Author Topic: उत्तराखंडी नाटकों की शुरुआत (गढ़वाली, कुमाऊंनी) - UTTARAKHANDI PLAYS !!  (Read 20456 times)

Bhishma Kukreti

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‘Yan kya Hwe’: Environmental Stage Play representing Ecological theatre
(Review of ‘Yan kya Hwe’ Garhwali drama (2005) written by Gajendra Nautiyal)
           (Critical review Garhwali Drama, Kumauni Plays, Uttarakhandi Stage show, Himalayan Dramas)
   Let us celebrate of hundred years of Modern Garhwali Theatre!
                                        Review by: Bhishm Kukreti
             All over world, the sensitive thinkers are concerned about environment, forest protection, water conservation and soil conservation for saving the future human beings. The forest protection, water conservation, soil maintenance and survival of human beings are interrelated. The writers and social activists are finding media for creating awareness for forest safety, water preservation, and soil conservation as source of survival of human beings. Staging plays related to environment and ecology in regional or people’s languages is one of the strong media to create awareness among people for environment protection.  For example, stage plays as Giants in the Wilderness by Thomas Fraser; Forest Hideout by M.L. Coffman and The trees and the Village by R.L. Fraser are good examples of plays creating awareness for environment.
                Gajendra Nautiyal is a Garhwali language poet and social activist. Gajendra wrote a Garhwali stage play ‘‘Yan kya Hwe’ that discusses sensitively the issues of soil conservation, water management, forest protection and role of present societies to protect the environment for human survival.
             The Garhwali stage play ‘Yan kya Hwe’ was played at in 334 villages of Tihri and Uttarkashi districts.  The stage play ‘Yan kya Hwe’ created greater awareness among villagers of 334 villages for environment and ecology conservation.
      The stage play ‘Yan kya Hwe’ started with songs as
हरीं भरीं डांडी कांठी . चमलन्दि ह्युं हिंवाळि 
मुखडियों कु रंग उड्यु छ , हरचिणी छ मनख्याळि   
खरड़ा ह्वै ग्यन डांडा , गदन्यों कू पाणी कगै
हे दिदौ यनु क्य ह्वै, हे चुचौ यनु क्य ह्वै 
         The stage play ‘Yan kya Hwe’ also discusses the problems of migration and effects of migration on village life of Garhwal hills. 
       The dialogue of drama re simple and easily convey the message. The dialogues and story link create interest for audience.
   Environmentalist will always appreciate the Garhwali playwright Gajendra Nautiyal for his concern for soil, water and forest conservation necessary for the human kind.
               The works of Gajendra Nautiyal will always be appreciated as eco dramatists such as  Emily Reid (director); Paula McCann (educationist); Alistair Edwards (performer); Ellidh MacAskill (performer); Caroline Mathison (performer);  Jode Wilkinson (Workshop leader); Kevin  Wratten (Workshop leader) of eco drama company Unite Kingdom are appreciated . As critics admire very much the efforts of playwright Bailey Williams (10 billion baby); Barbara Kingsley (Living in the blue Zone); Sarah Haught (collapse); Michael Anderson (Mr. Sasquatch goes to Washington) for their writing sustainable future oriented dramas , same way critics and social activists as Lokesh Navani appreciates the efforts of Gajendra Nautiyal  for his stage plays on environment .
 
Copyright @ Bhishm Kukreti 4/5/2013
Review on Popular Garhwali Drama, Kumauni Plays, Uttarakhandi Stage Plays, and Himalayan Dramas to be continued

   Let us celebrate of hundred years of Modern Garhwali Theatre! 


Bhishma Kukreti

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Ghunghyat : A Garhwali Stage Play for spreading HIV Awareness
(Review of ‘Ghunghyat ’ Garhwali drama (1997) written by Gajendra Nautiyal)
           (Critical review Garhwali Drama, Kumauni Plays, Uttarakhandi Stage show, Himalayan Dramas)
   Let us celebrate of hundred years of Modern Garhwali Theatre!
                                        Review by: Bhishm Kukreti
                 Theatres, stage plays or dramas for HIV Awareness 
HIV/AIDS should be avoided at all cost. The societies and governments are busy in spreading HIV awareness among people. The dram/stage play/radio plays are one of the effective media for spreading HIV awareness.
‘Who Me?HIV/AIDS”  stage play  written by Terry Fluker is very good example of raising the HIV awareness about testing and taking HIV treatments.
The stage play ‘Secret’ stresses on HIV awareness to teens.
The stage play ‘Hanya Nani 3’ written by Tafadzwa Mozondo was staged in Harare in 2012 and was quite capable to create HIV awareness.
There was performance of a stage play ‘Another Chance’ by New Life Support Services in Columbia Sc in 2012 that play created HIV awareness in the area.
 There is project of UNESCO-CCIVS Africa that inspires people to do theatre for HIV awareness.
There has been regular news that United States supports HIV awareness with Radio drama series. 
The Chinese government and societies are taking help of theatre for HIV awareness as staged a play in Beijing in 2004.
South African people taking help of stage plays or dramas for HIV awareness.
It is a fact that in Nepal, Street theatre helps spread the HIV awareness.
Kenyan TVs are effectively spreading the HIV awareness through TV dramas. Shuga is award winning drama for spreading HIV awareness in Kenya (2010).
 In Malawi, social activists are taking help of dramas for spreading HIV awareness in Malawi.

          Ghunghyat : A Garhwali Stage Play for spreading HIV Awareness

              Garhwali poet Gajendra Nautiyal is social activist and dramatist too. Nautiyal wrote and staged a very sensitive play in 1997 that focuses on HIV awareness. The play is inspirational and talks about the reasons behind HIV disease. The play also talks about necessary treatments after HIV.
हाँ नियम संयम मा पति अर पत्नी व्रता धर्म धारण कर्यां। डाक्टरोंम इंजेक्सन उबाळि  लगायां। .....ढंग से खून चढ़ायाँ  ......खबरदार खबरदार   
 The dialogues are very simple meant for rural areas and easily digestible.
Gajendra is successful in creating a Garhwali drama that is helpful in creating HIV awareness.
Copyright @ Bhishm Kukreti 5/5/2013
Review on Popular Garhwali Drama, Kumauni Plays, Uttarakhandi Stage Plays, and Himalayan Dramas to be continued

   Let us celebrate of hundred years of Modern Garhwali Theatre! 
 

Bhishma Kukreti

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Fund Fukka: A Garhwali Radio Drama/Play depicting Distress of Rural to Urban Migration 
(Review of ‘Fund Fukka’ Garhwali Radio Play/drama (1998) written by Gajendra Nautiyal)
           (Critical review Garhwali Drama, Kumauni Plays, Uttarakhandi Stage show, Himalayan Dramas)
   Let us celebrate of hundred years of Modern Garhwali Theatre!
                                        Review by: Bhishma Kukreti
            There are many reasons for rural to urban migration. The various reasons are discussed in various languages modern literature especially in stage plays/dramas/theatres.  The basic reasons are urban and rural divides. There is no employment guarantee in villages and urban cities provide employment opportunities.
 There are poor services as health, education and standard of living in rural areas while these services are better in urban areas.
   If rural to urban migration brings betterment it also brings various types of distress too. The Garhwali radio dram ‘Fund Fukka’ by a poet and social activist Gajendra Nautiyal discusses these subjects and is able to show the reasons of rural migration and problems arising at both ends –in villages and cities as well.
 The dram is successful due to its dialogues and choosing the characters. The playwright also uses songs to speed up the interest of audience.
 The dram was first broadcasted by Akashvani in 1997. Thereafter, the play is broadcasted more than ten times.
Copyright @ Bhishm Kukreti 6/5/2013

   Let us celebrate of hundred years of Modern Garhwali Theatre! 
Critical Review of  Radio drama about Distress by rural to urban Migration; Garhwali Radio drama about Distress by Rural to Urban Migration; Uttarakhandi Radio drama about Distress by Rural to Urban Migration; Mid Himalayan language Radio drama about Distress by Rural to Urban Migration; Himalayan language Radio drama about Distress by Rural to Urban Migration; North Indian regional language Radio drama about Distress by Rural to Urban Migration; Indian regional language Radio drama about Distress by Rural to Urban Migration; South Asian regional language Radio drama about Distress by Rural to Urban Migration; Oriental regional language Radio drama about Distress by Rural to Urban Migration;

Bhishma Kukreti

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

Copyright @ Bhishma Kukreti 7/5/2013

   Let us celebrate of hundred years of Modern Garhwali Theatre! 

Bhishma Kukreti

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Sabyun man Bolyan: Garhwali Drama creating Awareness for Registration of Birth and Death
(Review of ‘Sabyun man Bolyan ’ Garhwali Play/drama (2002) written by Gajendra Nautiyal)
           (Critical review Garhwali Dramas, Kumauni Plays, Uttarakhandi Stage shows, Himalayan theaters)
   Let us celebrate of hundred years of Modern Garhwali Theatre!
                                        Review by: Bhishma Kukreti
       The registration of birth, marriage, migration of girl as daughter in law, death are essential aspects of modern life.
           There is a problem of registration that whose responsibility is to register the candidate’s relative, candidate or government person. The play ‘Sabyun man Bolyan ’ by Gajendra Nautiyal  deals the various aspects of registration. The play makes public aware about compulsion of registering the date of birth, marriage, entry of daughter in law in village and death. The drama is successful in stressing that it is everybody’s responsibility in registration.
          The theme and story is able to attract the interest of audience. The dialogues are simple.
             The drama was first staged in 2002. The play had been staged for 186 times (2002-2003)in Tihri and Uttarkashi districts.
Copyright @ Bhishma Kukreti 9/5/2013
 
   Let us celebrate of hundred years of Modern Garhwali Theatre! 
Critical review of Public Awareness Garhwali Drama, Public Awareness Kumauni Plays, Public Awareness Uttarakhandi Stage show, Public Awareness Mid Himalayan dramas; Public Awareness Himalayan Dramas; Public Awareness North Indian regional language Dramas; Public Awareness  Indian regional language Dramas; Public Awareness Asian regional language Dramas; Public Awareness Oriental  regional language Dramas to be continued …

Bhishma Kukreti

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Apacchhyann: The Garhwali drama depicting the Life of Women and (dhol badak) Drum Players
(Review of ‘Apacchhyann ’ Garhwali Play/drama (2002) written by Gajendra Nautiyal)
           (Critical review Garhwali Dramas, Kumauni Plays, Uttarakhandi Stage shows, Himalayan theaters)
   Let us celebrate of hundred years of Modern Garhwali Theatre!
                                        Review by: Bhishma Kukreti
     Gajendra Nautiyal has written seven radio dramas, thirty seven street plays and ten other plays in Garhwali language.
  The dramas by Gajendra Nautiyal throw lights on various aspects of people of rural Garhwal. The ‘Apacchhyann’ drama depicts aspiration, the ambition, the dreams, the pain of women and the reality in the lives of Garhwali women.
  In this drama ‘Apacchhyann’, Gajendra shows the inner views of Dhol-Badak (Auji) or traditional drum players too.  Gajendra provides message that the communities have responsibility to enhance the self esteem of traditional musicians of Garhwal.
            Gajendra uses traditional Garhwali folk songs, his own created lyrics for making the play very interesting.  Gajendra become s very exclusive playwright among other contemporary Garhwali playwrights for using traditional Garhwali poetries and his own poetries in the drama.
    Gajendra uses Garhwali proverbs for providing speed to the drama.
 The drama is an emotional and inspiration drama.
Copyright @ Bhishma Kukreti 10/5/2013
 
   Let us celebrate of hundred years of Modern Garhwali Theatre! 
Notes on drama depicting the Life of Women and (dhol badak) Drum Players; Garhwali drama depicting the Life of Women and (dhol badak) Drum Players; Uttarakhandi drama depicting the Life of Women and (dhol badak) Drum Players; Mid Himalayan regional language drama depicting the Life of Women and (dhol badak) Drum Players; Himalayan regional language drama depicting the Life of Women and (dhol badak) Drum Players; North Indian regional language drama depicting the Life of Women and (dhol badak) Drum Players; Indian regional language drama depicting the Life of Women and (dhol badak) Drum Players; Asian regional language drama depicting the Life of Women and (dhol badak) Drum Players; oriental regional language drama depicting the Life of Women and (dhol badak) Drum Players.

Bhishma Kukreti

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Timal Ful ’ Garhwali Play/drama (2005) written by Gajendra Nautiyal)
           (Critical review Garhwali Dramas, Kumauni Plays, Uttarakhandi Stage shows, Himalayan theaters)
   Let us celebrate of hundred years of Modern Garhwali Theatre!
                                        Review by: Bhishma Kukreti
               Uttarakhandis whether they are in Uttarakhand or far away from their native place talk about development in their villages. There are big news about hill development; the leaders provide proof of spending money on village development in rural Uttarakhand.  The village councilors have records of showing developmental works in their hill villages. In fact, the hill developments are illusion; delusion; mirage; hallucination; optical illusion; fantasy.
 The realistic and satirical drama Timal Ful by Gajendra Nautiyal raises the question of real development of the hills of Uttarakhand. The questions of Gajendra Nautiyal in the Timal Ful drama are burning questions. The flowers of fig are invisible. Same way, the records of  the hill village development are real mirage.
  The simple dialogues, realistic theme make the drama audience to think about what is real requirement of hill village development 

Copyright @ Bhishma Kukreti 110/5/2013
Critical review Garhwali Dramas, Kumauni Plays, Uttarakhandi Stage shows, Himalayan theaters; Mid Himalayan dramas, North Indian regional language theatres, Indian regional language drams, Asian regional language stage plays, Oriental dramas and theaters to be continued…
   Let us celebrate of hundred years of Modern Garhwali Theatre! 

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Timal Ful :  Garhwali drama showing the Hill Development as Hallucination/Mirage   

(Review of ‘Timal Ful ’ Garhwali Play/drama (2005) written by Gajendra Nautiyal)
           (Critical review Garhwali Dramas, Kumauni Plays, Uttarakhandi Stage shows, Himalayan theaters)
   Let us celebrate of hundred years of Modern Garhwali Theatre!
                                        Review by: Bhishma Kukreti
               Uttarakhandis whether they are in Uttarakhand or far away from their native place talk about development in their villages. There are big news about hill development; the leaders provide proof of spending money on village development in rural Uttarakhand.  The village councilors have records of showing developmental works in their hill villages. In fact, the hill developments are illusion; delusion; mirage; hallucination; optical illusion; fantasy.
 The realistic and satirical drama Timal Ful by Gajendra Nautiyal raises the question of real development of the hills of Uttarakhand. The questions of Gajendra Nautiyal in the Timal Ful drama are burning questions. The flowers of fig are invisible. Same way, the records of  the hill village development are real mirage.
  The simple dialogues, realistic theme make the drama audience to think about what is real requirement of hill village development 

Copyright @ Bhishma Kukreti 11/5/2013
Critical review Garhwali Dramas, Kumauni Plays, Uttarakhandi Stage shows, Himalayan theaters; Mid Himalayan dramas, North Indian regional language theatres, Indian regional language drams, Asian regional language stage plays, Oriental dramas and theaters to be continued…
   Let us celebrate of hundred years of Modern Garhwali Theatre! 

Bhishma Kukreti

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                                                                                                                                      SBK         


                                                  Who Killed the Ram?
                                                         (   Khadu Lapata) 
                     (Script for One act Suspenseful, Hilarious, Humorous Stage Play)     
                                          Written by Lalit Mohan Thapliyal
                                           Translation by Bhishma Kukreti

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

Bhishma Kukreti

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                                   खाडू लापता


                              (एक अंक गढ़वाली नाटक के पटकथा )

                             रचनाकार :स्व ललित मोहन थपलियाल
                          इंटरनेट प्रस्तुती - भीष्म कुकरेती

             सर्वाधिकार @ ललित मोहन थपलियाल ,गढ़वाल संगीत नाटक समाज , दिल्ली


पात्र -
वैदराज
हर सिंग
तुलसी राम
परमा नंद
(यो नाटक गढ़वाल संगीत नाटक समाज , दिल्लीका तत्वाधान मा प्रथम वार 21 अक्टूबर 1958 को सरोजनीनगर दिल्ली मा प्रदर्शित होय )
(यो नाटक सवर्गीय भैरव दत्त जी कुकरेती की स्मृति कु समर्पित च जौंक अभिनय कौशल , जिंदादिली अर सहृदयता सदनि याद रहली - ललित मोहन थपलियाल )

                                         खाडू लापता
 [पर्दा खुलद - वैदराज की बैठक ; वैदराज दवाई घोटणा छन , हुक्का पीणा छन ; हर सिंग को प्रवेश , गुस्सा मा च )
हरसिंग - पंडीजी प्रश्न करा !
वैदराज -अरे बैठ त सही ; सेवा ना सौंळी भकम प्रश्न करा।  क्यान ह्वे इतना बबराट ?
हरसिंग -अजी तुम प्रश्न त करा ! मिन जि बथै दीण त प्रश्न ही क्यांक ? आज मीन द्वी चारुं  क़तल्यो करण , ल्हास गिराण !
वैदराज (गाळी देंद ) -ले एक एक गोळी दिन मा चार बगत।  एक लुट्या पाणी पे अर टप्प से जै !
हरसिंग -देखा गुरूजी चखन्यौ न करा।  म्यार बरमंड तीड़ जाण इखमी।
वैदराज -अच्छु यार अच्छु , इनी जि अईं च त्वै पर त (कागज निकाळि रेखड़ा मार्दन ) मेख , ब्रिख , मिथुन  जा भितर बिटेन आग त मांगि लौ सजला परै।
(हरसिंग भीतर जांद )
वैदराज - क्या जि ह्वे ये आज।  ब्याळि तै त कुछ नि सूण छौ (सोचिक ) बखरों रोजगार च एको , हो न हो
(हर सिंग सजला लेक आंद )
हरसिंग -त बोला ?
वैदराज -बोलण क्या च बेटाराम ! चौपाया लापता हुयुं च , वांको ई प्रश्न
हरसिंग -सच्ची बात च गुरु जी।  अब बतावो कु लीगी मेरो खाडू ? वैकि टंगड़ी तोड़दु मि अब्बी।
वैदराज -तांकि त मि  नि जाणदो पर मिलण मुश्किल देखीणु च।  मिल बि जाव तो बि हरचण्या रोग च भारे !
हरसिंग -अजी अंक्वै लगा तै गणत।  कुछ सूद -भेद लगदु च ?
वैदराज -अक्वैक क्या लगाण , चौखुट्या  ही लीगि  हो , दुखुट्या लीगी हो पर खाडू ख़तम ही समझो।
हरसिंग -हे माराज तन नि ब्वालो , पुट तीस रुपया कु खाडू छौ।  अब बोला मिन क्या जि कन ?
वैदराज -अरे तीन नरसिंग को खाडू बि त नि द्यो कब बटे , तब्बी होणा छन इ उत्पात।  इबरी जरूर नरसिंग नचै दे।
हरसिंग -द ल्या एक बकै स्या बि लग।
वैदराज - हमन त जु द्याख सि ब्वाल।  बगैर नरसिंग नचायुं नि बणन तेरो काम।
हर सिंग - दा डाम त धरे गेन।
वैदराज -कब बटे हरच्युं च खाडू ?
हरसिंग -अजी परसी स्याम त छैं छौ।
वैदराज -वी कबरिणो -डबरिणो खाडू ?
हरसिंग -हाँ गुरु जी वी।
वैदराज -छौ बि त बिलकुल तुरंग बण्यु।  क़ुज्यणि कत्गौं की टक रै होली वै पर !
हरसिंग (सोच मा ) -तुमन ठीक ब्वाल गुरु ! नत्था अर मंगसिरु रैंदा छा वैका रान -फट्टा जपकाणा।  अर लँडेरुं पार्टी बि च ऊंकी।  . मै लगद कि तौंक पोटग्यूँ जोग ह्वे गे मेरो खाडू। तौंकि लदोड़ी नि फोड़ी त मेरो नाम नी हरसिंग।  अबि सालो को हणकट बणाता हूँ (जाण लगद )
वैदराज -अरे ठैर ठैर
हरसिंग -नै जी! सालो को हणकट बणाता हूँ
वैदराज -अरे अकल से काम ले। उतौळी नि कौर।  गणत मा निकळी कि दुखुट्या या चौखुट्या हो ; नौ त नि ले मिन कैकु।  अर जु स्याळ लेगि हो खाडू तैं।  कोदड़ी सार ऊनि बि स्याळ रोज अटगाणा - रौंदन बखरों तैं । इनी सुदी फौंदारी नि करण।  पैल ओर -पोर देख आ।
हरसिंग -गुरु जी बेकार का अळजाट कना छवां मेको।  मि गधन बि देख औंद पर यु काम पक्को यु दूरंग्या छोरों कु ही च।
वैदराज -ह्वाल ! हवालु पर जरा पैल ढूंढ त कौर !
हरसिंग -जांदू छौं।  पर जु स्याळन बि मारि हो तबि मीन गांका चकडैत   दुरस्त बणै दिणन।
वैदराज -फिर वी अनघढ़ छ्वीं , सुदी बिना कसूर का बणै दीन्दन दुरस्त ?
हरसिंग - अजी यूंक दाग नि लगद खाडू पर तो स्याळ बि क्योक लिजांद ?
 (हरसिंग प्रस्थान करद )
(तुलसीराम कु प्रवेश )
तुलसीराम -प्रणाम बड़ा जी !
वैदराज -ओहो! चरंजीव रौ ब्यटा  ।  कब औण ह्वे भै ?
तुलसीराम -यहाँ त ब्याळि ही औं पर एक सप्ताह ममाकोट छौ जयुं
वैदराज -तुमर नना जीक सप्ताह रै होलु ?
तुलसीराम -ना ना ! मेरो मतलब छौ एक हफ्ता तलक मि ममाकोट रौं।
वैदराज -खूब करे खूब।  तुम त डिल्ली काम करदां धौं !
तुलसीराम -दिल्ली कु जु सबसे बड़ो दफ्तर च उखी काम करुद मि।
वैदराज -पर तुमर काम क्या च वख ?
तुलसीराम -कनै समझाया जाव् ! वख एक काम थोड़ा होंद।  कखी इलेक्ट्रिक का दफ्तर छन , कखी रेलवाई का छन , क्वी हवाई जाज का।  कखी बिल्डिंग बणणी छन त कखी डाम बणना रौंदन ;कखी कागज़ लिखेणा छन तो कखी फाइलों चट्टा छन लग्यां।  हजारों आदिम त फ़ैल लिजाणो काम करदन ये दफ्तर से वै दफ्तर अर वै दफ्तर से ये दफ्तर।
वैदराज -फ़ैल हैं  !भौत गर्री हूंद ?
तुलसीराम -सरकारी चीज च त वजनदार किलै नि हूण।  पण जाण देवा बडा जी।  डेरा का समाचार सुणावां।  ये दफतर -सुफ्तर की बात आपक समज मा क्या आण !
वैदराज -ना ना ब्यटा समजी ग्यों।  बैदकी त मीन अब शुरू कार। पैले मी बि दिल्ली लेबर डिपार्टमेंट मा चपड़ासी छौ।
तुलसीराम -ओहो मै पता ही नि छौ।  कब छया आप दिल्ली ?
वैदराज -पुराणी बात च बेटाराम। तब चौंळ छ्या दस सेर कु अर आटु 16 सेर कु।  नळखों पर पाणि चलदो छौ पर इन दडबडु  ना जन अजकाल सुण्यानु च।
तुलसीराम -या शिकायत त आपकी दुरस्त च।  पण उबाळी ल्यावो त क्वी हर्ज  नी च।
वैदराज -ना जि ना हर्ज क्या हूण।  चला बड़ी खुसी की बात च कि दिल्ली तुम तैं पसंद ऐ गे।  यख डेरा फुंडै त क्या तबियत लगण तुमारि हैँ ?
तुलसीराम -अपण वतन च बड़ा जी।  ये वास्ता तबियत लगौण ही पड़द।  निथर यख छह क्या च ? इख ना खाणी ना पीणी . कोटद्वारा म बि साग सब्जी दर्शन नि ह्वेन।
वैदराज -हे राम कख बिटेन देखण ; अर आदत देख्यो तुमरि दिल्ली की ; आजकल त खाणा बि क्या खाणा ह्वेल्या ?
तुलसीराम - आप मा सच बोलणु छौं बडा जी , कई दिन बाद ब्याळे रात खाय होली द्वी रुटि , कुछ शिकार उकार बणी छे।
वैदराज -कना कना ; जख बटे आइ होली या शिकार ?
तुलसीराम -पुजै  छे बल यखी फुंड कखी।
वैदराज -हमन त नि सुणी कखी पुजै . कु देगी तुमरा डेरा ?
तुलसीराम -एक लड़का सि छौ।  मीन त नि पछ्याण।  रुप्या बांटी छे।  हमन बि द्वी बांटी ले लीने। .
वैदराज -जब पुजै छै त रुप्या बांटी कनि भै ?
तुलसीराम -सी बात मेरी बि समज मा नि आयि।
वैदराज -ऐ जाली , ऐ जाली , जैकु खाडु छयो वू बाग़ ब ण्यु च
तुलसीराम -क्या मतबल ?
 (परमानंद कु प्रवेश )
परमानंद - हे वैदराज भैजी ! मि त मरदु छौं अबि ! (पुटुक पकड़िक बैठ जांद )
वैदराज -अरे ह्वे क्या च ? (नबज देखिक ) ना ना भुलाराम  मरदु त नि छै अबि पर भोगिल जरुर।  पेट  दिखौ ....  (पेट देखि)  पेट बण्यूं च ढोल .... टन्न।
परमानंद - अर चड़क पड़नि छन पर है रे चड़का
वैदराज -कखी पौणै ? भोज भाज , जीमण -उमण मा सुदी फूकी गे हो अन्दादुन्द ?
परमानंद -जीमण जामण त नि छे पर ब्याळि गल्ती ह्वे गे।  बतीसेक रुटि खै गौं।
वैदराज -बत्तीस रुटि ? साग क्या छौ ?
परमानंद -झूट नि बुलण वैदराज जी ! सिकारी मा खये गैन (फिर पेट पकड़दु ) अब द्या हजमा कि गोळी चटपट निथर मेरो त मुगदान हूंद अबि
वैदराज -कछ्मोळी बि ख़ाई होलि ?
परमानंद -खैत छैं च भैजी (पेट मा चड़क ) हे मेरी ब्वे !
तुलसी  -देखा जी , भोजन चाहे कुछ बि बण्यु हो अपण पेट कु अंदाज तो जरुर रखण चैंद।
परमानंद -यी उपदेसक जी कै गां का होला ?
वैदराज -हैं तीन नि पछ्याण ?  राजारामौ नौनु कनु च , तुलसीराम
परमानंद -अच्छा द्वी बचन उपदेस वै राजाराम बि दे दियां बेटा।  वै देखिक त सरा गढ़वाळ का सर्यूळ काम्पदन।
वैदराज -ले भै द्वी गोळी अबि ले ले , द्वी दुफरा मा अर द्वी रात सींद दें।
परमानंद -(दवै खांद ) अर इबरें क्या खौं ?
वैदराज -नि रौंद मि जाण।  रात बटे बचइं त होली द्वीएक कटोरी   ?
परमानंद -झूट नि बोलण वैदराज जी , बचाईं त छैं च।
वैदराज -बस द्वी कटोरी खै दे अर श्रीनगर कि बस मा बैठ जै
परमानंद -मड़घट ही जाण हॉल तो अफु खर्च कौरिक किलै जौं।  जु लिजाल सी लिजाल (जाण लगद )
वैदराज -अच्छा सूण।  कैक छे पुजाइ जु त्वै सिकार मील ?
परमानंद -पुजै ना जी नकद ही रुप्या दीने।  पल्या ख्वाळ कु नत्था दे गे  छौ . भरसोडी कौन मारे छौ बल बखरी !
वैदराज -अच्छा ! पर बात समझ मा नि आई ; भरसोड़ी च यख बटी  छै मील।  कबरि वख करौंन बखरी मार , कबरि बाँटि लगाई अर वखै सिकार यख किलै आय बिकणौ ?
परमानंद -स्या बात त मेरी समज मा बि नि आई। 
वैदराज -ऐ जाली , ऐ जाली भुलाराम ! हरसिंग समझालु अबि।
परमानंद -हरसिंग ? कनु वैकि क्या खोये हमन ?
वैदराज -खोये त वैन च तुमन त खाये च।  वैकु खाडू जु लापता रै ब्याळि बटी।  अब खुली वांकु भेद।
परमानंद -तन ना बोला वैदराज जी , नकद द्वी रूप्या दियां छन।
वैदराज -मीन कुछ नि बोलणाय , ओ अफार ऐ गे हरसिंग।  वी बोलल अब।
परमानंद -हे भैजी वै मा नि बुल्यां तुमरा हाथ जुड्यां छन।  मी पता नि कु छन वू चकडैत।  हरसिंग अनाड़ी आदिम च।  सुदी बी लगै द्यालो द्वी चार घपक !
(चादर ओढ़िक बैठ जांद )
(हाथ पर खुकरी लेक गुस्सा मा हरसिंग कु प्रवेश )
हरसिंग -हाँ जी पंडी जी ! परमा त नि आयी इना ?
(तुलसीराम भैर खक जांद )
वैदराज -मिली च खाडू ?
हरसिंग -खाडू त खये गए।  परमानंद बि आये इना ?
वैदराज  (डाँटिक )-फुंड धौर तै हथ्यार . हम त त्यार खाडू कुशल मंगल पुछणा छंवां अर तू छे कि हथ्यार मप्याणु ?
हरसिंग (नरम पोड़िक ) -ना ना तुम पर नि छौं मि नपाणु हथ्यार।  कन बात बोली तुमन  पर मीन उ परमा नि छुड़ण।
वैदराज (वैक हथ्यार छीनिक ) -तैं इनै धौर पैल।  अब बोल क्या कार परमान ?
हरसिंग -ब्याळि रात सिकार खाये वैन।  कख बटे जि खाय ?
वैदराज -अर जु पौड़ी बटे लै हो ?
हरसिंग -न्है जी ! न्है ! वैका कोलणा मीन अपणा खाडू का हडगा पछ्याणने। 
वैदराज -यांको तो तू अनाड़ी छे अर क्यांकु ! तेरा खाडू का हडगो मा रसीदी टिकट लग्यां छा क्या ? ततगै मा ही खुकरी लेकि निकळ गे ?
हरसिंग -आज त कुछ बि ह्वे जावु  …।
वैदराज -अरे बैठ जरा एक घड़ी।  सौ सलाह करला।  कुछ स्वीं सां मीन बि सूण।  एक चिलम तमखु पियाल
हरसिंग -तमखु त मिन कतै नि पीण अबि ( हरसिंग बुगचा बण्यूं परमानंद का मथि बैठ जांद ) हे यु क्या च ? (परमानंद काम्पण लगद ) यु डगडग्याट कनु होणु च ? (चादर उठांद ) ओहो चोर त यखी बैठ्यूं च ! (गर्दन  पकड़िक उठांद )
परमानंद -चोर नि छौं बीमार छौं ,
हरसिंग -बेमार नि छे त मूक लुकैक किलै छे पड्यूं ?
परमानंद - पसीना लीणु छौं 
हरसिंग -पखा ! मि गडदु  त्वै पर अस्यो -पस्यो अबि (झकोऴदु ) बतौ कु कु छा तुम जॉन मेरो खाडु चोरे ? मिन एक एक के   क़तल्यो कन आज।
वैद राज -अरे गौळ त छोड़ वैक तबि त बोललु।  पैल बात सूण तब कौरि फौंदारी।
परमानंद - भैजि ! ये हरसिंग तैं ह्वाइ क्या च ? कनु खाडू की बात करणू च यो।
वैदराज - खाडू , भुलाराम एक खाद्य पदार्थ कु नाम च।
हरसिंग -बता , ऊँ सब्युं नाम बता।
परमानंद - सच्ची बात च भै , मि कैकु नौ नि जाणदु।  मीम त नत्था आय अर द्वी रुप्याक सिकार देगे। जु मी जाणदु वू त्यार खाडू च सची खांदु मी वीं सिकार ?
हरसिंग - नत्था दगड़ी मंगसिरु बि जरुर रै होलु।  और कु छौ?
परमानंद - अरे नत्था ही छौ यार जब बोलणु छौ। खाडू मारण मा कु कु शामिल छ्या यांक मि क्या जाणु।
हरसिंग - नत्था अर मंगसिरु की त मि करदु अठ्वाड़ अबि , पर इन नि समिज कि तु छुट जैलु (खुकरी लेक भैर निकळद )
वैदराज -नखरा फ़ंस्या भुलाराम ?
परमानंद - अर कुछ बात न चित ; महा अनाड़ी च यु हरसिंग।
वैदराज -पर जब तेरो कसूर ही नि छौ कुछ त इतना किलै डौरी वे देखि ?
परमानंद -डरण नि छौ त सुदी घपक खाणि छे वै कि ?पर एक बात च डरण ह्वे मी थरथराट अर पेटै पीड़ा कुज्य़ाण जख गै होली।
वैदराज -अच्छु भुला , फिर ऐ दवै मंगणो।
परमानंद - कनु
वैदराज -द्वी गोऴयुं मा तेरा पेट पीड़ा ठीक कर दे , वांकी कुछ गुण असान त कुछ ना अर जैन भतग लगैने वी जि बणे तेरो धनवंतरी !
परमानंद -ठट्ठा करणु छौ भैजि ! तुमर गोळीयूंन  होये यु चमत्कार।
वैदराज -तनु बोल पर हरसिंग फेर आंद तेरी खोज मा अभि ; वांक दवै नि च मीम कुछ।
परमानंद - ये तैं कनि कै थामा भैजी आज , निथर येन त कुछ अनर्थ कन।
वैदराज -पर तुमन बि कुछ कम अनर्थ नि कर्यो भुलाराम जु उतनी जंगी खाडू एक ही रात माँ चटकै दे !
परमानंद -पर मीन क्या जाणनी छै भैजी कि यो चोरी कु खाडू च , तुमि ब्वालो ?
वैदराज -हमन क्या बुलण बाबू , खाडू का हडगा बोलणा छन।  तू होये , नत्था होये अर बाबुसाब अयूं च जु दिल्ली बटी तुलसीराम , तुम तीनों मदि कै न कैकि च या कारस्तानी।
(तुलसीराम कु प्रवेश )
तुलसीराम -बडाजी ! हरसिंग त नी च यहाँ ?
वैदराज -अबि त नी  च , पर जरा ठैर करा ; अभी औंदु च तुमरि बि खोज
तुलसीराम -हम तैं त नी च वैक डौर बडाजी।  वैकु खाडू और जैन बि खै ह्वे पर हमन त नि खै।
वैदराज -तुमन क्या खाय ?
तुलसीराम -पता यु चौल बल नत्था अर मंगसिरु कु त खुल्युं च बड़ो भारी बिजिनेस।  उ बखरा मारी सिकार बेचणा छन अर नाजायज शराब बि बणौणा छन।
परमानंद - ये कनु मोरे यूंक !
तुलसीराम -जां से गाँव मा बदनामी नि हो ये अपणा काम दूर इ दूर करदा छा , अर शराब त सिरफ कौतिग बगैरह मा बेचदा छा।  अब सरा रिपोर्ट पटवारी मा पौंछि गे।
वैदराज -तब त बात पक्की च , यूँ कसाईयोंन ही चोरे  हरसिंग कु खाडू
तुलसीराम -ना जी ना ! नत्था त यख ब्याळे रात ही आये।  भरसोड़ी कौथिग मा वैन चार बुगठ्या मारी छे।  वी बेचणु छौ अज्युं तक।
परमानंद - हे राम त हमन सात दिनक सडीं सिकार खाये ?
तुलसीराम -खई होली तब।
परमानंद -कनि अंधेर होय।  अरे बखरी ही छे कि कुछ कुत्ता या ?
वैदराज -अब त्यांकी जि क्या ब्वन तब , ब्यापारी जी होया
परमा नंद -यूं लोळोन सब करम भ्रष्ट कर यलने।
वैदराज - नत्था अर मंगसिरु छन कख इबरी ?
तुलसीराम - फरार छन।  प्रधान अलग खोजणु च ऊँ तैं अर हरसिंग खुकरी लेक निकऴयूँ ही च।
परमानंद - हरसिंग का हाथ आयों यूँ मद्दे क्वी त वैन ज्यूंदो नि छोड़न।  भारी लाटो गुस्सा च वैको।  कखी इथैं ना ऐजा फेर।
तुलसीराम - चाचा साब , उनै द्याखो ! वी आणु च शायद , कखी तलवारों वार न करी दयावो वो
(द्वी वैदराज जीक पैथर लुक जांदन )
(हरसिंग कु प्रवेश , वैक हथ खून से लथ पथ )
हरसिंग -एकी चोट मा साले की गर्दन धळका दी   , एकी चोट मा गर्दन अलग कर दे , बदमास कु बच्चा !
वैदराज -    ये ळोळा क्या करे तीन ?
हरसिंग -अर वैन कन बिताय मीं पर ? अर म्यार कुठार पुटुक मतबल अनाजौ भंडार पुटुक लुक्युं भि राय साला।
वैदराज -   अरे छौ कु वो ?
हरसिंग -अजी वी खाडू अर को ?
वैदराज -    खाडू मिल गै त्वै ?
हरसिंग -मील च और क्या ? उटकर्मी मादो कख बिटेन कुठार पुटुक पौंछे साला।  सरा रात द्वी दूण सट्टी बुकै गे पापी मादो।
वैदराज -  भारी नुक्सान करी दे वैन।  पर चल मील त गे खाडू।   
हरसिंग -अर मीन बि वैते मजा चखै दे।  लौ पकड़ी भैर अर एक ही चोट मा खाडू की मुंडळी गै होली दस गज दूर !
वैदराज -    शाबास ! मानते हैं बात तेरी हरसिंग की !
हरसिंग -द चला रै जु जु छंवां तुम सिकर्या।  भड्यावो अर बांटि लगावा !
परमानंद -चला !
तुलसीराम -चला
वैदराज -    सिरी इथें बि भेज दे रे हरसिंग !
(सबि भैर जान्दन अर वैदराज दवै घोटण मा व्यस्त ह्वे जांदन )

सर्वाधिकार - स्व ललित मोहन थपलियाल के उत्तराधिकारी , नोइडा , ऊतर प्रदेश 1 /3 /2014

Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal born in village Shrikot; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal born in Khatsyun Patti; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal belonged to Pauri Garhwal; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal born in Uttarakhand; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal who worked with Pioneer newspaper ; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal worked in WHO; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal worked in New York; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal worked Geneva; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal wrote five famous Garhwali dramas; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal wrote many Hindi dramas or stage plays; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal founder of Jagar and Sadhna Natya Kendra ; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal born in1920; Script for one act Suspenseful, Hilarious, Humorous drama/stage play written by Lalit Mohan Thapliyal expired in 2005;
गढ़वाल से  आधुनिक गढ़वाली नाटक ;टिहरी गढ़वाल से  आधुनिक गढ़वाली नाटक ; उत्तरकाशी गढ़वाल से  आधुनिक गढ़वाली नाटक ; देहरादून गढ़वाल से  आधुनिक गढ़वाली नाटक ;हरिद्वार गढ़वाल से  आधुनिक गढ़वाली नाटक ; पौड़ी गढ़वाल से  आधुनिक गढ़वाली नाटक ; चमोली गढ़वाल से  आधुनिक गढ़वाली नाटक ; रुद्रप्रयाग गढ़वाल से  आधुनिक गढ़वाली नाटक  श्रृंखला ; गढ़वाली नाटकों की पटकथा; गढ़वाल के नाटककार द्वारा लिखित गढ़वाली नाटकों की पटकथा; टिहरी गढ़वाल के नाटककार द्वारा लिखित गढ़वाली नाटकों की पटकथा; चमोली गढ़वाल के नाटककार द्वारा लिखित गढ़वाली नाटक की पटकथा; रुद्रप्रयाग गढ़वाल के नाटककार द्वारा लिखित गढ़वाली नाटक की पटकथा; उत्तरकाशी गढ़वाल के नाटककार द्वारा लिखित गढ़वाली नाटक की पटकथा;पौड़ी गढ़वाल के नाटककार द्वारा लिखित गढ़वाली नाटक की पटकथा;हरिद्वार गढ़वाल के नाटककार द्वारा लिखित गढ़वाली नाटक की पटकथा; देहरादून गढ़वाल के नाटककार द्वारा लिखित गढ़वाली नाटक की पटकथ श्रृंखला जारी


 

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