Pages: 1 ... 11 12 13 14 [15] 16 17 18 19 ... 26

Author Topic: Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटकों का विवरण  (Read 63446 times)

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #140 on: June 24, 2012, 09:46:30 AM »
Byau: A Garhwali Drama -part of Temperance Movement 

(Review of Garhwali drama ‘Byau’ (1995) by Om Prakash Semwal)

                                       Bhishma Kukreti
                       
       Om Prakash Semwal wrote and staged many Garhwali dramas for social awareness among students and community people. ‘Byau’ is one of fine dramas written by playwright Om Prakash Semwal making people aware of the evils of liquor consumption.  ‘Byau’ was staged in September 1995 in (Old) Chamoli Garhwal district of Uttarakhand.
     These days, it is very common all over India people take opportunities for taking liquor. The addicted people do not see the time and the situation. If there is a marriage Nyoto night offering of liquor is a must from the side of the host. When there is “Haldihath/Bbana ritual the males find the reason for taking liquor. When there is the start of the marriage procession the people find ground for enjoying liquor consumption. For liquor takers, the Manglachar,  Gotrachar, Lagan, Jaimala, Gaidan rituals are the reasons for taking alcohol.
        Playwright Om Prakash Semwal shows in the drama ‘Byau’ about the dramas of these liquor addicted people finding excuses for taking liquor in the early hours of sunrise and late night. Semwal successfully shows the results of taking liquor at the time of marriage procession and the effects of liquor on the human mind that drunken persons start misbehaving with older people or start teasing girls without any hesitation about social norms and humanitarian norms. Semwal ends the drama with a bang on liquor consumption.
       The dialogues and characters are from the daily life of Garhwalis all over the world. 
 The drama ‘Byau’ by O.P Semwal is part of the temperance movement in Garhwal. The drama ‘Byau’ reminds us the temperance movement of Australia (1830s); height of the temperance movement in Canada (1920); the initiation of the temperance movement in Iris by priest Theobald Mathew of 1838, the first temperance movement in Bay of Islands of New Zealand in 1836; temperance movement as part of the independence movement of Sri Lanka; temperance as a mass movement of the united kingdom in 19th century; temperance movement of U.S. America in 1846; temperance movement in Russia in late 19th century; temperance movement in 1850 in Norway; temperance movement in late 19th century that many playwrights wrote dramas against liquor consumption.  Tinchri Mai’s movement against liquor consumption in the late twentieth century in Garhwal is the famous temperance movement of Garhwal.       

Copyright@ Bhishma Kukreti, 24/6/2012
temperance movement; temperance movement in Asia; temperance movement in South Asia ; temperance movement in SAARC Countries; temperance movement in Indian subcontinent; temperance movement in India ; temperance movement in Africa; temperance movement in South pacific region; temperance movement in Europe; temperance movement in Canada; temperance movement In USA to be continued…..
शराब विरोधी आन्दोलन, एसिया में शराब विरोधी आन्दोलन,यूरोप में शराब विरोधी आन्दोलन, अमेरिका में शराब विरोधी आन्दोलन, कनाडा मेंशराब विरोधी आन्दोलन, नोर्वे में शराब विरोधी आन्दोलन, रूस में शराब विरोधी आन्दोलन, श्रीलंका में शराब विरोधी आन्दोलन, ऑस्ट्रेलया में शराब विरोधी आन्दोलन, न्यूजी लैंड में शराब विरोधी आन्दोलन, उत्तराखंड में शराब विरोधी आन्दोलन; कुमाऊ में शराब विरोधी आन्दोलन. गढ़वाल में शराब विरोधी आन्दोलन लेखमाला जारी ....
Logged

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #141 on: June 25, 2012, 11:47:21 AM »
Chandan: A Garhwali Drama about Struggle against Local Liquor Mafia

(Review of Garhwali drama ‘Chandan’ (1990) written by playwright Narendra Bahuguna)

                        Bhishma Kukreti

[
      Narendra Bahuguna wrote a fine and graceful drama ‘Chandan’ that was published in Garhwali’s first daily Garh Aina (9th May to 20th May 1990).
    The drama is about a retired army man Subedar, his family members, teacher–master Ji, Mahila Mandal, and its leader Parvati want village liquor-free village where nobody should take alcohol. However, the country liquor producers don’t like their idea and they create various hurdles. There is violence between the anti-liquor movement workers and liquor makers and Patwari has to intervene in the subject.
  There are ups and downs in the drama and in the end, the movement becomes successful due to the heavy price. There are events of other issues such as better and modern education for girls and boys or issues of parenting.
 The drama is totally moral-oriented and very sophisticated.
Reference-
Garh Aina, Dehradun, India dates 9th may to 20th May 1990)
 Copyright@ Bhishma Kukreti 25/6/2012
Notes on Dramas about struggle against Liquor Mafia; Garhwali Dramas about struggle against Liquor Mafia; Kumauni Dramas about struggle against Liquor Mafia; Uttarakhandi Dramas about struggle against Liquor Mafia; Mid Himalayan Dramas about struggle against Liquor Mafia; Himalayan Dramas about struggle against Liquor Mafia; north Indian Dramas about struggle against Liquor Mafia; Indian Dramas about struggle against Liquor Mafia; South Asian Dramas about struggle against Liquor Mafia; Asian Dramas about struggle against Liquor Mafia to be continued..
Logged

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #142 on: June 26, 2012, 10:25:42 AM »
Bal Narayan: A Lyrical –Dance Garhwali Mythological Drama
(Review of Garhwali Lyrical Dance Drama ‘Bal Narayan’ (1990) written by Dr. Bhagwati Prasad Mishra)

                                     By: Bhishma Kukreti


   Dr. Bhagwati Prasad Mishra is a famous poet who wrote a lyrical Garhwali drama and was published in Garh Aina (12th May to 20th May 1990). The drama is mythological drama. The God or lord Vishnu incarnates himself in various forms as per the need of people's security, safety and deities’ safety.
      There are many stories and twist in lyrical drama. Therefore, the lyrical, dance drama of the mythological subject contains the audience.  There is the thrill, chivalry, conflicts between deity and God; spirituality, rage, jealousy, philosophy, love, etc in this Garhwali mythological drama.
                         The drama writer uses lyrics in place of prose dialogues and narration.  The example of lyrical dialogues and narration is as under:
( नारायण )
त्वे जना पापी कु करदू छौं मी कटान
औ धौं मीरा पास लमडान्दूछौं चट्टान
अबि छमा मंगली त द्योलू छ्मादान
छोड़ देवलु पापी तेरी, ज्वा च प्यारी जान
(सहस्त्र )
अरे कण सा सी केटा अज्ञान
देनी छै में ठुला सि ज्ञान
बोल्यु तू आज मेरु मान
निथर गववै जाण एक प्राण
ले-लड़ाई -चलौ जरा बाण
अब त कची भुजी तेरी खाण
( युद्ध हुंद सहस्त्र कवच का नौ सौ निन्यायव कवच टूटी जान्दन ..
सहस्त्र सूर्य देव का पास भगद )
  Certainly the dance-lyrical mythological drama is an entertaining drama.
Reference-
Garh Aina , Dehradun (issues of 10yj May to 20th May 1990)
Copyright@ Bhishma Kukreti, 26/6/2012
 Notes on lyrical-dance-mythological dramas; lyrical-dance-mythological Garhwali dramas; lyrical-dance-mythological Uttarakhandi dramas; lyrical-dance-mythological Mid Himalayan dramas; lyrical-dance-mythological Himalayan dramas; lyrical-dance-mythological North Indian dramas; lyrical-dance-mythological Indian dramas; lyrical-dance-mythological Indian subcontinent dramas; lyrical-dance-mythological  SAARC Countries dramas; lyrical-dance-mythological South Asian dramas; lyrical-dance-mythological Asian dramas to be continued…
धार्मिक नृत्य-नाटक; गढवाली धार्मिक नृत्य-नाटक;उत्तराखंडी धार्मिक नृत्य-नाटक;मध्य हिमालयी धार्मिक नृत्य-नाटक;हिमालयी धार्मिक नृत्य-नाटक;उत्तर भारतीय धार्मिक नृत्य-नाटक;भारतीय धार्मिक नृत्य-नाटक;भारतीय उप महादीप के धार्मिक नृत्य-नाटक;सार्क देशीय धार्मिक नृत्य-नाटक;दक्षिण एशियाई धार्मिक नृत्य-नाटक;एशियाई धार्मिक नृत्य-नाटकलेखमाला जारी ....
Logged

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #143 on: June 27, 2012, 03:20:45 AM »
    भग्यान अबोध बंधु बहुगुणा क दगड भीष्म कुकरेती क इंटरव्यू  - फाड़ी  -१ गढ़वळि नाटकुं मा हौंस

 

 (भीष्म कुकरेती न गढवळी साहित्य मा हास्य पर भग्यान अबोध जी से कुछ सवाल पूछि  थौ. वांको  एक भाग तौळ च)

 

भीष्म कुकरेती - गद्य की तुलना मा गढवळि नाटकु मा हास्य प्रचुर मात्रा मा छ. याँ पर आपका क्या विचार छन?

अबोध बंधु बहुगुणा- गद्य कि तुलना मा नाटकुं मा हास्य अवस्य इ काफी छ. म्यरो ख़याल छ लोक नाट्य की शैली विकसित कर्यी अथवा ऊंका अनुकरण  मा हैंसोड़ी नाटक अपणो विशिष्ठ स्थान बणै सकदन.


 भीष्म कुकरेती - गढवळि मा हास्य नाटककार कु  कु छन ?

अबोध बंधु बहुगुणा - गढवळि नाटक का क्षेत्र मा अभि त सर्वट या फट कै बि नाटककारो नौ नि लिहे स्क्यान्द कि वो हास्य नाटककार च . तबी बि भग.भवानी दत्त थपलियाल का 'प्रहलाद' मा 'दुर्जन कि कछेड़ी'  वळो दृश्य  ता हैंसोड़ी  को बेजोड़ नमूना छ. ललित मोहन थपलियाल का 'खाडू लापता' अर घर  जवैं ' नाटक हास्यप्रधान छन. श्री राजेन्द्र धष्माना का 'अर्ध ग्रामेश्वर' या श्री स्वरूप  ढौंडियाल का 'मंगतू बौळया ', श्री सोनू पंवार का 'झौडा लाटू, अर 'बख्त्वार बाड़ा'; श्री कांता प्रसाद गढ़वाली क 'द्वी ब्यौ' मा बीच बीच मा हास्य का खूब चटकारा छन. भीष्म कुकरेती क 'बखरों स्याळ' एक व्यंग्यात्मक नाटक छ जखमा हास्य की छळाबळि च। अबोध बंधु बहुगुणा को 'छैलाअ छौळ' हास्य का जिकुड़ा बुक्ड़ा ल्हेकी रच्यु छ. यूँ विशिष्ठ कृत्यु का अलावा गढ़वाल, दिल्ली, देहरादून , मुंबई आदि जगों मु कुछ नाटक मंचित ह्वेन जुन्मा बल ईं दिशा मा अग्रसर होणो प्रयास करिगे.    खेद च वूंको ब्योरा उपलब्ध नि ह्व़े सक्यो. 


भीष्म कुकरेती- गढ़वाल भ्रात्रि मंडल (स.संस्था) क भूतपूर्व महासचिव रमण मोहन कुकरेती न एक हिंदी अर एक मराठी  नाटक गढ़वळि मा अनुवाद करीन. अर अच्काल म्यार दगड चार्ली'ज आंट को अनुवाद पर काम करणा छन. यून  द्वी नाट्कू मंचन मुंबई मा बि कर्युं च रमण कुकरेती क   बुलण  च बल जु गढ़वळि तै नाटक विधा से जुड़ण त नाटकुं  मा हास्य तै ज्यादा से ज्यादा जगा दीण  चएंद (मुंबई क अनुभव से रमण जी क मतलब छौ कि गढव ळी नाटक जाड लाउड होण चयेंदन).  क्या आप यीं बात से सहमत छन.

अबोध बंधु बहुगुणा -हास्य नाटकुं  क्षेत्र मा श्री  रमण मोहन कुकरेती क हिंदी अर मराठी नाटकु रूपांतर एक सान्सदार अर रगर्यटोत्पादक काम छ. पर वूनका मत से सहमत हूण  सर्वट कठिन छ. नाटक दृश्य काव्य छ, काव्य का प्रमुख रस कि उपेक्षा नि ह्व़े सकदी. श्रृंगार, , वीर, करुण मा हास्य की जुळामुंडी भी काम ह्व़े सकदन , ह्वेलि बि त  वूं निपौंद्यौं  भंगतेल मिट्ठो होण. नाटकूँ मा हंसोड़ी जादा देणा बजाय हैंसोड़ी नाटक जादा लिखणै बात कनि रालि?


 सन्दर्भ

१-गढ़ ऐना , १३- १६ फरवरी १९९१

२- धाद , मई, १९९१
Logged

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #144 on: June 27, 2012, 08:43:23 AM »
Dwipalya: A Garhwali Morality Play (seeing is better than believing in words) 
(Review of a Garhwali drama ‘Dwipalya’ (1989) written by Kukreti)

                                Bhishma Kukreti



       ‘Dwipalya’ a Garhwali drama is published in Garh Aina (Year-2, issue -310, 18th June 1989, page -3)
           Jeetu is shocked when he comes to know that his own younger brother Nathi pushed the Wad (a small demarcation or petitioning stone between two farms) to increase his portion of fertile and plain farmland.
  There is a quarrel between two brothers and they are ready to beat physically each other. When Sudama opens the real secrete both are shocked.
   The setting is very simple and the setting is what happens in rural Garhwal of old age. The dialogues are from day-to-day life. The quarrel for ‘Wad Sarkan ‘(shifting of demarking stone in own favor) scene is also common (there was an opportunity for the playwright for more sharp quarrel as happens in daily life). The shocking news also happens many times.
  The drama is a mini-drama and the director may add many more scenes connected to the theme.  In the end, there is a moral story without preaching speeches. The drama is interesting.

Copyright@ Bhishma Kukreti, 27/6/2012
Notes on Moral based dramas; Moral based Garhwali dramas; Moral based Uttarakhandi dramas; Moral based Mid Himalayan regional language dramas; Moral based Himalayan regional language dramas; Moral based  regional language dramas; Moral based  north Indian regional language dramas; Moral based  Indian regional language dramas; Moral based Indian sub continent  regional language dramas; Moral based  SAARC Countries regional language dramas; Moral based  South Asian regional language dramas; Moral based  Asian regional language dramas to be continued..
क्षेत्रीय भाषाई नाटक;गढ़वाली नाटक; क्षेत्रीय भाषाई उत्तराखंडी नाटक; क्षेत्रीय भाषाई मध्य हिमालयी नाटक;क्षेत्रीय भाषाई हिमालयी नाटक;क्षेत्रीय भाषाई उत्तर भारतीय नाटक;क्षेत्रीय भाषाई भारतीय नाटक;क्षेत्रीय भाषाई भारतीय उप महाद्वीपीय नाटक;क्षेत्रीय भाषाई सार्क देशीय नाटक;क्षेत्रीय भाषाई दक्षिण एशियाई नाटक;क्षेत्रीय भाषाई एशियाई नाटक लेखमाला जारी ...
Logged

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #145 on: June 28, 2012, 07:41:13 AM »
Bhat: A Garhwali Stage Play Exposing Hypocrisy in Caste System of Upper Caste Brahmins

(Review of Garhwali Stage Play ‘Bhat’ (December 1996) by Playwright Om Prakash Semwal)

                                        By: Bhishma Kukreti

[
         There has been a tendency of creating stage plays or dramas for lambasting hypocrisy in society in every community and every language.
               ‘Coming Home’ by playwright George Halitzka is a drama about hypocrite mother taking alcohol drink regularly but preaching children not to take alcohol; Senior Trip by the same playwright about hypocrisy; ‘Tartuffe’ drama by playwright Jean-Baptiste (1664) is about a hypocrite man pretending as a deeply religious and moral man; Henrik Ibsen exposing hypocrisy in his stage plays or dramas; are a couple of examples of dramas or stage plays exposing hypocrisy in each community or in each language.
    The stage play or mini-drama ‘Bhat’ written by playwright Om Prakash Semwal was on the stage in 1996 in a school district Chamoli Garhwal now Rudraprayag.   Two Brahmins Bhawani and Geeta from the same village are close friends and share rice mutton, and an alcoholic drink together in a town restaurant. They don’t mind taking ‘Bhat-Shikar (rice –mutton) from the same plate and taking drinks from the same glass.  However, when the time comes to sit together for taking meal on a common platform of the village marriage party Bhavani refuses to attend for marriage party as Geeta is coking Bhat (rice). Geeta’s mother was from a lower caste Brahmin.
   ‘Bhat’ drama is an educational drama and is aimed at a young student audience. The language and events of the stage play are simple to engage the teenage students. The student audience definitely would feel awkward about watching the exposure of the hypocrisy of two types of Brahmins.

Copyrights @Bhishma Kukreti 28/6/2012

Notes on worldwide Stage Plays or Dramas Exposing Hypocrisy; Garhwali Stage Plays or Dramas Exposing Hypocrisy; Uttarakhandi Stage Plays or Dramas Exposing Hypocrisy; Mid Himalayan Stage Plays or Dramas Exposing Hypocrisy; Himalayan Stage Plays or Dramas Exposing Hypocrisy; North Indian Stage Plays or Dramas Exposing Hypocrisy; Indian Stage Plays or Dramas Exposing Hypocrisy; Indian sub continent Stage Plays or Dramas Exposing Hypocrisy; SAARC Countries Stage Plays or Dramas Exposing Hypocrisy; South Asian Stage Plays or Dramas Exposing Hypocrisy; Asian Stage Plays or Dramas Exposing Hypocrisy to be continued….
जातीय ढोंग-पाखंड को दिखाते नाटक; जातीय ढोंग-पाखंड को दिखाते गढ़वाली नाटक;जातीय ढोंग-पाखंड को दिखाते उत्तराखंडी नाटक;जातीय ढोंग-पाखंड को दिखाते मध्य हिमालयी नाटक; जातीय ढोंग-पाखंड को दिखाते हिमालयी नाटक;जातीय ढोंग-पाखंड को दिखाते उत्तर भारतीय नाटक;जातीय ढोंग-पाखंड को दिखाते भारतीय नाटक;जातीय ढोंग-पाखंड को दिखाते सार्क देशीय नाटक;जातीय ढोंग-पाखंड को दिखाते दक्षिण एशियाई नाटक;जातीय ढोंग-पाखंड को दिखाते एशियाई नाटक लेख माल जारी ...

Logged

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #146 on: June 29, 2012, 09:53:33 AM »
Meetu Rawat: A Historical and Folk Story base Garhwali Drama

(Review of Garhwali Drama ‘Meetu Rawat’ (1982) written by Sacchida Nand Kandpal)

                                    By Bhishma Kukreti



    Sacchida Nand Kandpal (Kandai, Rudra Prayag1930-2002) was a Garhwali, Sanskrit, and Hindi language scholar who wrote a Garhwali drama ‘Meetu Raut’ in 1970 but published in 1982 in Gadhsudha, Chandigarh. Sacchida Nand Kandpal wrote the historical drama Meetu Raut’ on the life of Meetu Raut and his son Nandu Raut
                 Meetu Raut was a king of the Nagpur region of upper Garhwal at the time of the Kanturi regime. He was a philosophical and spiritual king. Yogini, Dakini, and Anccheri (super souls) were at his command. When Kantyuri king attacked the Nagpur area, along with the army of Raut; Yogini, Dakini, and Anccheri also fought on behalf of Meetu Raut against Kaintyura king. Nandu Raut died on the staircase of Tungnath temple.
   The drama Meetu Raut’ has a mixture of real historical events and the imagination of playwright Kandpal. Kandpal tries to take readers to the time of Meetu Raut. Kandpal depicts the physical and spiritual power of Metu Raut effectively. Sacchida Nand used dialects of (Old) Chamoli Garhwal in the drama. The characters, events, and places of the drama are vivid.
References and Source:
1-Dastak, 2011 a magazine, Rudraprayag
2-Dr D.R Purohit, HNB Uni. Shrinagar
3- D.D. Sundariyal, Chandigarh
4-O.P Semwal, Rudraprayag
5--Urmila Kandpal, Semwal (Daughter of Sacchida Nand Kandpal)
6- Dr Nand Kishor Dhoundiyal, 2012, Garhwal ki Divangat Vibhuityan, Kotdwara, Garhwal.

Copyright@ Bhishma Kukreti, 29/6/2012
Notes on historical dramas; Garhwali historical dramas; Uttarakhandi historical dramas; Mid Himalayan historical dramas; Himalayan historical dramas; North Indian  historical dramas; Indian historical dramas; Indian sub continent historical dramas; SARRC Countries historical dramas; South Asian historical dramas; Asian historical dramas to be continued…..
ऐतिहासिक नाटक; गढ़वाली ऐतिहासिक नाटक; उत्तराखंडी ऐतिहासिक नाटक; मध्य हिमालयी ऐतिहासिक नाटक; हिमालयी ऐतिहासिक नाटक; उत्तर भारतीय ऐतिहासिक नाटक; भारतीय ऐतिहासिक नाटक; दक्षिण एशियाई ऐतिहासिक नाटक; एशियाईऐतिहासिक नाटक लेखमाला जारी ....
Logged

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #147 on: July 01, 2012, 09:29:08 AM »
                        Dagdi: A Social and Family Conflict based Garhwali Drama

 (Review of a Social-family Conflicts base Garhwali Drama ‘Dagdi ‘(1998) by Om Prakash Semwal)

                                             By Bhishma Kukreti
   Om Prakash Semwal is a multitalented literature creator of the Garhwali language. Semwal is a story writer, poet, and playwright of the Garhwali language.
     In the age of when all national television and core regional channels, national and core regional periodicals are busy showing negative and as if everything going in doomed Om Prakash Semwal comes there to show hope for every Indian through his notable short dramas.
      Om Prakash Semwal wrote a social family conflict base Garhwali drama ‘Dagdi ‘staged in August 1998 in a school of (Old) Chamoli Garhwal.
      The drama is about conflicts, and conspiracy among Mundeet (close to one family to another family by blood) embers. There was very cordial relation among the various family members of a Mundeet of Saunu and Gundaru. However, due to the selfish intention of Naudi and Murkhalya, there is division among members of Mundeet.   
           However, when Naudi shows his real character Murkhalya was under threat. Murkhalya finds another way to get rid of Naudi.
   The social family conflict base Garhwali drama ‘Dagdi is a short drama and Om Prakash wrote the drama keeping teenage students and young students in mind. The drama shows effectively the self-interest of minority members can harm the unity of families and society. The dialogues are having a full influence on the Rudraprayag region and nobody should mind as even the knowledgeable Garhwali literature creators will be happy to get newer words from Rudraprayag and Tungnath regions.
  The story flow is fast.
  Concussively, the drama is useful for teenage and young students for understanding the loss by tension among families of a Mundeet.

Copyright@ Bhishma Kukreti, 30/6/2012   
Notes on Social-Family Conflicts based Dramas; Social-family Conflicts base Garhwali Dramas; Social-Family Conflicts based Uttarakhandi Dramas; Social-Family Conflicts based Mid Himalayan Dramas; Social-Family Conflicts based Himalayan Dramas; Social-Family Conflicts based north Indian Dramas; Social-Family Conflicts based Indian Dramas; Social-Family Conflicts based Indian sub continent Dramas; Social-Family Conflicts based SAARC Countries Dramas; Social-Family Conflicts based South Indian Dramas; Social-Family Conflicts based Dramas;  Social-Family Conflicts based Oriental Dramas; Social-Family Conflicts based Asian Dramas to be continued….

Logged

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #148 on: July 02, 2012, 09:43:37 AM »
Naukari: A Garhwali Drama about Exploiting own Relatives

(Review of Garhwali drama ‘Naukari’ (1999) by playwright Om Prakash Semwal)

                                     Bhishma Kukreti



               One of the exclusive factors of prose literature –stories and dramas by Om Prakash Semwal is that the writer is of the firm opinion that there are many opportunities in rural Garhwal in terms of wealth earning.  The ’Naukari ‘drama written by Om Prakash Semwal was staged in December, 1999 in a school of (Old) Chamoli Garhwal now, in Rudraprayag.
        The drama is aimed at the young generation who is aspiring for employment in cities and is dreaming of leaving the village. Mangtu is studying in the tenth standard in the village school. Mangtu’s father wants to be married to a Kamgati girl (expert in agriculture works) after getting a suitable job in the city. The mother of Mangtu wishes that Mangtu is married to a rich family and that their family gets a dowry. She is not worried about the job for Mangtu.
      Nartu who is working in Delhi comes to the village and assures his uncle that he will arrange the best job for Mangtu in Delhi. Nartu takes his cousin Mangtu to Delhi for getting him the best job. However, Mangtu is shocked to see the exploiting behavior of Nartu.
   The mini-drama ’Naukari ‘is very simple and shows the exploitation of unskilled young men by all. The story and dialogues match with the situation of Garhwal.

Copyright@ Bhishma Kukreti, 2/7/2012 
Notes on Dramas about Exploitation; Garhwali Dramas about Exploitation; Uttarakhandi  regional language Dramas about Exploitation;  Mid Himalayan regional language Dramas about Exploitation; Himalayan regional language Dramas about Exploitation;  North Indian regional language Dramas about Exploitation;  Indian regional language Dramas about Exploitation; Indian subcontinent regional language Dramas about Exploitation;  SAARC Countries regional language Dramas about Exploitation;  South Asian regional language Dramas about Exploitation;  Asian regional language Dramas about Exploitation to be continued…
Logged

Bhishma Kukreti

  • Hero Member
  • *****
  • Posts: 18,808
  • Karma: +22/-1
Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटको का विवरण
« Reply #149 on: July 03, 2012, 08:25:13 AM »
                      Pagal: a Garhwali Drama depicting the harmfulness of Blind Faith Rituals 

                                Bhishma Kukreti
 ]


        Om Prakash Semwal wrote a Garhwali drama ‘Pagal’ and staged the same in a school of Chamoli Garhwal in December 2000. Om Prakash aims the drama to all ages people.
                  Ramu works out of the village and lives there while his family lives in the village. Ramu’s wife is due to deliver her fourth child. His old parents are separate from their daughter-in-law. Ramu’s wife delivers a child but dies after some time. Ramu’s wife became mad. Ramu starts visiting Bakya (Future teller). His family performs all folk rituals but the madness of his wife enhances. A village doctor advises Ramu. But it is too late for taking the doctor’s advice.
            Om Prakash wrote the drama for awakening people that when there is a need for a physician they should visit physicians and when the need is for rituals they should perform rituals.
   The drama is simple and there is no newness in the drama from my point of view as a critic but is useful for social awareness.

Copyright@ Bhishma Kukreti , 3/7/2012
Notes on Dramas depicting harmfulness of Blind Faith Rituals; Garhwali Dramas depicting harmfulness of Blind Faith Rituals; Uttarakhandi Dramas depicting harmfulness of Blind Faith Rituals; Mid Himalayan Dramas depicting harmfulness of Blind Faith Rituals; Himalayan Dramas depicting harmfulness of Blind Faith Rituals; North Indian Dramas depicting harmfulness of Blind Faith Rituals; Indian Dramas depicting harmfulness of Blind Faith Rituals; SAARC Countries Dramas depicting harmfulness of Blind Faith Rituals; South Asian Dramas depicting harmfulness of Blind Faith Rituals; Asian Dramas depicting harmfulness of Blind Faith Rituals to be continued ..
रूढ़ीवाद विरोधी नाटक; रूढ़ीवाद विरोधी गढ़वाली नाटक;रूढ़ीवाद विरोधी उत्तराखंडी नाटक;रूढ़ीवाद विरोधी मध्य हिमालयी नाटक;रूढ़ीवाद विरोधी हिमालयी नाटक;रूढ़ीवाद विरोधी उत्तर भारतीय नाटक;रूढ़ीवाद विरोधी भारतीय नाटक;रूढ़ीवाद विरोधी सार्क देशीय नाटक;रूढ़ीवाद विरोधी दक्षिण एशियाई नाटक;रूढ़ीवाद विरोधी एशियाई नाटक लेखमाला जारी ...

Logged
Pages: 1 ... 11 12 13 14 [15] 16 17 18 19 ... 26
 

Sitemap 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22