Author Topic: Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटकों का विवरण  (Read 74539 times)

Bhishma Kukreti

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Tinchari: A Garhwali Drama Explaining Harmful Effects of Alcohol Consumption 



                                   Bhishma Kukreti

                Alcohol consumption is not suitable for a country such as India. Alcohol consumption or alcohol use does much harm to individuals and society as a whole. Alcohol consumption is responsible for disorders such as fatty deterioration of the lever; alcohol consumption may bring infection of the lever, sleeping disorder; infection of the pancreas, stomach, and esophagus. Alcohol consumption brings diseases such as mental instability, loss of memory, and premature dementia. It is a known fact that alcohol consumption also may create cancer of the mouth, larynx, intestine, throat, and breast. Alcohol consumption may create hypertension and heart problems.
           There are examples of violence during alcohol consumption. Alcohol consumption is also responsible for loss of money, loss of social prestige. Alcohol consumption is also responsible for bringing irresponsible characteristics to the alcohol users.
         From the Garhwali drama point of view, the drama ‘Tinchari’ is still relevant and dramatist Girish Sundariyal wrote two dramas on the harmful effects of alcohol consumption in Garhwali. The drama ‘Ye bwe daru Pilai de’ conceived by Bhishma Kukreti and Surendra Bisht was staged in 1970-to 1971 in Bhandari Baug Dehradun
           The Garhwali drama’ Tinchari’ by Chinta Mani Barthwal about the harmful effects of alcohol consumption was staged in Delhi in 1976. Chinta Mani Barthwal was successful in showing the harmful effects of ‘Tinchari’, Kacchi Daru, or fermented alcohol without proper technique.  Dr Sudharani a Garhwali drama historian and Parashar Gaur a prominent figure of the Garhwali drama of Delhi state that the audience appreciated the drama ‘Tinchari’ written by Chinta Mani Barthwal.
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 Explaining Harmful Effects of Alcohol Consumption, Dramas Explaining Harmful Effects of Alcohol Consumption, South Asian Dramas Explaining Harmful Effects of Alcohol Consumption, SAARC Countries Dramas Explaining Harmful Effects of Alcohol Consumption, Indian Dramas Explaining Harmful Effects of Alcohol Consumption, North Indian Dramas Explaining Harmful Effects of Alcohol Consumption, Himalayan Dramas Explaining Harmful Effects of Alcohol Consumption, Mid Himalayan Dramas Explaining Harmful Effects of Alcohol Consumption, Uttarakhandi Dramas Explaining Harmful Effects of Alcohol Consumption, Kumauni  Dramas Explaining Harmful Effects of Alcohol Consumption, Garhwali   Dramas Explaining Harmful Effects of Alcohol Consumption   to be continued….
शराब के अवगुणों /नुकसानों को दर्शाते नाटक, शराब के अवगुणों /नुकसानों को दर्शाते एशियाई नाटक,शराब के अवगुणों /नुकसानों को दर्शाते दक्षिण एशियाई नाटक,शराब के अवगुणों /नुकसानों को दर्शाते सार्क देशों के नाटक,शराब के अवगुणों /नुकसानों को दर्शाते भारतीय नाटक,शराब के अवगुणों /नुकसानों को दर्शाते उत्तर भारतीय नाटक,शराब के अवगुणों /नुकसानों को दर्शाते हिमालयी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते मध्य हिमालयी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते उत्तराखंडी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते कुमाउनी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते गढवाली नाटक लेखमाला जारी .....





 
 
 


 


Bhishma Kukreti

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Kanshanukram/Kanshvadh: A Garhwali Drama about Political Satire through Mythological Characters



                                 Bhishma Kukreti

          Initially, Kanhaiya Lal Dandriyal wrote a drama ‘Kanshvadh’ drama based on the famous mythological story of Kansh and Krishna. Famous Garhwali dramatist and Garhwali theatre activist Rajendra Dhashmana rewrote the drama and named it ‘Kanshanukram ‘. The Garhwali Drama ‘Kanshvadh’ about Political Satire through Mythological Characters was staged in 1979 in Delhi.
          The characters of ‘Kanshvadh’ are the powerful bureaucrats of Kansha. Kansha is a mythological character of Krishna Leela or Shrimad Bahgwad.
         The drama ‘Kanshvadh’ successfully exposes the tricks of politicians, bureaucrats, and their relatives. The drama ‘Kanshvadh’ shows the methodologies of authorities of higher management hierarchy indulging in grabbing power, indulging in nepotism, favoritism, discrimination, partiality, and ignoring the real issues of common people.
         The political satirical drama ‘Kanshvadh’ attacks how people become corrupt as soon as they get power.
      The drama ‘Kanshvadh’ is still relevant in showing corruption, nepotism, partiality, favoritism, and discrimination in the high power corridor. The drama ‘Kanshvadh’ shows brilliantly the ministers and bureaucrats becoming corrupt due to the selfish nature of the highest authority (Kansh the king).
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 Political Satire through Mythological Characters, Asian Dramas about Political Satire through Mythological Characters, South Asian Dramas about Political Satire through Mythological Characters, SAARC Countries Dramas about Political Satire through Mythological Characters, Indian Dramas about Political Satire through Mythological Characters, North Indian Dramas about Political Satire through Mythological Characters, Himalayan Dramas about Political Satire through Mythological Characters, Mid Himalayan  Dramas about Political Satire through Mythological Characters, Uttarakhandi Dramas about Political Satire through Mythological Characters, Kumauni Dramas about Political Satire through Mythological Characters, Garhwali Dramas about Political Satire through Mythological Characters to be continued…..
प्रशासकीय भ्रष्ट तन्त्र दर्शाते नाटक, प्रशासकीय भ्रष्ट तन्त्र दर्शाते एशियाई नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते दक्षिण एशियाई नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते सार्क देशीय नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते भारतीय नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते हिमालयी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते मध्य हिमालयी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते उत्तराखंडी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते कुमाउनी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते गढ़वाली नाटक लेखमाला जारी

Bhishma Kukreti

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Kafan: An Adapted Garhwali Drama based on the story ‘Kafan’ by Prem Chand



Bhishma Kukreti

            There had been attempts for adapting of famous stories written by the famous writer or famous dramas in the Garhwali Drama world as ‘Chatti ki ek rat’ or ‘Natak Band Karo.
              There had been an attempt to adapting of famous Hindi story ‘Kafan’ written by Prem Chand in Garhwali drama. The story is about two agriculture workers father and son. The wife of the son dies at the time of delivering a child. Both father and son were busy satisfying their two days' hunger with one potato bulb while the woman was crying for delivery pain. In the morning, they find that the woman is no more they go to Jameedar for money for buying ‘Kafan’. The Jameedar pays them money for ‘Kafan’. Instead of buying ‘Kafan’, both son and father spend money on wine and munching.
            The story deals with escapism among field workers and the reason for their emotionless behavior.
              From the record point of view, Bhishma Kukreti and Sapurna Singh Bisht adapted this story into Garhwali drama and staged it in 1970 in a local social-cultural function of Bhandari Baug residents, Dehradun. Sampurn Singh played the father’s role and Bhishma Kukreti played the son’s role. Bisht and Kukreti transformed the second half of the story into hum our and satire form. The first half of the story ‘Kafan’ does not resemble with Garhwali environment. The dialogues by Sampurn Bisht and Bhishma Kukreti of the second half of the story are suited to the Garhwali environment than the first half.  There was one dialogue that attracted the attention of the audience by son. The father narrates the ‘terhaveen’ feast when Padhan’s mother dies. Then son asks to his father,” ab yi padhanu naunu roj roj kilai ni mardan? Are kuch jeeman khano t mildi!’.
                         The well-known Garhwali story writer Kusum Nautiyal also adapted the ‘Kafan’ story. She changed the story for a clear expression of sensitivity to the subject. The adapted version of   ‘Kafan’ by Kusum Nautiyal was staged in 1980 in Delhi. 
            The biggest problem with the adaptation of    ‘Kafan’ in Garhwali is that the environment of villages narrated by Prem Chand in the original story does not suit rural Garhwal. For example, Prem Chand shows the environment of the autumn season and the characters spend nights outside of the room. In rural Garhwal, nobody spends the night out of the room in the autumn season.
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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Swayambar: A Garhwali  Social Drama Criticizing Satirically Taking Dowry for the Bride from Groom

                                 Bhishma Kukreti

                     In old rural Garhwal, there was a rude custom for the father takes money from the groom's side for the daughter’s marriage and many times marry the daughter to a widower or old age male for the sake of money.
             Kanhaiya Lal Dandriyal wrote a drama ‘Swayambar ‘criticizing this old custom.  ‘Swayambar ‘was staged in Delhi in 1983. There is an auction for a girl in the drama. The drama is successful in showing the basic qualities of the human being as greed, instability myopic thinking, and deceiving characteristics.
  The drama is humorous and satirical in nature. The dialogues are humorous and touch the heart of the audience. The drama contains the sound text of sociology. Kanhaiya Lal Dandriyal uses a direct method for criticizing the custom of selling daughters in the name of marriage. 

Source: Personal Discussion with Parashar Gaur is his visit to Mumbai
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Notes on Social dramas , social plays criticizing wrong customs, Asian Social dramas, social plays criticizing wrong customs, South Asian Social dramas , social plays criticizing wrong customs, SAARC countries Social dramas, social plays criticizing wrong customs, Indian Social dramas, social plays criticizing wrong customs, North Indian Social dramas, social plays criticizing wrong customs, Himalayan Social dramas, social plays criticizing wrong customs, Mid Himalayan Social dramas , social plays criticizing wrong customs, Uttarakhandi Social dramas , social plays criticizing wrong customs, Kumauni Social dramas , social plays criticizing wrong customs, Garhwali Social dramas , social plays criticizing wrong customs to be continued…


Bhishma Kukreti

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Khabesh: A Garhwali Drama about Repression by Mother -in -Law towards Daughter in-laws



                                            Bhishma Kukreti
               Khabesh deals with three problems of rural Garhwal before the sixties- the oppression of mother-in-laws towards daughter-in-laws, migration, and blind faith.
                The writer used three subjects and could not be successful in impressing the audience. The drama is an average drama. There is no curiosity for the audience to wait for the future course of action in the drama.
                  The basic problem is that थे dramatist did not decide on the main subject and did not provide time for developing the theme. There are folk songs and a Jagar in speeding up the drama.

Reference:
The original typed manuscript was handed over to this author by Parashar Gaur.
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Bhishma Kukreti

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                        Mangan: A Tragic Garhwali Drama about Handicap Female

(Review of Garhwali Drama ‘Mangan’ (1981) written by Chandra Shekhar Naithani)



                                               Bhishma Kukreti

               Whether he is a male or she is female, being physically handicapped is a tragic aspect for every human being. The physically handicapped human being has to pass through various problems, and hurdles not only to balance the physical weaknesses but has to face various social harassment too. The parents of such physically handicapped females have to undergo a never-ending tension of marrying their handicapped daughters.  When married the physically female handicapped human being has to face psychological harassment from mother-in-law side. Even there is logic in a mother-in-law harassing her physically handicapped daughter-in-law. The mother-in-law undergoes tremendous social and individual strain and stress by knowing that her daughter-in-law is physically handicapped.   
                   Less is written on the subject of physically handicapped human beings by Garhwali playwrights. Parashar Gaud the prominent figure of Garhwali dramas or Rakesh Gairola one of the Garhwali drama activists appreciates Chandra Shekhar Naithani for his taking initiative for writing a drama in Garhwali language on the subject of physically handicapped females. A Drama dedicated Garhwali organization Bhagirathi Kala Sangam, Aliganj, New Delhi staged the Garhwali play ‘Mangan’ about a female handicap written by playwright Chandra Shekhar Naithani in Delhi in 1982.
             Naithani has been successful in keeping the curiosity alive till the end for the coming events of drama in ‘Mangan’.
           The family members, relatives, and friends of any handicapped person undergo strain, constant worry, trauma, suffering, disturbances, and stress. Chandra Shekhar Naithani touches on those traumas in the drama.
               There are two aspects to facing the weakness. One aspect for a handicapped person is to go for struggle and another aspect of life is to escape from the struggle. One aspect is for other people to encourage the handicapped for overcoming their weaknesses and another reality is that other human beings discourage the handicapped and encourage the handicapped for escapism.  The audience comes to know the choice of dramatist for struggle or escapism by the handicapped character in the last ending scene of the drama ‘Mangan’.
           There is a subject of thinking in the tragic drama ‘Mangan’ about the fate of the ill-fated handicap in society. The playwright Naithani brings the emotions of adversity, affliction, catastrophe, misfortune, depression, and direness into the drama with a focused theme and suitable dialogues.
                  The drama ‘Mangan’ by playwright Chandra Shekhar Naithani is one of the finest examples of tragedy in modern Garhwali drama.

Curtsey: The reviewer is thankful to Parashar Gaud for his taking pain in supplying the manuscript of ‘Mangan’ a Garhwali tragedy drama about a handicapped females.
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-Notes of Parashar Gaud in Mera Pahad


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Notes on Tragedy of Handicap Female in Asian Dramas, Tragedy of Handicap Female in South Asian Dramas, Tragedy of Handicap Female in SAARC Countries Dramas, Tragedy of Handicap Female in Indian Dramas, Tragedy of Handicap Female in North Indian Dramas, Tragedy of Handicap Female in Himalayan Dramas, Tragedy of Handicap Female in Mid Himalayan Dramas, Tragedy of Handicap Female in Uttarakhandi Dramas, Tragedy of Handicap Female in Kumauni Dramas, Tragedy of Handicap Female in Garhwali Dramas to be continued…
एशियाई नाटकों में करुण रस, मध्य एशियाई नाटकों में करुण रस,सार्क देशीय नाटकों में करुण रस, भारतीय नाटकों में करुण रस,उत्तर भारतीय नाटकों में करुण रस, हिमालयी नाटकों में करुण रस, मध्य हिमालयी नाटकों में करुण रस, उत्तराखंडी नाटकों में करुण रस,कुमाउनीनाटकों में करुण रस, गढ़वाली नाटकों में करुण रस लेखमाला जारी …..


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Andolan: An Experimental Garhwali Drama about Separate Uttarakhand Movement 


                                             Bhishma Kukreti

                 In public, Parashar Gaud is more famous for his first Garhwali film Jagwal. However, Parashar Gaud had been a prominent Garhwali drama personality in Delhi. Parashar Gaud was the backbone of the Garhwali drama world in Delhi. There is no Garhwali drama taker in Delhi after Parashar Gaud left Delhi for Canada. Parashar was a true Garhwali drama activist as a drama writer, as a performer, as director and as producer.
    Parashar Gaud wrote an experimental Garhwali drama ‘Andolan’ based on a separate Uttarakhand movement.  It seems that Parashar wrote this experimental drama as street drama or ‘Nukkad Natak’. There are numerous characters in the experimental and street drama ‘Andolan’. There are numerous plots and many subplots in the Garhwali experimental and street drama ‘Andolan’. The experimental and street drama ‘Andolan’ deals with many important reasons for the need for a separate Uttarakhand state.  There are contemporary incidents such as March in Delhi by movement activist, death of Veer Chandra Singh Garhwali, interview of a reporter with Chandra sing Garhwali, comments about Hemvati Nandan Bahuguna, election, and election slogans, opportunist political and social leaders in Delhi and Uttar Pradesh and in Uttarakhand and many more well-known incidents in this experimental and street Garhwali drama ‘Andolan’.
      Street dramas are a very good means of communication for every community. There was a vacuum for street dramas in the Garhwali drama world. Parashar Gaud fulfills the gap by providing experimental and street drama ‘Andolan’.
       The main characteristics of a street drama are that it should have a theme for the social cause and it should be in a regional language only.
              The drama ‘Andolan’ is an experimental drama for the Garhwali language in the sense that it is totally non-conventional in form and style. Parashar Gaud used the style of Jamure and Ustad style as the folk dramatists perform in the streets of urban or rural areas.
 In an interview with this writer, Parashar gaud states that the experimental and street Garhwali drama ‘Andolan’ is a tribute to experimental theatre writers Arun kakde, Richard Maxwell, Satya Dev Dube, Antonin Artaud, Rajendra Dhashmana, Carmelo Bene, Dinesh Thakur, Bertolt Brecht, Vijay Mehta, Girish Karnad, Dario Fo, Luigi Pirandello, Vijay Tendulkar, Samuel Becket,Arvind Deshpande,  Isabelle Junot , Sulbha Deshpane, Young Jeen Le, Shankar Shesh, C.P.Deshpande , Meng Jinghui ,   and other playwrights of experimental dramas. 
Curtsey: Parashar Gaud for supplying original manuscript of an experimental and street Garhwali 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)

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Notes on Experimental theatres and Street Dramas; Asian Experimental theatres and Street Dramas; South Asian Experimental theatres and Street Dramas; SAARC Countries Experimental theatres and Street Dramas; Indian Experimental theatres and Street Dramas; North Indian Experimental theatres and Street Dramas; Experimental theatres and Street Dramas in Delhi; Himalayan Experimental theatres and Street Dramas; Mid Himalayan Experimental theatres and Street Dramas; Uttarakhandi Experimental theatres and Street Dramas; Kumauni Experimental theatres and Street Dramas; Garhwali Experimental theatres and Street Dramas; Experimental theatres and Street Dramas in Uttarakhand ; Experimental theatres and Street Dramas in Dehradun to be continued….
नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, एशियाई नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, दक्षिण एशियाई नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, सार्क देशीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, भारतीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, उत्तर भारतीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, उत्तराखंडी नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, कुमाउनी नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, गढ़वालीनुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक लेखमाला जारी .....


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Ardhgrameshwar: A Modern Garhwali Drama Taking Contemporary issues


                                            Bhishma Kukreti

                   Rajendra Dhashmana is the first Garhwali drama playwright to change the old drama format and brought a new sense and new format to Garhwali drama art. Same way Mitra Nand Kukreti brought newness in the field of Garhwali stage play direction or in the field of Garhwali drama world. Rajendra Dhashmana as a playwright and Mitra Nand Kukreti as a director of the Garhwali stage play world are complementary to each other. Rajendra Dhashmana took initiative in bringing modernity to Garhwali drama and Mitra Nand brought freshness and new imagination in directing ‘Ardhgrameshwar ‘a Garhwali stage play. If Rajendra Dhashmana brought freshness through new subjects and writing in the modern Garhwali stage plays, Mitra Nand Kukreti brought the new aspects in production, placing characters dressing sense, entry of characters, dialogue deliveries, aspects of body language of performing characters, dialogue deliveries, affectivity of distance between two or more performing characters, movement of performing characters, exact movement of performing characters, uses of lighting and shadow in the Garhwali drama world through ‘Ardhgrameshwar’ a Garhwali stage play.
                Before writing Ardhgrameshwar ‘a Garhwali stage play, Rajendra Dhashmana wrote a drama ‘Jankjod’ in Garhwali in 1975. While Mitra Nand Kukreti had a good experience of dramatization of Hindi and English stage plays besides his famous column on analysis of ‘Drama’ of Delhi’ for a daily newspaper. Jagar a Garhwali drama organization in Delhi staged an Ardhgrameshwar ‘a Garhwali stage play in Delhi in 1976.
   Ardhgrameshwar ‘a Garhwali stage play is about the migrated Garhwalis suggesting the means of progress in rural Garhwal. For suggestions about the progress of village migrated Garhwalis attend the conference and their suggestions are as per their profession. For example, a poet suggests poetry is the means of progress, a clerk suggests type righter as means of progress, and a professor suggests speeches as means of progress in the village. In the end women, and folks from villages and cities bring real solutions.
     There are twenty main characters in the drama and more than ten other assisting characters. There are folk songs and folk rites (mantra0 in the drama. The dialogues fit the characters or characters of the drama. The dialogues are witty and do not spare anybody.
              Realism is the key to Ardhgrameshwar ‘a Garhwali's stage play. Ardhgrameshwar ‘a Garhwali stage play got an appreciation for its writing and presentation from critics of non –Garhwalis too. The well-known critics of the Delhi drama world positioned Rajendra Dhashmana and Mitra Nand Kukreti as the modern dramatists of India. There were more than ten shows of Ardhgrameshwar ‘a Garhwali stage play all over India. Rajendra Dhashmana is successful in showing the static or inert mental position of migrated Garhwalis due to their day to their professional work and becoming myopic about other issues such as thinking about their native land.
   As Europe remembers Ibsen, Strindberg, Pirandello, and Beckett for bringing contemporariness in European modern dramas the Indians appreciate the work of Rajendra Dhashmana and Mitra Nand Kukreti for bringing contemporariness, present-day issues, and present topics in the modern Garhwali drama. 
        Indians will always remember Rajendra Dhashmana’s Ardhgrameshwar ‘for bringing contemporariness, and present social issues in the dramas of language as Garhwali.
References:
A-Curtsey to Parashar gaur for supplying manuscript of Ardhgrameshwar ‘a Garhwali stage play
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- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site

Notes on contemporariness in modern dramas, contemporariness in modern Asian dramas, contemporariness in modern South Asian dramas, contemporariness in modern SAARC country’s dramas, contemporariness in modern Indian dramas, contemporariness in modern North Indian dramas, contemporariness in modern Himalayan dramas, contemporariness in modern Mid Himalayan dramas, contemporariness in modern Uttarakhandi dramas, contemporariness in modern Kumauni dramas, contemporariness in modern Garhwali dramas to be continued…


Bhishma Kukreti

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Paisa Na Dhyallaa Nam ch Guman Sing Rautela: A Garhwali Drama about Diminishing Prosperity and Pride of Landlord

(Review of a Garhwali drama ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela’ (1992) adapted and written by Famous Playwright Rajendra Dhashmana)




                                          Bhishma Kukreti

                      Asians will always remember the works of great Asian playwright Rajendra Dhashmana for his bringing newness and contemporary style and subject to local language as Garhwali dramas. Rajendra Dhashmana changed the format for Garhwali dramas and dramatization. Asians appreciate the original works of Rajendra Dhashmana for Asian local languages as Garhwali dramas. However, Rajendra Dhashmana also adapted the other language’s dramas into Garhwali dramas. A famous Asian literature critic, Hindi poet, Dams-activist, and Stageplay activist Rajendra Dhashmana adapted a Marathi Drama’ Bada Chirebandi’ written by famous Marathi Playwright Mahesh Elkunchvar into Garhwali Drama as ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela’. The adapted drama Paisa na Dhyallaa Nam ch Guman Sing Rautela’ was successfully staged in Delhi in 1992 and 1993. 
          There used to be a class ‘Thokdar’ , ‘Jameedar’ or landlords in the hills of  Uttarakhand for centuries who were owners of the land of a certain territory. Under the Thokdar, the Kabjedar, Sirtan and Khaikar used to be the land cultivators. Thokdar used to collect the renew the taxes for the Garhwali king, Gorkha king, or British ruler. After independence, the Thokdari system was ended by the Indian government. In the past, Thokdars were as powerful as the king of Garhwal. They had power and they were prosperous too. However, after the diminishing of the Thokdari system, the prosperity of the averageThokdar also diminished. However, many ‘thokdars’ did not lessen their expenses on lavish living or ‘That-bat’ and either had to borrow and sell their ancestral properties to their ex-subject.  The Garhwali drama ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘ shows the lost prosperity, losing pride of such ‘Thokdars’ whose income has been diminishing with the time.
         Rajendra Dhashmana successfully adapted the Marathi drama ‘Bada Chirebandi’ as per Garhwali culture and system. The dialogues and staging techniques are appreciable. There is lost pride, there is the frustration of the ex-landlord for losing power and prosperity, there is aggravation among family members of the ex-landlord, and there is confusion about bringing the old pride back among family members of the ex-landlord family in the drama. Kesar sing Rautela is the symbol of a  Thaokdar who can’t bear the losing old glory of being a landlord,   Kesar is the son of an ex-landlord and in frustration, he always uses abusive language as ‘apan bwe k maisu’ , apan bani k maisu’ etc
  The drama is still relevant for those who show their prosperity pride without keeping in mind the real income.   Rajendra Dhashmana was able to show keeping false pride in protecting the old glory and old prosperity by selling current ancestral properties by an ex-landlord.
   Asians are proud of Rajendra Dhashmana for bringing such contemporary drama of its time.

References:
A-Curtsey to Parashar gaur for supplying manuscript of Garhwali stage play ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘
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- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site
9-Sovinreers of Garhwal Sabha Dehradun, 2005 and 2007 for Lok Natya Mahotsava
Copyright@ Bhishma Kukreti
Notes on Dramas showing false pride for  lost glory and prosperity, Asian Dramas showing false pride for  lost glory and prosperity, South Asian Dramas showing false pride for  lost glory and prosperity, SAARC Country Dramas showing false pride for  lost glory and prosperity, Indian sub continent Dramas showing false pride for  lost glory and prosperity, Indian Dramas showing false pride for  lost glory and prosperity, North Indian Dramas showing false pride for  lost glory and prosperity, Himalayan Dramas showing false pride for  lost glory and prosperity, Mid-Himalayan Dramas showing false pride for  lost glory and prosperity, Uttarakhandi Dramas showing false pride for  lost glory and prosperity, Kumauni Dramas showing false pride for  lost glory and prosperity, Marathi Dramas showing false pride for  lost glory and prosperity, Garhwali Dramas showing false pride for  lost glory and prosperity to be continued….



Bhishma Kukreti

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                                     Mahabharata: A Garhwali Poetic-Dance-Drama based on Epic Mahabharata

 

                                    Bhishma Kukreti
                The great epic Mahabharata is mine for dramatization. Each story in Mahabharata can deliver a drama. For centuries, Mahabharata had been an inspiring source for writers to write dramas on various subjects of this great epic. Famous Asian dramatist Brajendra Lal Shah wrote and directed a Mahabharata epic base poetic-dance-drama on the tone of Garhwali Pandav Style. Epic-based drama ‘Mahabharata’ based on Pandava style was staged in Delhi in 1984. World-famous folk music director provided music for great epic-based Garhwali drama ‘Mahabharata’.
             Famous Asian dramatist Brajendra Lal used the Garhwali Jagar style for dance, poetic dialogues, singing, music, and Pandava worship. World-famous folk music director Mohan Upreti enhanced the drama with his music.
             The subject of the epic-based Uttarakhandi drama ‘Mahabharata’ is lust for power, extreme envy among higher management representatives, encroachment on other’s rights, greed for power, harm of wars, harms from political greed to the common men;  damages by the highly destructive weapon. Famous Asian dramatist Brajendra Lal Shah was successful in depicting thousands of years old stories for showing modern problems of modern human beings in terms of greed for power; lust for power; envy for power; oppression of other’s right for power; losses of human bodies, wiping out of productive wealth, complete damages of scared resources by wars, using destructive and inhumanly weapons for getting power in the epic based drama ‘Mahabharata’. 
            The ‘Jagar’ style dialogues attract the audience and the music was very much supportive of showing the gigantic nests of epic Mahabharata in the epic-based drama ‘Mahabharata’ by famous Asian dramatist Branjendra Lal Shah. Epic-based Garhwali drama ‘Mahabharata’ by famous Asian dramatist Brajendra Lal Shah is one of the milestones in the history of Garhwali-Kumauni drama.
References:
A-Curtsey to Parashar gaur for supplying manuscript of Garhwali stage play ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘
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- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site
9-Sovinreers of Garhwal Sabha Dehradun, 2005 and 2007 for Lok Natya Mahotsava

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Notes on epic based dramas against destructive weapons  ; Asian epic based dramas against destructive weapons  ; South Asian epic based dramas against destructive weapons  ; SAARC Countries  epic based dramas against destructive weapons  ; Indian subcontinent epic based dramas against destructive weapons  ; Indian epic based dramas against destructive weapons  ; North Indian epic based dramas against destructive weapons  ; Himalayan epic based dramas against destructive weapons  ; Mid-Himalayan epic based dramas against destructive weapons  ; Uttarakhandi epic based dramas against destructive weapons  ; Kumauni epic based dramas against destructive weapons  ; Garhwali epic based dramas against destructive weapons  to be continued…
महाकव्य आधारित आधुनिक नाटक, महाकव्य आधारित आधुनिक एशियाई नाटक,महाकव्य आधारित आधुनिक दक्षिण एशियाई नाटक,महाकव्य आधारित आधुनिक सार्क देशीय नाटक,महाकव्य आधारित आधुनिक भारतीय नाटक,महाकव्य आधारित आधुनिक उत्तर भारतीय नाटक,महाकव्य आधारित आधुनिक हिमालयी नाटक,महाकव्य आधारित आधुनिक मध्य हिमालयी नाटक,महाकव्य आधारित आधुनिक उत्तराखंडी नाटक,महाकव्य आधारित आधुनिक कुमाउनी नाटक,महाकव्य आधारित आधुनिक गढ़वाली नाटक लेखमाला जारी


 

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