Social Theme in World Dramas
Social Theme in Indian Dramas
Social Theme in Himalayan Dramas
Social Theme in Uttarakhandi Dramas
Social Theme in Garhwali Dramas
Ekikaran: A Garhwali Drama Criticizing Deceptive Social Workers
(Review of a Garhwali Social drama Ekikaran written by Lalit Mohan Thapaliyal)
(Notes on Social Theme in World Dramas, Social Theme in Indian Dramas, Social Theme in Himalayan Dramas, Social Theme in Uttarakhandi Dramas, Social Theme in Garhwali Dramas)
Bhishm Kukreti
There is no doubt that the Migrated Garhwali social organizations and migrated social workers have been major role players in improving the economic conditions, education development, and many other developmental works in rural Garhwal. In the field of Garhwali literature including dramas, before the seventies, migrated Garhwalis and social organization contributed more than the inhabitants of Garhwal. However, there had been many social workers and organizations that were just for being there. Many people don’t take any social work or social cause but they impose as if they were great social workers. There are social workers who are collecting money for social causes but spend money on their own self-interests. There are social organizations on letterheads only and the executives impose as if they were great social pain relievers. It is a fact that there are tens of Garhwali social organizations in a city that do publicity in vernacular periodicals as if they were working for the society. Still, in reality, these social organizations are of no use to society from any angle.
Great playwright Lalit Mohan Thapliyal takes such deceptive social workers in his Garhwali social drama ‘Ekikaran’ (published in 1964 and staged in more than ten cities and towns of Garhwal). The story of ‘Ekikaran’ a Garhwali social drama is that a very simple Garhwali Deen Dayal comes into the paws of one hundred fifty-three social organizations and becomes a victim of cunning, selfish, publicity loving so-called social workers of Delhi. Deen Dayal offers a donation and in turn, he gets his hand fractured too.
The story is very thin. However, the dialogues are interesting and the continuity of dialogue delivery of each character engages the audience. The dialogues create curiosity among the audience.
This social drama is proof of the imagination power of playwright Thapliyal but the scenes seem to be very realistic. The viewers identify the characters from their own social circles. The structure of ‘Ekikaran’ a Garhwali social drama is very accurate which brings speed to the drama. The playwright has been successful in balancing relationships, intentions, and circumstances.
‘Ekikaran’ a Garhwali social drama is still relevant in the twenty-first century.
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)
Copyright@ Bhishm Kukreti
Notes on Social Theme in World Dramas, Social Theme in Indian Dramas, Social Theme in Himalayan Dramas, Social Theme in Uttarakhandi Dramas, Social Theme in Garhwali Dramas to be continued….
