Uttarakhand > Utttarakhand Language & Literature - उत्तराखण्ड की भाषायें एवं साहित्य
Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटकों का विवरण
Bhishma Kukreti:
Hundred years of Modern Garhwali drama
Adalat: A Realistic Garhwali Drama
(Review of Adalat Garhwali Drama by Swarup Dhoundiyal)
(Garhwali Drama, Kumauni Stage Plays, Uttarakhandi Playwrights)
Bhishm Kukreti
Bhavani Datt Thapliyal initiated the writing and staging of Modern Garhwali drama (Prahalad and Jay-Vijay). No doubt the subject and dialogues of Prahlad are related to society but on the back, the background is religious in nature. The dramas staged at government-built drama building in Tehri; dramas of Ghana Nand Bahuguna, drama Vasanti by Vishwambar Datt Uniyal, Professor Bhagwati Prasad Panthari; or popular dramas written by Jeet Singh Negi were idealistic in nature. The dramas of Lalit Mohan Thapliyal were humorous and satirical dramas with a certain kind of loudness too. The dramatists entered the Garhwali dramatic field after Lalit M Thapaliyal, Parashar Gaud, ‘Kankal’, Virendra Mohan Raturi, Kishor Ghildiyal, Damodar Thapliyal, Hari Datt Bhatt Shailesh were influenced by orthodox disciplines of Indian dramas. Or it is said that those dramas were not on tune of realistic dramas as the general movement of realism of western countries.
The dramas Jank Jod (1975) and Ardhgrameshwar (1976) by Rajendra Dhashmana were nearer to realism but the drama critics as Dr. Sudha Rani did not put these dramas in the category of realistic dramas as dramas of realism movement dramatists Aleksey Pisemsky, Leo Tolstoy, Chekhov et.
Afew critics categorized dramas of Dhashmana as modern look, experimental dramas or dramas that broke the conventional ways of stage plays of Garhwali dramas. However, there is no doubt that Dhashmana brought modernization and real subject into modern Garhwali drama.
Influenced by the response of the audience and appreciation from non-Garhwali critics about Ardhgrameshwar, Swarup Dhoundiyal a famous Hindi fiction writer of his time wrote a Garhwali drama ‘Adalat’. Adalat was staged in Delhi first time in the year 1978. The drama was staged eight times in Delhi. The dram was also staged in Mumbai and a few places of Garhwal as Synsi.
The drama is truly a realistic Garhwali drama.
The story is about tension among the family members of Garhwal of the sixties and self perplexity of each family member. Everybody asks for justice from society (not shown directly) as everybody feels that she or he is right on her/his part as a family member.
Keshar Singh is a peon in Chandigarh whose parents, wife, and children are in the village. The parents of Keshar Singh had to sell ancestral agriculture –fields at the time of his study and marriage of Keshar Singh. His income is not much that his parents could repay the debts of Daulat Ram. Keshar Singh has come to his village from Chandigarh and wants to take his wife with him to Chandigarh. His parents don’t want that he takes his wife to Chandigarh as they are quite old. The wife of Keshar Singh is unhappy about small –small accusations from her mother-in-law. Other characters are there to show the tension among family members.
The drama is having a real subject of Garhwal before the seventies when migrated young or older males wanted to take their families to their working places and elders of the family wanted that Bahus/daughter-in-laws should be in the village.
The situation and dialogues are totally realistic and the least idealism is shown in the drama.
Swarup Dhoundiyal used daily use dialogues and the drama is the real mirror of the villages of Garhwal of the pre-seventies.
Swarup Dhoundiyal brought aspects of realism in Garhwali drama as true characters and dilemmas of real characters. Dhoundiyal had been successful in creating direct attention to the social and psychological problems of ordinary life. Most of the scenes are true mirrors of life. Keshar Singh and his wife at different times ask judgment (from whom?) is nothing but characters unable to arrive at answers to their predicaments.
Swarup Dhoundiyal will always be remembered in the Garhwali drama world for bringing realism in Garhwali drama. History will always remember the late Swarup Dhoundiyal for strengthening realism in the Garhwali drama world as people remember realistic dramatists Ibsen, Chekhov, Arthur Miller, O. Neil Athol Fugard, Oriel Gray, Inez Bensusan, Oscar Kightley, Perez Galdos, etc.
Garhwali Drama, Kumauni Stage Plays, Uttarakhandi Playwrights to be continued….
Copyright@ Bhishm Kukreti
Bhishma Kukreti:
Budya Lapata: An Entertaining Garhwali Drama
(Garhwali Dramas, Kumaunis Dramas, Uttarakhandi Dramas, Himalayan Dramas)
इकीसवीं सदी क गढ़वाळी स्वांग/नाटक -9
बुडया लापता : रौंस दिलंदेर हंसोड्या स्वांग फाड़ी -2
Bhishm Kukreti
Contribution of late Dinesh Bhardwaj in promoting Garhwali drama in Mumbai is tremendous. Dinesh Bhardwaj not only directed Garhwali Dramas, performed in Garhwali stage plays but wrote a drama too along with another Garhwali dramatist Raman Kukreti.
As far as popular dramas are concerned, laud dramas run more in Mumbai than other types of dermas. Keeping in mind the psych of Mumbai’s Garhwali duo writers wrote a laud Garhwali drama ‘Budya Lapata’.
Garhwal Chhatra Sangh and Garhwal Bhratri Mandal staged this hilarious drama. As guessed by Dinesh Bhardwaj and Raman Kukreti, the audience appreciated the drama written around the end eighties.
The story is simple but has ingredients to glue the audience on their seats.
An old man is missing; his son and his servant are worried. The son announces a reward that brings back his father. Two different persons bring two different fathers and demand for reward. Each person compels the son that he should offer a reward to him only. The drama takes a new turn at the end.
The drama deals with individuals’ greed and their style of making false as truthful substance.
The main character is a servant and there are six-seven characters. However, from a staging point of view, there are four main characters whose roles are important.
The plot is very crispy and easy to stage the written form of Budya Lapata drama. Each character is totally different from than others and hence, provides variety.
Dinesh Bhardwaj used to play mainly comic roles, Raman Kukreti had watched various hilarious Marathi dramas in Mumbai from his childhood, and definitely, the dialogues are the best example of creating laughter. The conversation is superb in the drama. The conversation makes the drama live. The wording is simple and phrases are easily understandable as written for specially migrated Garhwalis. The dialogue style has a poetic touch too that making the dialogue more graspable to the audience.
The dram is definitely a humorous one and the director may create an atmosphere as per his need.
Definitely, Budya Lapata is a gem for the modern Garhwali drama world.
Garhwali Dramas, Kumaunis Dramas, Uttarakhandi Dramas, Himalayan Drama to be continued ….
Copyright@ Bhishm Kukreti
Bhishma Kukreti:
Panch Sal Bad: A Political Satirical Garhwali Drama
(Review of ‘Panch Sal Bad ‘a drama by Girish Sundariyal)
(Notes on Garhwali drama, Kumauni drama, Uttarakhandi drama, Himalayan drama)
Bhishm Kukreti
Politics is part of our social system. Therefore, there are plays related to politics in India and Garhwali plays are no exceptions. Since society is part of politics the dramatists involve people in creating political plays but scenes of political manipulation are more in the drama.. Bhishma Kukreti’s play ‘Bakharon Gwer Syalu’ is such a play where political manipulations get more important than society’s actions. The play ‘ Panch sal bad’ by Girish Sundariyal keeps the balance between the political maneuvering and the actions of people against political maneuvering.
The drama ‘Panch sal Bad’ is about the election campaign of various political leaders in a Garhwali village. The writer discloses the political maneuvering of each candidate and the social behavior at the time of the election. In the end, the public becomes united to fight the poisonous concept of fighting among two major casts ‘Rajput and Brahmin’ spread by cunning politicians.
Girish used didactic and comedy methods for showing the maneuvering of politicians in the drama.
Girish chooses typical characters such as ‘chamche (followers of politicians) ‘Jhanjhi’ or alcoholics to develop his theme and for creating humor and satire in the drama. The typical characters as old men ‘Bwada’, women and teachers become the medium of didactic methodology in ‘Panch sal’ by Girish.
Girish had been successful in inserting satirical remarks though the way of using old proverbs and coined proverbs or phrases as
‘tu to Sali baith baith ke chhajja ke pthle chifli kar rahi hai aur mai rat din khairi khake ..
Or
Par raati rat kai dala par lagine si rupyaa
Or
Chunau k mausam ch , ibre t sukhaa dala par bhi paat ai jandan.
Girish takes care that there is poetic flow in the conversation as
Ghapkaltal parti k shandaar, ar jandaar-ummedvar bhai bakhtwaar ! ji han khandani thokdar, kauthgou ja fandar , e gred ka thykedar bhai Bakhtwar, jaunka hcunau chinh ch markhwalyaa bijwaar …
Girish has been thriving in using comedic conventions for exposing the sophistry and moral insensibilities of contemporary political figures. Girish is unbeaten on ridiculing the whole political system and the selfishness of politicians. Girish not only tells the history of contemporary politics but speaks about the truth about human nature too in this drama. The witty dialogues of ‘Panch sal bad’ drama are there to involve people in the drama. The drama is created with the assumption that the writer and his audience know much about today’s political process of election.
The readers/audience of the drama can feel the message and strong opinion beneath the surface of laughable and bitter nonsense.
Girish Sundariyal portrayed lies, greed, stupidity, and ego effectively in the drama.
The characterizations of the characters are fine and the writer is careful with different languages used by the characters are different than others.
The story is simple and the audience is well aware of such incidents shown in the drama.
There are moments of struggle, and dilemmas, in the drama which make the drama interesting.
Usually, Garhwali dramas of subjects related to rural areas are staged in the metros or cities. In my opinion t he drama ‘Panch sal Bad should be played more in rural areas than urban areas. Barring more numbers of characters, the drama does not need complicated production properties.
Copyright@ Bhishm Kukreti
Notes on Garhwali drama, Kumauni drama, Uttarakhandi drama, Himalayan drama to be continued …
Bhishma Kukreti:
Bharti: a Garhwali Drama Teaching Morality
(Review of Bharti’ Drama by Girish Sundariyal)
(Review of Garhwali Drama, Kumauni stage Plays, Uttarakhandi Plays, Himalayan Dramas)
Bhishm Kukreti
In any society moral teaching by drama creations are a must. Girish Sundariyal showed his creative responsibility by writing the ‘Bharti’ drama in Garhwali. The expertise of Girish is that without preaching speeches, the drama is successful in depicting a moral teaching drama ‘Bharti’
The drama ‘Bharti’ is about the hopes and aspirations of the youth of a Garhwali village entering into Indian Army services. Four young boys visit Kalon Dando or Lansdowne for an interview. Only one young guy gets entry into the Indian armed force and three can’t get. The reason is obvious.
The story is about real incidents happening in Garhwal. The writer is successful in showing aspirations, hopes, and frustrations of unemployment or not getting proper counseling in the village to the young generation required in the globalization era. Due to not getting proper counseling young boys do not pass interviews and become frustrated. The frustration takes them to consume alcohol.
The construction of drama is very crispy and dialogues are of day-to-day conversation. The dialogues are having humor and proverbs that make the drama attractive.
The scenes of interviews taken by the military administration seem to be very realistic.
‘Bharti’ drama offers teaching at the end. The writer tries to make the drama as realistic as it can be.
Bharti drama is one of the five dramas from ‘Asgar’ a Garhwali drama collection by Girish Sundariyal.
Copyright@ Bhishm Kukreti
Review of Garhwali Drama, Kumauni stage Plays, Uttarakhandi Plays, Himalayan Dramas to be continued ……
Bhishma Kukreti:
Hundred years of Garhwali drama
Shilanyas: a Garhwali Drama for Public Awareness
(Review of Garhwali Drama ‘Shilanyas’ by Girish Sundariyal)
(Notes on Garhwali Drama, Kumauni Drama, Uttarakhandi Drama, Himalayan Drama)
Bhishm Kukreti
Girish Sundariyal is a famous poet of Garhwali. Recently Girish published a collection of five Garhwali plays ‘Asgar (2011) ’. ‘Shilanyas ‘ (2011) is one of those five Garhwali plays.
Being a teacher, Girish would definitely want that there should be a drama for the younger generation. ‘Shilanyas’ is written purely keeping in mind youth. The drama is based on the value of Shramdan (a cooperative way of constructing a public infrastructure).
Chaundkot is famous for constructing forty miles of motor roads by the public without any government aid at the time of the British Raj through the Shramdan system.
The story of ‘Shilyanyas’ is simply that a married young woman Sooma dies because of an accident, delayed due to no fast transport availability and not getting proper treatment at a government hospital which is far away from the accident place.
The people of the said village decide to take the matter to government officers for constructing a motor road that from future people get facilities. The villagers become surprised that on paper, there is already a motor road constructed by the government.
People of the village talk about the famous Chaundkot road constructed by the public and they start the road construction by way of Shramdan.
The drama is well knitted and is capable of offering a message without any complexity. There are characters of all ages and classes and are from real life.
Girish kept in mind in the drama that avoiders create complainers, complainers create avoiders and the right goal communicated properly creates achievers.
The dialogues are from day to day uses and can create enthusiasm among the audience.
The drama writer is successful in creating the importance of people’s contribution to a public utility.
‘Asgar’ a Garhwali drama collection
By Girish Sundariyal (2011)
Himalay Lok Sahity evam sanskriti Vikas Trust
A-16, Rakshapuram,
Ladpur P.O Raipur
Dehradun
Copyright@ Bhishm Kukreti
Notes on Garhwali Drama, Kumauni Drama, Uttarakhandi Drama, Himalayan Drama to be continued……
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