Author Topic: Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटकों का विवरण  (Read 50135 times)

Bhishma Kukreti

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Garhwali Dramatists/Playwrights -1
Mitra Nand Kukreti: A Great Garhwali Dramatist and Drama Director

Notes on Famous Directors, Theatre/Drama Activists and Dramatists; Asian Famous Directors, Theatre/ Drama Activists and Dramatists; South Asian Famous Directors, Theatre/ Drama Activists and Dramatists; SAARC Countries Famous Directors, Theatre/ Drama Activists and Dramatists; Indian Subcontinents Famous Directors, Theatre/ Drama Activists and Dramatists; Indian Famous Directors, Theatre/ Drama Activists and Dramatists; North Indian Famous Directors, Theatre/ Drama Activists and Dramatists; Himalayan Famous Directors, Theatre/ Drama Activists and Dramatists; Mid Himalayan Famous Directors, Theatre/ Drama Activists and Dramatists; Uttarakhandi Famous Directors, Theatre/ Drama Activists and Dramatists; Kumauni Famous Directors, Theatre/ Drama Activists and Dramatists; Garhwali Famous Directors, Theatre/ Drama Activists and Dramatists

                                  By: Bhishma Kukreti
                          Mitra Nand Kukreti is one of the Asian Greatest Drama /theatre/stage play Directors who promoted regional language dramas and theatres. In Asia, especially in India, due to various hurdles and problems, development of local language theatre/stage plays/ dramas is most difficult task. Garhwali language dramatization of stage plays have various inborn problems. The main problems in staging Garhwali dramas are scattered population, children education is either in Hindi or in English medium and not in Garhwali, continuous declining in Garhwali language speakers, individual financial losses in being Garhwali drama/theatre activist, due to scattered population less audience is available at one place and less recognition or least recognition to Garhwali drama/theatre activists. In such difficult situations, Mitra Nand Kukreti involved himself in promoting Garhwali theatre/dramas leaving English and Hindi languages theatres where more recognition was available and no financial losses was there. It was the love for language theatre/dramas attracted Mitra Nand to become Garhwali theatre/drama activist. 
                               Mitra Nand Kukreti belongs the  village Gheedi, Maniyarsyun, Pauri Garhwal. Kukretis of Gheedi were migrated from Dyusi, Maniyarsyun to Gheedi.  Kukretis of Dyusi came from Barsudi, Langur and Kukretis of Barsudi were migrated from Jaspur village, Malla Dhangu. Jaspur is the original village where first time, Kukretis settled in Garhwal migrating from Southern part or western south  India in thirteen/fourteen century.
   Mitra Nand Kukreti was born in November, 1944. He was educated in Lansdowne and Delhi. Mitra Nand Kukreti was in translation department in parliament.
          Mitra Nand Kukreti was involved in theatre/drama activities from his student life. Mitra Nand Kukreti started his theatre activities by acting in English and Hindi dramas.  For many years, Mitra Nand Kukreti used to write a column dedicated to theatres and dramas of Delhi for a daily newspaper.
  In 1944, Jagar a Garhwali theatre/drama promoting organization Delhi invited Mitra Nand Kukreti to direct ‘Ardhgrameshwar’ stage play.  Mitra Nand Kukreti‘s direction of ‘Ardhgrameshwar’ stage play written by playwright Rajendra Dhashmana was appreciated by Garhwali audience in various cities, theatre activists/dramatists and famous critics of Hindi and English theatres/dramas.
  The entry of Mitra Nand Kukreti in Garhwali theatre/drama world brought new waves in Garhwali theatre/dramas. Mitra Nand Kukreti is called father of new thinking in Garhwali theatre/dramas.
     Mitra Nand Kukreti trained Garhwali theatre/drama activists for new approaches in bringing contemporariness or modernism in Garhwali theatre/dramas in various workshops organized by Jagar.
              Mitra Nand Kukreti directed ‘Kanshnukram’ written by Kanhaiya Lal Dandriyal and modified by Rajendra Dhashmana staged in 1989 in Delhi, Mitra Nand Kukreti directed famous drama ‘’Bhakt Prahlad’ written by Bhavani Datt Thapliyal in 1989, in Delhi. Bhavani Datt Thapliyal wrote the first modern Garhwali drama ’Bhakt Prahlad’ in 1913. 
                   Mitra Nand Kukreti directed a Garhwali drama ‘Swayambar’ written by Kanhaiya Lal Dandriyal in 1984 in Dehradun.
  Mitra Nand Kukreti directed a Garhwali drama ‘Audal’ in 1989.
          Besides his directing Garhwali theatre/dramas/stage plays, Mitra Nand Kukreti contributed Garhwali theatre/dramas by culturing new generation theatre/drama activists.
  These days, Mitra Nand Kukreti is busy in translating classic Sanskrit Bhakti Shloka books into English.
           Asian theatre drama world will always remember the remarkable works of Mitra Nand Kukreti for promoting less spoken language theatres/dramas/stage plays ,training the theatre/drama activists, guiding young  generation of finer points of theatre/dramas, culturing new generation in Garhwali theatre/dramas and bringing contemporariness in Garhwali theatre/dramas.   

Copyright@ Bhishma Kukreti, 23/5/2012
Notes on Famous Directors, Theatre/Drama Activists and Dramatists; Asian Famous Directors, Theatre/ Drama Activists and Dramatists; South Asian Famous Directors, Theatre/ Drama Activists and Dramatists; SAARC Countries Famous Directors, Theatre/ Drama Activists and Dramatists; Indian Subcontinents Famous Directors, Theatre/ Drama Activists and Dramatists; Indian Famous Directors, Theatre/ Drama Activists and Dramatists; North Indian Famous Directors, Theatre/ Drama Activists and Dramatists; Himalayan Famous Directors, Theatre/ Drama Activists and Dramatists; Mid Himalayan Famous Directors, Theatre/ Drama Activists and Dramatists; Uttarakhandi Famous Directors, Theatre/ Drama Activists and Dramatists; Kumauni Famous Directors, Theatre/ Drama Activists and Dramatists; Garhwali Famous Directors, Theatre/ Drama Activists and Dramatists to be continued

Bhishma Kukreti

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Chhatra Bhang: A Satirical, Political Garhwali Drama of Animal Characters about Misfiring of Revolution

(Review of Political Satire Garhwali Drama ‘Chhatra Bhang’ written by Shakt Dhyani (2009)

Review  on Satirical, Political theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Asian theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political South Asian theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political SAARC Countries theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Indian subcontinent theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Indian theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political North Indian theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Himalayan theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Mid Himalayan theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Uttarakhandi theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Hindi theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Kumauni theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Garhwali theatres, Dramas of Animal Characters about Misfiring of Revolution

                    Review by Bhishma Kukreti

            Credit goes to playwright Shakt Dhyani for bringing first time the birds as human characters in Garhwali dramas. Critics applaud for the great initiative by playwright Shakt Dhyani. 
                   There are thousands of stories wherein the animals play the role of human beings. There are folk stories in Garhwal as well in other parts of world wherein animals play the role of human beings. There are folk and modern poetries in Garhwal and other areas wherein animals are shown as human beings. Kukreti provides many details of the traditional folk dramatists of Garhwal (Badi-Badan) used to play dramas of animal characters.
           Shakt Dhyani (editor of Halant magazine) wrote a fine Garhwali drama ‘Chhatra Bhang’ (under publication) wherein all characters are in animal form. The characters are birds or animals. The drama Chhatra Bhang’ was staged thrice in Dehradun and was directed by Ramesh Dobariyal in 2009.
          The story is about revolutionary activist Crow who is against present rule. The opposition party members exploit Crow and there is revolution in the land. However, nothing changes after revolution because one vulture replaces another vulture. The real revolution is change of old system but when system does not change it is ridiculous to name it revolution.  The drama attacks sharply on the concept o f ’Revolution’, kranti’ or Satta Parivartan’ where there is no change in old system, does not bring new desired system and there is just changes among politicians. The dialogues of drama are real from political world. The incidents of drama are already experienced by Indians many times in past when in the name of revolution or change of rule they were deceived by corrupt politicians.
 In an telephonic conversation, the playwright Shakt Dhyani that he was inspired by a Russian novel wherein there as a wolf character in the novel. While staging the play, all characters were in there animal or bird forms.
 The main characters are crow (hero), vulture (villain) pigeons, parrots, sparrows, Ghindudi, Sentulus, etc in the first Garhwali drama Chhatra Bhang’ with the characters of birds as human beings.
  The theatre, drama world will always remember Shakt Dhyani for initiating experiment of taking animal and birds in Garhwali plays. This is the first Garhwali drama wherein animals and birds play the role of human beings.
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- Manuscripts of various dramas (curtsey by Parashar Gaur)
9- Personal talks with playwrights/dramatists
10- Notes by D.D Sundariyal from Chandigarh
11- Various inputs by Dr. D. R. Purohit from Shrinagar, Garhwal 
12- Bhishma Kukreti, Lok Natya Visheshank of Chitthi Patri, Dehradun

Copyright@ Bhishm Kukreti

Review  on Satirical, Political theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Asian theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political South Asian theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political SAARC Countries theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Indian subcontinent theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Indian theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political North Indian theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Himalayan theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Mid Himalayan theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Uttarakhandi theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Hindi theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Kumauni theatres, Dramas of Animal Characters about Misfiring of Revolution; Satirical, Political Garhwali theatres, Dramas of Animal Characters about Misfiring of Revolution to be continued..

Bhishma Kukreti

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Gangavataran: Use of Garhwali Drama for Public Awareness about Cleaning Ganga

Notes on Dramas for Public Awareness about Cleaning Ganga; Asian  Dramas for Public Awareness about Cleaning Ganges; South Asian Dramas for Public Awareness about Cleaning Ganga; SAARC Countries Dramas for Public Awareness about Cleaning Ganga; Indian subcontinent Dramas for Public Awareness about Cleaning Ganga; Indian Dramas for Public Awareness about Cleaning Ganga; North Indian Dramas for Public Awareness about Cleaning Ganga; Dramas for Public Awareness about Cleaning Ganges at Bank of  Ganga ; Dramas for Public Awareness about Cleaning Ganges  at Sonepur Mela; Himalayan Dramas for Public Awareness about Cleaning Ganges; Dramas for Public Awareness about Cleaning Ganges; Mid Himalayan Dramas for Public Awareness about Cleaning Ganga; Uttarakhandi Dramas for Public Awareness about Cleaning Ganga; Kumauni Dramas for Public Awareness about Cleaning Ganga; Garhwali language Dramas for Public Awareness about Cleaning Ganga 

                                            Bhishma Kukreti
                    Ganga is most Reverend River in the world. There is mythological story behind the birth of Ganga and most of Indians believe in the mythological characters of king Sagar, king Bhagirath etc. There have been dramas played on the subject of Gangavataran or birth of Ganga.  For example, a dance- lyrical drama by Nrendra Kukamr was staged in 2009 in Sonepur mela/fair of North Bihar. Malavika Sarrukai is a famous classical dancer who dances on the theme of Ganga in foreign countries as Singapore (Ganga Nritya vahini).
             However, today, there is a serious problem of Ganga pollution by human waste, industrial waste, religious events, and dams etc. The literature creative specially are not behind creating drams about public awareness for clean status of Ganga.  For example, Jagrit,i  Bengaluru presented a drama ‘The Invisible River’ directed by   Ruchika Chanana (2007) as Theatrescince concept. In this drama, the dramatists present many facets related to Ganga and all facets –religion, politics, saints, Ganga pollution, Ganga cleaning acts are interrelated.
   Manu Dhoundiyal and Harish Badola wrote a Garhwali lyrical dance-drama ‘Gangvataran’.   The drama takes the audience to the birth of Ganga and then Ganga herself asks the people for her problems of pollution. In this lyrical drama Ganga is shown as human being character who is asking questions to human beings for taking responsibilities keep rivers pollution free.    A social organization of Lucknow staged the Garhwali lyrical dance-drama ‘Gangavataran’ twice in 2007 and 2008. 
  The   Garhwali lyrical dance-drama ‘Gangavataran’ is a good example of making mythological story plays as vehicle of public awareness for cleaning Ganga River.                                     
References:

1-Dr Anil Dabral,Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh BandhuBahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)
3-Dr Sudharani,Garhwal ka  Rangmanch (Garhwali Dramasfrom 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 BhattShailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams andtheatres from beginning till 1985)
6-Dr Bhakt Darshan: BarristerMukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till1985
7-Dr Nand KishorDhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution ofBhagwati Prasad Panthri for developing Garhwali drama)
8- Manuscripts ofvarious dramas (curtsey by Parashar Gaur)
9- Personal talks with playwrights/dramatists
10- Notes by D.D. Sundariyal from Chandigarh
11- Various inputs byDr. D. R. Purohit from Shrinagar, Garhwal 
12- Bhishma Kukreti, LokNatya Visheshank of Chitthi Patri, Dehradun

Copyright@ Bhishma Kukreti, 25/5/2012
Notes on Dramas for Public Awareness about Cleaning Ganges; Asian  Dramas for Public Awareness about Cleaning Ganges; South Asian Dramas for Public Awareness about Cleaning Ganges; SAARC Countries Dramas for Public Awareness about Cleaning Ganges; Indian subcontinent Dramas for Public Awareness about Cleaning Ganges; Indian Dramas for Public Awareness about Cleaning Ganges; North Indian Dramas for Public Awareness about Cleaning Ganges; Dramas for Public Awareness about Cleaning Ganges at Bank of  Ganga ; Dramas for Public Awareness about Cleaning Ganges in Sonepur mela; Himalayan Dramas for Public Awareness about Cleaning Ganges; Dramas for Public Awareness about Cleaning Ganges; Mid Himalayan Dramas for Public Awareness about Cleaning Ganges; Uttarakhandi Dramas for Public Awareness about Cleaning Ganges; Kumauni Dramas for Public Awareness about Cleaning Ganges; Garhwali language Dramas for Public Awareness about Cleaning Ganges  to be continued..

Bhishma Kukreti

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Kishkindha Kand: A Ramayana base Prose-Lyrical Garhwali Drama

(Review of a Ramayana base Prose-Lyrical Garhwali Drama ‘Kishkindha Kand’ (1981) written by Braj Mohan Kabtiyal)

Notes on Ramayana base Lyrical-Prose Dramas; Ramayana base Lyrical-Prose Asian dramas; Ramayana base Lyrical-Prose South Asian Dramas; Ramayana base Lyrical-Prose SAARC Countries Dramas; Ramayana base Lyrical-Prose Indian subcontinent Dramas; Ramayana base Lyrical-Prose Indian Dramas; Ramayana base Lyrical-Prose North Indian Dramas; Ramayana base Lyrical-Prose Himalayan Dramas; Ramayana base Lyrical-Prose Mid Himalayan Dramas; Ramayana base Lyrical-Prose Uttarakhandi Dramas; Ramayana base Lyrical-Prose Kumauni Dramas; Ramayana base Lyrical-Prose Garhwali Dramas

                          Bhishma Kukreti

  Ramayana has been an evergreen source of creating different types of dramas/plays all over world in various languages of the world.
   A Garhwali and Hindi poet Braj Mohan Kabtiyal ((1931-2008) wrote seven dramas in Garhwali language. ‘Kishkindha Kand’ Ramayana base drama is his first Garhwali dramas. The Ramayana base Garhwali drama ‘Kishkindha Kand’ is staged many times in Kotdwara.  The story of Ramayana base Garhwali drama ‘Kishkindha Kand’ is about the struggle of Sugreev and his battle with elder brother an episode of great epic Ramayana. 
  There are lyrics and prose dialogues in Ramayana base Garhwali drama ‘Kishkindha Kand’. One example of the effective dialogues in prose and lyrical form of Ramayana base Garhwali drama ‘Kishkindha Kand’ is as under:
           पहलों दृश्य
(ऋष्यमूक पर्वत पर हनुमान सहित सुग्रीव राम चन्द्र जी व लक्ष्मण जी को सीता कि खोज मा ऋष्यमूक पर्वत कि तरफ़ा आणा . सुग्रीव को उन्तई  बाली को दूत समझी क डरणो )
सुग्रीव (हनुमान से )
हे हनुमान जी छौं, मी इन देखणू ,
जन बाली का दूत सि औणो छनौ
साधु वेष च मुख परै तेज छ,
धनुरधारी सि द्वी बीर औणा छन.
कुच्छ ट सोचा ज़रा अब ना करा देरी
देखी की मन मेरो हुयुं च बहुत मरमणा.
डगमगौणी जनी छ मेरी जिकुड़ी
लगणु छ काल मेरा सि औणा छन
(वार्ता)
हे हनुमान जी ! मी तै द्वी बाली का सि दूत लगणा छाना तुम जै की पता ट लगावा कि को छाना.कख और किलै जाणा छन.

              The famous Garhwali literature critic and historian Dr Nand Kishor Dhoundiyal states that dramas of Kabtiyal are folk style based dramas. Dr Dhoundiyal informs that this of Ramayana base Garhwali drama ‘Kishkindha Kand’ attracted the audience and people used to see the Ramayana base Garhwali drama ‘Kishkindha Kand’ with pleasure.
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 Dramasfrom 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 BhattShailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams andtheatres from beginning till 1985)
6-Dr Bhakt Darshan: BarristerMukandi Lal Srmriti Granth (Garhwali dramatists or theatre playwright till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama) and Garhwal ki Divangat Vibhutiyan part 6,  page 117-125
8- Manuscripts of various dramas (curtsey by Parashar Gaur)
9- Personal talks with playwrights/dramatists
10- Notes by D.D. Sundariyal from Chandigarh
11- Various inputs by Dr. D. R. Purohit from Shrinagar, Garhwal 
12- Bhishma Kukreti, LokNatya Visheshank of Chitthi Patri, Dehradun

Copyright@ Bhishma Kukreti, 26/5/2012

Notes on Ramayana base Lyrical-Prose Dramas; Ramayana base Lyrical-Prose Asian dramas; Ramayana base Lyrical-Prose South Asian Dramas; Ramayana base Lyrical-Prose SAARC Countries Dramas; Ramayana base Lyrical-Prose Indian subcontinent Dramas; Ramayana base Lyrical-Prose Indian Dramas; Ramayana base Lyrical-Prose North Indian Dramas; Ramayana base Lyrical-Prose Himalayan Dramas; Ramayana base Lyrical-Prose Mid Himalayan Dramas; Ramayana base Lyrical-Prose Uttarakhandi Dramas; Ramayana base Lyrical-Prose Kumauni Dramas; Ramayana base Lyrical-Prose Garhwali Dramas to be continued..

Bhishma Kukreti

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Peashvar kand ka Veer Senani Chandra Singh Garhwali: A Didactic Historical, Garhwali Drama

(Review of a Didactic Historical, Garhwali Drama ‘Peashvar kand ka Veer Senani Chandra Singh Garhwali’ written and staged by Braj Mohan Kabtiyal)

Notes on Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Asian Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; South Asian Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; SAARC Countries Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Indian subcontinent Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Indian Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; North Indian Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Himalayan  Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Mid Himalayan Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Uttarakhandi   Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Kumauni Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Garhwali Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays


                                                Bhishma Kukreti

                Dr Nand Kishor Dhoundiyal blames to Garhwali literature critic that they never provide due honor to the works of late Braj Mohan Kabtiyal about his contribution in writing, promoting, staging Garhwali theatres/dramas. Dr Dhoundiyal is right because, most of the critics were busy promoting the literature creative of Delhi but could not get details about works of Garhwali literature creative working for Garhwali language development in small towns and villages of Garhwal. For example, Braj Mohan Kabtiyal not only wrote Garhwali dramas but he encouraged, trained students and other  artists for playing stage plays for developing Garhwali theatre in Garhwal. Kabtiyal staged many didactic and historical plays in Kotdwara.
              He wrote Kishkindha Kand, Gangu Ramola, Jeetu Bagdwal, Peashvar kand ka Veer Senani Chandra Singh Garhwali, Beer bala tilu Rauteli, Ode ka jhagda and Anpadh Garhwali plays. Baring two Garhwali plays Ode ka jhagda and Anpadh , other five didactic  Garhwali plays are staged and published. Very few Garhwali creative are aware that Braj Mohan Kabtiyal was Samdhi of late Kanhaiya Lal Dandriyal.
               ‘Peashvar kand ka Veer Senani Chandra Singh Garhwali ‘a Garhwali didactic and historical drama is about the actions of a British army Subedar Chandra Singh Garhwali for disobeying the order of his British army officer for firing on innocent freedom fighter in Peshavar. British army did court marshal of Chandra Singh Garhwali and put him in jail. After freeing from Jail, Chandra Singh Garhwali joined freedom movement of India.
  The drama dialogues bring energy into youth and all age audience for dedicating their lives for the nation and social cause. The didactic and historical Garhwali drama ‘Peashvar kand ka Veer Senani Chandra Singh Garhwali ‘ could extract the finer points of life of Chandra Singh Garhwali too. Dr Dhoundiyal applauds the didactic and historical drama as very fine instrument of inspiring people.
             Truly, world drama critics, world theatre critics or world stage plays critics will remember Braj Mohan Kabtiyal always for his endurance for promoting local language dramas as Garhwali drama or theatres in small town as Kotdwara, Pauri Garhwal.
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 Dramasfrom 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 BhattShailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams andtheatres from beginning till 1985)
6-Dr Bhakt Darshan: BarristerMukandi Lal Srmriti Granth (Garhwali dramatists or theatre playwright till 1985
7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama) and Garhwal ki Divangat Vibhutiyan part 6,  page 117-125
8- Manuscripts of various dramas (curtsey by Parashar Gaur)
9- Personal talks with playwrights/dramatists
10- Notes by D.D. Sundariyal from Chandigarh
11- Various inputs by Dr. D. R. Purohit from Shrinagar, Garhwal 
12- Bhishma Kukreti, LokNatya Visheshank of Chitthi Patri, Dehradun

Copyright@ Bhishma Kukreti, 27/5/2012
List of few notable didactic and historical dramas-
1-The dramas of Shakespeare are full of historical and didactic notes
2- Ibsen and Strindberg contributed for developing historical Scandinavian theatre. The both preferred realistic dramas than didactic or moral teaching dramas
3-Soviet dramatists were concerned about didactic use of Russian history in the theatres.
4- Wanger (1990) provides details of Chinese moral teaching, didactic and historical dramas in his book ‘The Contemporary Chinese Historical drama...’
5-Cavanaugh (2003) details about moral teaching, historical and didactic dramas in the book ‘Language and politics in sixteenth century plays’.
6- Potter (1975) discusses in details about English morality, didactic and historical English plays/dramas in the book ‘The English Morality Plays’.
7- Hermans (2009) provides many examples of didactic elements, morality and history in the dramas in the book ‘A literary History of low Countries’.
8-Griffin (2001) provides lists of historical, didactic and moral based dramas in the book ‘Playing the past: Approaches to English Historical Drama’.
9-Lombard (1996) and Shirane (2008) offer many examples of Japanese didactic, historical, moral base dramas.
10-Yu, Kim et all (2004) provide the aspects of didactic, history and morality in Korean dramas in ‘Korean dramas under Japanese occupation’.
11-Hussain, Jaaffar, and Ahmad (1992) give details of didacticism, history and morality in Malay Language dramas in ‘History of Modern Malay Literature’.
11- Conteh- Morgan,Olaniyan (2004) provides details of aspects of didacticism, history and morality in African drama in the book ‘African drama and performance’.

Notes on Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Asian Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; South Asian Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; SAARC Countries Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Indian subcontinent Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Indian Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; North Indian Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Himalayan  Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Mid Himalayan Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Uttarakhandi   Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Kumauni Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays; Garhwali Didactic Historical Dramas, Didactic Historical Theatres, Didactic Historical Plays to be continued….

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Byakhuni k Gham: A Garhwali Drama about Difference between Materialistic l Needs and Mental Needs

(Review of ‘Byakhuni k Gham’ (1980) a Garhwali Drama by Surendra Balodi)

Notes on Dramas about Difference between Materialistic l Needs and Mental Needs; Asian Dramas about Difference between Materialistic l Needs and Mental Needs; South Asian Dramas about Difference between Materialistic l Needs and Mental Needs; SAARC Countries Dramas about Difference between Materialistic l Needs and Mental Needs; Indian Subcontinent Dramas about Difference between Materialistic l Needs and Mental Needs; Indian Dramas about Difference between Materialistic l Needs and Mental Needs; North Indian Dramas about Difference between Materialistic l Needs and Mental Needs;  Himalayan Dramas about Difference between Materialistic l Needs and Mental Needs; Mid Himalayan  Dramas about Difference between Materialistic l Needs and Mental Needs; Uttarakhandi Dramas about Difference between Materialistic l Needs and Mental Needs; Kumauni Dramas about Difference between Materialistic l Needs and Mental Needs; Garhwali Dramas about Difference between Materialistic l Needs and Mental Needs

                                        Bhishma Kukreti

          Surendra Balodi (Dyolad, Dhumakot, 1960- ) is a well known drama activist in the theatre world of Uttarkashi, Garhwal. Surendra Balodi wrote, staged and directed three Garhwali plays apart from Hindi plays.
              Surendra balodi wrote and staged the drama Byakhuni k Gham’ in 1980 in Uttarkashi. The drama Byakhuni k Gham’ is staged thrice after its first time staging in 1980.
          The drama is about the difference of opinion about physical needs and mental needs.  In Mahabharata, Bhim tells to Yudhisthir that mental health and physical health are necessary. Same way, human being requires fulfillment of the physical needs and mental needs.
          ‘Byakhuni k Gham’ means that ‘ sun is setting’. The story is that an old widow is spending her life in aloofness in remote village of Garhwal. Her son is settled in city and has a happy family. He loves his wife, children and his mother too. The son sends money order timely so that his mother fulfills her materialistic needs.  However, old lady dreams about her being with her son, talking with her daughter in law and playing with her grand children. The old widow is frustrated for non availability of warmth of her own family members.  Her son makes her understand that he is fulfilling her all materialistic needs by posting money order.
                The drama discusses about finer aspects of difference between materialistic needs and mental needs. The drama is mirror of widows whose children are in cities; these old widows are without family members and spending life in aloofness in rural Garhwal.
Copyright@ Bhishma Kukreti, 28/5/2012
 Notes on Dramas about Difference between Materialistic l Needs and Mental Needs; Asian Dramas about Difference between Materialistic l Needs and Mental Needs; South Asian Dramas about Difference between Materialistic l Needs and Mental Needs; SAARC Countries Dramas about Difference between Materialistic l Needs and Mental Needs; Indian Subcontinent Dramas about Difference between Materialistic l Needs and Mental Needs; Indian Dramas about Difference between Materialistic l Needs and Mental Needs; North Indian Dramas about Difference between Materialistic l Needs and Mental Needs;  Himalayan Dramas about Difference between Materialistic l Needs and Mental Needs; Mid Himalayan  Dramas about Difference between Materialistic l Needs and Mental Needs; Uttarakhandi Dramas about Difference between Materialistic l Needs and Mental Needs; Kumauni Dramas about Difference between Materialistic l Needs and Mental Needs; Garhwali Dramas about Difference between Materialistic l Needs and Mental Needs to be continued..

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Surma:  A Garhwali Drama Depicting the Sufferings of Rural Women 

(Review of a Garhwali Drama ‘Surma’ (1994) written by Surendra Balodi)

Notes on Dramas Depicting the Sufferings of Rural Women; Asian Dramas Depicting the Sufferings of Rural Women; South Asian Dramas Depicting the Sufferings of Rural Women; SAARC Countries Dramas Depicting the Sufferings of Rural Women; Indian Continent Dramas Depicting the Sufferings of Rural Women; Indian  Dramas Depicting the Sufferings of Rural Women;  North Indian  Dramas Depicting the Sufferings of Rural Women;  Himalayan Dramas Depicting the Sufferings of Rural Women; Mid Himalayan  Dramas Depicting the Sufferings of Rural Women; Uttarakhandi Dramas Depicting the Sufferings of Rural Women;  Kumauni  Dramas Depicting the Sufferings of Rural Women;  Garhwali  Dramas Depicting the Sufferings of Rural Women   

                                                    Bhishma Kukreti
                 Surendra Balodi the famous drama activist of Uttarkashi, Garhwal, India has practical experiences of women of rural Garhwal facing many problems, crisis by geographical means and harassments due to new changes in the society or changes in social norms.
            Surendra Balodi wrote a drama ‘Surma’ and staged this drama first time in Uttarkashi in 1994. Surendra Balodi directed his own written drama ‘Surma’. Till date, the women suffering oriented drama ‘Surma’ is stage more than ten times.
               Surendra shows the tragedy of young men migrating to plains and women are left for suffering in village in this women oriented drama ‘Surma’.  The women are main losers because of the youth and old generation males wasting time either in alcohol consumptions. Though the society is changed but the oppression of mother in law does not change and sufferer is woman. The government has been bringing many unheard changes in forest laws from the time of Tihri King. Whenever new law about forest policies is enforced the rural women are main suffers.
                          Surendra successfully wove the stories of sufferings of women in rural Garhwal in the Garhwali drama ‘Surma’. The subject of women’s suffering oriented drama ‘Surma’ is already experienced by the audience. Therefore, the women anguishes oriented drama ‘Surma’ attracts the attention of audience very well. 
Copyright@ Bhishma Kukreti 29/5/2012

Notes on Dramas Depicting the Sufferings of Rural Women; Asian Dramas Depicting the Sufferings of Rural Women; South Asian Dramas Depicting the Sufferings of Rural Women; SAARC Countries Dramas Depicting the Sufferings of Rural Women; Indian Continent Dramas Depicting the Sufferings of Rural Women; Indian  Dramas Depicting the Sufferings of Rural Women;  North Indian  Dramas Depicting the Sufferings of Rural Women;  Himalayan Dramas Depicting the Sufferings of Rural Women; Mid Himalayan  Dramas Depicting the Sufferings of Rural Women; Uttarakhandi Dramas Depicting the Sufferings of Rural Women;  Kumauni  Dramas Depicting the Sufferings of Rural Women;  Garhwali  Dramas Depicting the Sufferings of Rural Women to be continued…

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Bwe Tu Fir Ai: A Garhwali Stage Play about Struggle of a Recluse against Alcohol Marketing, Alcohol Consumption 

(Review of a Garhwali stage play Bwe Tu Fir Ai (1995) By Surendra balodi )
Notes on Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption; Asian Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption; South Asian Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption; SAARC Countries Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption; Indian sub continent Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Indian  Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  North Indian Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Himalayan Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Mid Himalayan Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Uttarakhandi Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Kumauni Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Garhwali Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption
शराब व शराब माफिया विरुद्ध नाटक; शराब व शराब माफिया विरुद्ध एशियाई नाटक;शराब व शराब माफिया विरुद्ध दक्षिण एशियाई नाटक;शराब व शराब माफिया विरुद्ध सार्क देशीय नाटक;शराब व शराब माफिया विरुद्ध भारतीय उप महाद्वीपीय नाटक;शराब व शराब माफिया विरुद्ध भारतीय नाटक;शराब व शराब माफिया विरुद्ध उत्तर भारतीय नाटक;शराब व शराब माफिया विरुद्ध हिमालयी नाटक;शराब व शराब माफिया विरुद्ध मध्य हिमालयी नाटक;शराब व शराब माफिया विरुद्ध उत्तराखंडी नाटक;शराब व शराब माफिया विरुद्ध कुमाउनी नाटक;शराब व शराब माफिया विरुद्ध गढ़वाली नाटक; समीक्षा लेखमाला

                    Bhishma Kukreti

         A White paper of WHO (2006) states that approximately 2 (two billion) people consume alcohol and 70 million people have been estimated to be suffering from alcohol consumption disorders. WHO has been providing the data regularly every year about millions of deaths year due to alcohol consumption disorders and millions of families suffering economic deficits due to alcohol consumption.
                           Rural Uttarakhand is facing daunting problems of alcohol consumption even by teen youth. The problem is so serious that people don’t go for ‘Shamshan yatra’ if there is no arrangement of alcohol drinks after the ‘Gati’ .
  Tinchri Mai or Icchhagiri Mai –a female recluse had been a source for stopping alcohol marketing and alcohol consumption in Garhwal. Icchhagiri Mai also met Pundit Jawaharlal Nehru for a social work. Tinchri Mai was a symbol for making public awareness against alcohol marketing and alcohol consumption. Her real name was Deepa Nautiya Nawani. She expired in 1995.
                           Surendra balodi a well known theatre figure of Uttarkashi wrote a drama based on the struggle of Tinchari Mai against alcohol consumption and alcohol marketing. Surendra modified the real life story that people are praying her to take new birth immediately (Bwe tu fir Ai). The anti alcohol consumption and anti alcohol marketing drama was staged in 1995 at  Ram Nagar festival , The  theatre against alcohol consumption or dram against alcohol marketing was awarded and appreciated too.   The drama against alcohol marketing and alcohol consumption is staged many times thereafter its first staging in Ramnagar. Surendra Balodi directed ‘Bwe Tu fir ai’ drama.
Copyright@ Bhishma Kukreti 30/5/2012

Notes on Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption; Asian Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption; South Asian Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption; SAARC Countries Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption; Indian sub continent Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Indian  Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  North Indian Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Himalayan Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Mid Himalayan Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Uttarakhandi Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Kumauni Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption;  Garhwali Stage Plays/Dramas/Theatres against Alcohol Marketing, Alcohol Consumption to be continued…
शराब व शराब माफिया विरुद्ध नाटक; शराब व शराब माफिया विरुद्ध एशियाई नाटक;शराब व शराब माफिया विरुद्ध दक्षिण एशियाई नाटक;शराब व शराब माफिया विरुद्ध सार्क देशीय नाटक;शराब व शराब माफिया विरुद्ध भारतीय उप महाद्वीपीय नाटक;शराब व शराब माफिया विरुद्ध भारतीय नाटक;शराब व शराब माफिया विरुद्ध उत्तर भारतीय नाटक;शराब व शराब माफिया विरुद्ध हिमालयी नाटक;शराब व शराब माफिया विरुद्ध मध्य हिमालयी नाटक;शराब व शराब माफिया विरुद्ध उत्तराखंडी नाटक;शराब व शराब माफिया विरुद्ध कुमाउनी नाटक;शराब व शराब माफिया विरुद्ध गढ़वाली नाटक; समीक्षा लेखमाला जारी ....

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Abhigyan Shakuntalam: A Garhwali Drama based on Sanskrit Classic Abhigyan Shakuntalam

(Review of a Garhwali Drama ‘Abhigyan Shakuntalam ‘(1977-1978) by Dr.Pushkar Naithani)

                     Notes on Modern Dramas/Plays based on Classic Literature; Modern Asian Dramas/Plays based on Classic Literature; Modern South Asian Dramas/Plays based on Classic Literature; Modern SAARC Countries Dramas/Plays based on Classic Literature; Modern Indian sub continent Dramas/Plays based on Classic Literature; Modern Indian Dramas/Plays based on Classic Literature; Modern North Indian Dramas/Plays based on Classic Literature; Modern Himalayan Dramas/Plays based on Classic Literature; Modern Mid Himalayan Dramas/Plays based on Classic Literature; Modern Uttarakhandi Dramas/Plays based on Classic Literature; Modern Kumauni Dramas/Plays based on Classic Literature; Modern Garhwali Dramas/Plays based on Classic Literature
संस्कृत नाटकों से अनुवादित नाटक ; संस्कृत नाटकों से एशियाई अनुवादित नाटक ;संस्कृत नाटकों के अनुवादित दक्षिण एशियाई नाटक ;संस्कृत नाटकों के अनुवादित भारतीय नाटक ;संस्कृत नाटकों के अनुवादित उत्तर भारतीय नाटक ;संस्कृत नाटकों के अनुवादित हिमालयी नाटक ;संस्कृत नाटकों के अनुवादित मध्य हिमालयी नाटक ;संस्कृत नाटकों के अनुवादित उत्तराखंडी नाटक ;संस्कृत नाटकों के अनुवादित कुमाउनी नाटक ;संस्कृत नाटकों के अनुवादित गढवाली नाटक लेखमाला

                                          Bhishma Kukreti

         Dramatization based on classics has been an old tradition in drama world literature and still modern playwright write drams based on classics. For example, in recent time, Paul Olson wrote there plays based on classic fictions as Dracula by Bram Stoker; A Christmas Carol of Charles Dickens; Jane Eyre by Charlotte Bronte. There are films based on classics as ‘The Phantom of Opera’, ‘Casonova’, ‘Wuthering Heights’ etc.
   In Modern Garhwali literature, there is translation of Classic Poetries and stories but there was gap of translating Sanskrit Classic dramas/plays.  Dr. Pushkar Naithani (born in 1953) filled the gap of translating Sanskrit drama in Garhwali.  Dr. Pushkar Naithani translated fourth Sarg of Abhigyan Shakuntalam a Classic Sanskrit Drama written by Kalidas in initial years of Christ centuries. Dr Naithani wrote the drama and staged in 1977-78
  Dr Naithani brilliantly translated Sanskrit prose and poems into Garhwali version of poems and prose too. The translation is marvelous example of translation.

Here is an example of prose portion translated by Dr,Pushkar –-

 विष कम्भक
(इनो दृश्य जां से भविष्य कि सूचना दियेन्द)
तब क्व्व्कू एक च्याला सेक उठिका आंदा)
शिष्य- परदेश बिटेन लौट्याँ  पूज्य क्व्व न बगत (टैम) दिखणो मी थै भेजूं च . ये वास्ता भैर जैकी दिक्ख्दु कि अब राति कथगा बाकी च
  Here is example of translation poetic form of Abhigyan Shakuntalam Drama written by Kalidas
सातवाँ

नियत हुईं च जगह वेदी की
लखड़ा धरया छें वेदी सजीं च
कंसलू बिछ्युं च चारो ओर
पवित्र कारा या अग्नि त्वे थै
     Drama world will always remember the works of Dr Pushkar Naithani for his initiation of translating Sanskrit classic drama into Garhwali for the first time in the history. Dr Naithani successfully carried out the responsibility of a translator for poems and prose portions of the original Sanskrit drama.

Copyright@ Bhishma Kukreti, 31/5/2012
Notes on Modern Dramas/Plays based on Classic Literature; Modern Asian Dramas/Plays based on Classic Literature; Modern South Asian Dramas/Plays based on Classic Literature; Modern SAARC Countries Dramas/Plays based on Classic Literature; Modern Indian sub continent Dramas/Plays based on Classic Literature; Modern Indian Dramas/Plays based on Classic Literature; Modern North Indian Dramas/Plays based on Classic Literature; Modern Himalayan Dramas/Plays based on Classic Literature; Modern Mid Himalayan Dramas/Plays based on Classic Literature; Modern Uttarakhandi Dramas/Plays based on Classic Literature; Modern Kumauni Dramas/Plays based on Classic Literature; Modern Garhwali Dramas/Plays based on Classic Literature to be continued….
संस्कृत नाटकों से अनुवादित नाटक ; संस्कृत नाटकों से एशियाई अनुवादित नाटक ;संस्कृत नाटकों के अनुवादित दक्षिण एशियाई नाटक ;संस्कृत नाटकों के अनुवादित भारतीय नाटक ;संस्कृत नाटकों के अनुवादित उत्तर भारतीय नाटक ;संस्कृत नाटकों के अनुवादित हिमालयी नाटक ;संस्कृत नाटकों के अनुवादित मध्य हिमालयी नाटक ;संस्कृत नाटकों के अनुवादित उत्तराखंडी नाटक ;संस्कृत नाटकों के अनुवादित कुमाउनी नाटक ;संस्कृत नाटकों के अनुवादित गढवाली नाटक लेखमाला जारी ....

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Contribution of Damodar Thapliyal in Developing Garhwali Drama/Theatre

                 Notes on Drama Playwrights, Stage Play Writers and Theatre Activists; Asian Drama Playwrights, Stage Play Writers and Theatre Activists; South Asian Drama Playwrights, Stage Play Writers and Theatre Activists; SAARC Countries Drama Playwrights, Stage Play Writers and Theatre Activists; Indian Subcontinent Drama Playwrights, Stage Play Writers and Theatre Activists; Indian Drama Playwrights, Stage Play Writers and Theatre Activists; North Indian Drama Playwrights, Stage Play Writers and Theatre Activists; Himalayan Drama Playwrights, Stage Play Writers and Theatre Activists; Mid Himalayan Drama Playwrights, Stage Play Writers and Theatre Activists;  Uttarakhandi Drama Playwrights, Stage Play Writers and Theatre Activists; Kumauni Drama Playwrights and Theatre Activists; Garhwali Drama Playwrights an, Stage Play Writers d Theatre Activists; Drama Playwrights, Stage Play Writers and Theatre Activists of Tihri Garhwal
प्रसिद्ध स्वांग, नाटक व नाटककारों; एशियाई स्वांग, नाटक व नाटककारों; दक्षिण एशियाई स्वांग, नाटक व नाटककारों; सार्क देशीय स्वांग, नाटक व नाटककारों;भारतीय उप महाद्वीप के स्वांग, नाटक व नाटककारों;भारतीय स्वांग, नाटक व नाटककारों;उत्तर भारतीय स्वांग, नाटक व नाटककारों; हिमालयी स्वांग, नाटक व नाटककारों; मध्य हिमालयी स्वांग, नाटक व नाटककारों; उत्तराखंडी स्वांग, नाटक व नाटककारों; कुमाउनी स्वांग, नाटक व नाटककारों; गढ़वाली स्वांग, नाटक व नाटककारों पर लेखमाला

                                    Bhishma Kukreti

                       Garhwali  literature has been facing many problems as problems of publishing media, problems of publishing books, distribution of literature, information to new generation and protection of published Garhwali literature for future.
  Damodar Prasad Thapliyal wrote Garhwali literature of various facets. However, it is difficult now to find whereabouts of his published and unpublished literature
                 Damodar Prasad Thapliyal (Palkot, Khatsyun, pauri  Garhwal, 1923-1977) was a great Garhwali literature contributor, developer and inspirer. He along with other founded Garhwali Sahity Parishad in Dehradun. He also edited a magazine ‘Fyunli’ and contributed a lot Garhwali prose.
   Damodar Prasad Thapliyal wrote, staged Garhwali dramas in Dehradun. However, due to circumstances this author after many inquiries here and there is unable to get manuscripts, books of Damodar Thapliyal.
   According to Dr. Hari Datt Bhatt Shailesh , Damodar Thapliyal wrote following Garhwali Dramas and staged them too-
1- Mankhi
2- Auns ki Rat
3-Tibbat Vijay
4-Prayschit
However, Thapliyal could publish ‘Mankhi’ and ‘Auns ki Rat’ All dramas of Thapliyal are of social  subject and emotional values.
Here is one example of dialogues of Damodar Thapliyal of ‘Mankhi’ drama
मनखी .....श्रधा ! मेरी श्रधा ! आज तू कख गयी मेरी गेल्या, तू मिन ठुकराई देई. क्या तेरो ही यो शाप छ, ना, ना श्रधा ! तू इनी णि छये, सदान मेरी भूलों से मी तै खबरदार करदी छयी. श्रधा कख गयी तू में निर्भागी तै छोड़िक?
   Dr Hari Datt Bhatt appreciated works of Damodar Prasad Thapliyal for developing Garhwali drama literature and Garhwali Theatre
  Dr. Sudharani also appreciated works of Damodar Thapliyal in the growth of Garhwali theatre in Dehradun. 
References:
1-Dr Anil Dabral,Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)
2-Abodh BandhuBahuguna, 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 BhattShailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: BarristerMukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985
7-Dr Nand KishorDhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution ofBhagwati Prasad Panthri for developing Garhwali drama)
8- Manuscripts of various dramas (curtsey by Parashar Gaur)
9- Personal talkswith playwrights/dramatists
10- Notes by D.DSundariyal from Chandigarh
11- Various inputs byDr. D. R. Purohit from Shrinagar, Garhwal 
12- Bhishma Kukreti, LokNatya Visheshank of Chitthi Patri, Dehradun
Copyright@ Bhishma Kukreti, 1/6/2012

Notes on Drama Playwrights, Stage Play Writers and Theatre Activists; Asian Drama Playwrights, Stage Play Writers and Theatre Activists; South Asian Drama Playwrights, Stage Play Writers and Theatre Activists; SAARC Countries Drama Playwrights, Stage Play Writers and Theatre Activists; Indian Subcontinent Drama Playwrights, Stage Play Writers and Theatre Activists; Indian Drama Playwrights, Stage Play Writers and Theatre Activists; North Indian Drama Playwrights, Stage Play Writers and Theatre Activists; Himalayan Drama Playwrights, Stage Play Writers and Theatre Activists; Mid Himalayan Drama Playwrights, Stage Play Writers and Theatre Activists;  Uttarakhandi Drama Playwrights, Stage Play Writers and Theatre Activists; Kumauni Drama Playwrights and Theatre Activists; Garhwali Drama Playwrights an, Stage Play Writers d Theatre Activists; Drama Playwrights, Stage Play Writers and Theatre Activists of Tihri Garhwal to be continued….
प्रसिद्ध स्वांग, नाटक व नाटककारों; एशियाई स्वांग, नाटक व नाटककारों; दक्षिण एशियाई स्वांग, नाटक व नाटककारों; सार्क देशीय स्वांग, नाटक व नाटककारों;भारतीय उप महाद्वीप के स्वांग, नाटक व नाटककारों;भारतीय स्वांग, नाटक व नाटककारों;उत्तर भारतीय स्वांग, नाटक व नाटककारों; हिमालयी स्वांग, नाटक व नाटककारों; मध्य हिमालयी स्वांग, नाटक व नाटककारों; उत्तराखंडी स्वांग, नाटक व नाटककारों; कुमाउनी स्वांग, नाटक व नाटककारों; गढ़वाली स्वांग, नाटक व नाटककारों पर लेखमाला जारी ...

 

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