son Sher sing, the mother of Chitra Singh, a Dalit his beautiful daughter, and two Mitra Nand Bahuguna of Jhala village, Patwari.
  Since the drama is ineffective much is not possible to write about this drama.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Modern, Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Modern, Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Modern, Contemporary Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Modern, Contemporary 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 (Modern, Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Modern, Contemporary 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 Moder, Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna, 1986, ‘Chakrchal’, 16 Modern, Contemporary Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058
Copyright@ Bhishm Kukreti, Mumbai, India

Bhishma Kukreti

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                     Dugharya: A Garhwali Social Drama about remarrying by a Widow
                    (Review of a Garhwali Social drama ‘Dugharya’ written by Abodh Bandhu Bahuguna)
 (Notes on Garhwali Social drama, Uttarakhandi Social drama, Himalayan Social Drama, Indian Social drama)
                                                    Bhishma Kukreti
                          ‘Dugharya’ means the woman who leaves her first husband's house and remarries another person.  The woman marries another person due to many reasons. Society accepts and criticizes the same time to ‘Dugharya’ woman.
                 ‘Dugharya’ a Garhwali social drama is about a woman ‘Dauntha’ remarrying another man because of the death of her husband in the army. From her first husband, there is a nine-year-old boy ‘Gundru’ and his old grandfather ‘Jimthu’ takes care of ‘Gundru’ ‘. Dauntha has three girl children from her second husband.
                Gundru asks his grandfather about his mother and his grandfather replies that she is no more. ‘Dauntha’ comes to Jimthu and requests to offer her the boy.
  The social drama is simple with the struggle of Jimthu an old man in taking care of his grandchild. The social drama ‘Dugharya’ shows a conflict between Jimthu and Dauntha with keeping social norms intact. Bahuguna could depict easily the psychology of a child and a mother.
  The dialogues are  appropriate with characters and with a lot of Garhwali sayings and proverbs.

              ‘Dugharya’ a Garhwali social drama is written for radio medium by Bahuguna.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Modern, Contemporary Garhwali Social Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Modern, Contemporary Garhwali Social dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Modern, Contemporary Garhwali Social Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Modern, Contemporary Garhwali Social 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 (Modern, Contemporary Garhwali Social Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Modern, Contemporary Garhwali Social 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 Modern, Contemporary Garhwali Social drama)
8- Abodh Bandhu Bahuguna, 1986, ‘Chakrchal’, 16 Modern, Contemporary Garhwali Social Drama collection, B2 -B48, Janakpuri, New Delhi -110058
Copyright@ Bhishm Kukreti, Mumbai, India


Notes on Garhwali Social drama, Uttarakhandi Social drama, Himalayan Social Drama, Indian Social drama to be continued….

 

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