Uttarakhand > Utttarakhand Language & Literature - उत्तराखण्ड की भाषायें एवं साहित्य

Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटकों का विवरण

<< < (2/51) > >>

Bhishma Kukreti:
Baba ji Ki Kapal Kriya: A Satirical Garhwali Drama Depicting Cruelty of a Son   

              (Review of ‘Baba Ji ki Kapal Kriya’ drama by Bhavani Datt Thapliyal)
(Notes on Garhwali Stage Plays, Kumauni Stage Plays, Uttarakhandi Stage Plays, Himalayan Stage Plays)

                                       Bhishm Kukreti
            ‘Baba ji Ki Kapal Kriya’ drama is part of ‘ Bhakt Prahlad ‘  (1912/13) by Bhavani Datt Thapliyal and is an exclusive one-act drama too. The drama theme is taken from Markandey Puran wherein sons snatch the wealth of their father and they leave him in the jungle. However, the father still is their well wisher.
      In the story of ‘Baba ji Ki Kapal Kriya’ drama, the son declares his living father as dead that he could own the father’s property. The dialogue of son is the example of cruelty and selfishness of the son ‘ Jitna  ham jap tap karenge utna gap sapp karenge., jise lampat –labar banenge..’
        The son applies in the court for a bamboo stick for doing ‘Kapal Kriya ‘of his living father. The story is in exaggerated form but looks very realistic at the same time.  The imagination of Bhavani Datt Thapliyal is fantastic in showing the selfishness of a son and kindness of learned father.
           Bhavani Datt is the master in providing dialogues for the characters as per the time and as per the purpose of drama. The dialogues are agile and are in semi poetic form.   
                  Eminent Garhwali prose critic Dr Anil Dabral claims that Bhavani Datt Thapliyal has been successful in characterization and developing the characters.  The audience would definitely hate the son when they would watch the drama.
Dr Anil Dabral, 2007, Garhwali Gady parampara.

Copyright@ Bhishm Kukreti Notes on Garhwali Stage Plays, Kumauni Stage Plays, Uttarakhandi Stage Plays, Himalayan Stage Plays to be continued ….

Bhishma Kukreti:
Hundred Years of Modern Garhwali Drama

                                   Faundar Ji ki Kachhdi: A Garhwali Drama Attacking on Social Evils

(Review on ‘Faundar ji Ki Kachhdi’ a Garhwali Stage Play by Bhavani Datt Thapliyal)
(Notes on Garhwali Dramas, Kumauni Dramas, Uttarakhandi Dramas, Himalayan Dramas)

                                              Bhishm Kukreti

                       The father of Modern Garhwali Drama Bhavani Datt Thapliyal wrote ‘Faundar ji Ki Kachhdi’ drama. (1912). The ‘Faundar ji Ki Kachhdi’ drama exposes the immorality in society; delay in judgment and corruption in state courts; sales of unmarried girls and the mafias of such activities;  selling bulls to slaughterhouses with the help of mafias. The drama also speaks positively about the need for cultural development through following the ritual norms. Bhavani Datt Thapliyal was definitely a visionary man. Thapliyal showed the evils which exist today too as delay and corruption in the judiciary; prostitution prostration through sales of girls from rural areas, and no care for caw-bull as they deserve.
              The story ‘Faundar ji Ki Kachhdi’ drama is about Kumutu selling his daughter a thousand rupees to a rich man of Mumbai through Purohit Durachari. Purohit Durachari did not give him thousand rupees but only a hundred bucks. Kumtu goes to Mumbai to take the balance money and found that his daughter is in real is sold to a butcher and now his daughter is also involved in selling animal skin. Kumtu did not get money. After returning to the village, when Kumtu informs the reality to his wife, she does suicide and his son runs away from the village.
              Now, at the same time, Purohit Durachari and the village councilor put a case of nonpayment of state tax (Thakuransh) from the sale of a daughter. The judge fines Kumtu and all his property are transferred to village councilors and Purohit.  There is openly corrupt methodology in the judiciary in the drama.   
           Though the drama is fast the dramatist has been successful in the characterization of each character.           
                The Garhwali drama ‘Faundar ji Ki Kachhdi ‘written around 1912 is effective in showing the corrupt judiciary and where only money talks as the Russian drama ‘One Hour Eighteen Minutes’ authored by Yelena Gremina (2010); attacks on judiciary system sharply as Arthur Miller ‘s play ‘The Crucible’ (1952)attacks. The dialogues of ‘Faundar ji Ki Kachhdi’ drama make the drama humorous even showing the cruel part of the corrupt judiciary as also found in ‘Rape Upon Rape’  play by Henry Fielding (1730). 
          The drama has speed due to the crispy screenplay and the dialogues are marvelous as the judge speaker for describing himself ‘
Helo! Ham t chhanvaan pariyun ka payandaj! Paulisibaj! Najuk mijaj ! rat din dikhdaa randun ka naj-andaj! Ya ten fursat ka chhanvaan in mohtaj ki n t kauri sakdan sandhya, pooja-namaj n kachhedi ka kuchh kam –kaj.
 The drama shows the benefits being taken by opportunists in society due to the injured judiciary system.
  The drama ‘Faundar ji Ki Kachhdi’ is a one-act play and has all possibilities in attracting the audience.               
1-Dr Anil Dabral, Garhwali Gady Parampara
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga
3-Dr Sudharani, Garhwali Rangmanch
4-Drama special issue of Chitthi Patri magazine
Copyright@ Bhishm Kukreti

Notes on Garhwali Dramas, Kumauni Dramas, Uttarakhandi Dramas, Himalayan Dramas to be continued …..

Bhishma Kukreti:
   Hundred years of Garhwali drama   

                           Pankhu: A Garhwali Drama about Dilemma of Mismatched Marriage

                 (Review of ‘Pankhu’ a Garhwali stage Play)
(Notes on Garhwali dramas, Kumauni Dramas, Uttarakhandi Dramas, Himalayan Dramas)

                                  Bhishm Kukreti
              The resident of Tihri Riyasat Shemiar established a ‘Shemiar Dramatic Club’ in Tihri on 17th October 1917. He built a drama hall in 1921. Most the officers of Tehri court were members of this club. This club used to exhibit Parsi styled dramas in Urdu/Hindustani. Dr Sudhrani claims that ‘Pankhu’ the second drama in Garhwali was staged in Shemiar dramatic club hall in 1917. However, Dr. Anil Dabral claims that ‘Pankhu’ was staged first time in 1932 and written by ‘char mitra sukhak’ (four friends –Pundit Satya Prasad Raturi, Devi Datt Nautiyal, Vidya Lal Nautiyal, and Medhkar Nautiyal). Vijay Ram Raturi wrote songs for the drama.
                    Dr. Anil seems to be more appropriate about the date of staging. .  Raturi performed as ‘Parma and Medhakar Nautiyal performed ‘Pankhu’ in the drama. Satya Prasad Raturi published the book in 1938 from Dehradun in 1938. Himalaya Press Muni ki Reti published its second edition in 1955 and great historian Dr. Shiv Prasad Dabral published its third edition in 1995 from Veer Gatha Press, Dugadda, Pauri Garhwal with an introductory note.                 The story of ‘Pankhu’ is the mirror of Garhwal of that period. However, the emotional presentation of the drama is forever.
                     The story is about a young girl ‘Pakhu’ who was married to an old-aged widower. She had a one-minute romance before marriage with Parma in a jungle. When Pankhu is married, the drama opens many secrets of human psychology due to mismatched marriage. There is a need of emotional love, the need for physical satisfaction for a young woman, there is a need of sharing on equal terms between husband and wife and there is frustration and fear of an old person due to his beautiful young wife in ‘Pankhu’ drama’.  The dramatists have been successful in showing the deep love between active age’s persons with the help of songs in the background.
                         The dialogues are from the society and are common today too.  The Father of ‘Pankhu’ wants to take  more money for his daughter from old man who wishes to marry her and there is a conversation as if ‘Pankhu’ was not a human but a she-goat-
Barmi (later who becomes Pankhu’s husband)-  Pandra sau t tum kami mangadan? Aji pandra sau ma t hondu kano aur kano . sau aathek ma t kwee bi lee java.
Balkhu(Pankhu’s father)- t jan dya tum ni deen t …
            The above conversation style still exists in Garhwal at the time of selling-purchasing of domestic animals or fields etc. The language in the conversation is perfect as per the situation and as per the character.
   The duologues are helpful in creating characters of the role players in the drama.
  The dramatists have been successful in showing the emotions by dialogues and the background activities of the role players as making patbedi (a Garhwali cigar), blowing Hukka, going to fair etc.
   ‘Pankhu’ had been a stepping stone in developing modern Garhwali drama tradition.

1-Dr Anil Dabral, Garhwali Gady Parampara
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga
3-Dr Sudharani, Garhwali Rangmanch
4-Drama special issue of Chitthi Patri magazine
5-Dr Shiv Prasad Dabral, introductory notes of Pankhu’
Copyright@ Bhishm Kukreti

Notes on Garhwali Dramas, Kumauni Dramas, Uttarakhandi Dramas, Himalayan Dramas to be continued …..

Bhishma Kukreti:
Hundred Years of Garhwali Drama

                 Psychological Aspects in ‘Lalsa’ a Social Drama by Lalit Keshwan

(Review of Garhwali Drama, Review of Kumauni Drama, Review of Uttarakhandi drama, Review of Himalayan language Drama)

                                                                  Bhishm Kukreti
             Lalit Keshwan is famous Garhwali poet who along with Kanhaiya Lal Dandriyal and Jaya Nand Khuksal  Baulya    brought realism in Garhwali poetry.
 Lalit Keshwan wrote dramas too. He published recently a collection of five Garhwali plays – Jai Badri Narain (2011). Lalsa is one of the plays by Jai Badri Narain.     
      Lalsa means desire.  ‘Lalsa’ drama is nearest to extreme realism in Garhwali drama or could be classified as a naturalistic drama.
  The drama is very simple and there is hardly a big twist in the play ‘Lalsa’ except in the last stage.  The story of Lalsa drama is about a migrated Garhwali family living in Delhi in poor condition. Daulat Singh is an old man and ailing for a long. His son Beeru a government servant is a sole runner of the family's needs but his income is not sufficient to cope with the increasing financial requirement. Beeru’s young children are studying in colleges.  Beeru had to take loans from friends for running the house. Daulat Singh has a strong desire to see his village in Garhwal before he dies but due to the poor condition of his son, Daulat Singh is unable to fulfill his desire to visit his ancestral place. Shila the wife of Beeru tries to accommodate the circumstances. Sheru comes to Delhi from the village to watch 26th January.  Daulat gets the money. Now the drama is about – whether Daulat Singh would visit his ancestral place or not?
   Lalit Keshwan being a poet has full knowledge of human behaviors and there are psychological aspects in his realistic play ’Lalsa’
Asmus- Daulat Singh is a patient of asthma and all the time, he behaves as happens in ‘asmus’ conditions.
दौलत सिंह - (दवै की गोळि गिच्चा मा धारद अर पाणी पेंद )- यूँ दवैयुं तैं खांदु -खांदु मैनो बेटी गेन पर यू रोग बीसौ उन्नीस नि ह्व़े या दमै बिमारी दमि लेकी राली. I have been taking medicines for asthma but there is no relief for a cent.
Aboulia- Aboulia means chronic indecision, with eventual loss of initiative. There are signs of aboulia in Daulat Singh, Beeru and Shila; due to lack of money, they are showing indecisiveness too.
 There are dialogues between Beeru and his wife Shila for buying a television. The question was whether buying on loan TV was right move or not. They bought TV on loan but till date, the decision is not resolved.
शीला - मिं क्या गलत बोली? नौना पड़वस्यों की देळयूँ मा खड़ा रौंदा छा. ...
बीरू - यानं पढे को कथगा नुकसान होणु च, यू णि देखी.
शीला- मेरा समझणन अर न समझणन क्य होंद , जब बच्चा समझुन.
Potentiality verses Accomplishment:   The playwright Lalit Keshwan showed the problem of actual accomplishment and potentiality of accomplishment y way of direct dialogues and indirect methodology for viewers to understand.
दौलत - ब्यटा मेरी या आखिरी इच्छा च म्वन से पैलि गां देखी ल्यूं . बोली बोली मी थकी ग्युं
बीरू- बाबा जी आप समझदा किलै नीन ? गौं जाणो तैं पैसा बी त भौत चयेणु च . जब पैसा ह्व़े जाला त आप तैं गाँ क दर्शन करै द्योलू
 There are dialogues following the above scene showing potentiality and the actual accomplishment.
Algedonic phase of life: Algedonic is pertaining to pleasantness and unpleasantness dimension of feeling or emotion.
  Daulat Singh sold the ‘Sagwad’ (a small land before the house and courtyard for growing vegetables) to Sheru at a reasonable price. The money would solve the temporary economical problems, by all means, Daulat Singh could go to his native place in Garhwal from Delhi. However, there are two pains attached to selling ‘Sagwad’. Daulat Singh had to sell his ancestral land and there is another reality waiting for Daulat Singh (last part of one scene act ‘Lalsa’) which, is definitely painful for the audience. 
Bond and bonding: there are many examples of bond and bonding in the drama’ Lalsa’. The bond between Beeru and his ailing father, the bond between Daulat Singh and the ancestral place.
The behavior of Daulat Singh about visiting his native place is nothing but an example of bovarism too and Lalit shows the same very successfully.
Body Language: No doubt, wisely, Lalit Keshwan left space for directors and performers for showing body language while playing the roles in the drama.   However, most of the time, Lalit Keshwan showed the body language of characters by describing the situation and most of the time dialogues create images of the body language of the drama’s characters.
There is a scene that guests from village left the house of Beeru for watching 26th January procession and there is scene ---
(सब लोग रोटी खैकि सेइ जान्दन .)
(रात को समय )
दौलत (खंसणु रैंद )
सुबर उठिक सब लोग तैयार ह्वेकि छबीस जनवरी द्यखणु चली जान्दन)
(सब बच्चा टेलीविजन द्यखणा छन )
(दौलत अर शेरू भैर चाय पेणा छन )
   The above scene proves the capability of Lalit Keshwan for his complete awareness of human behaviors. For example, when elders are worried or active for other jobs the children are busy in watching television. This scene is enough to show that Lalit has knowledge of psychology.
  In most of the scenes, Lalit has been successful for showing contact, contact comfort and semantic content.
  Lalit Keshwan knows the importance of values and compatibility in the social circle of Daulat Singh and the circle of his age. 
  The ‘Sagwad’ before the house of Sheru belongs to Daulat Singh and when the deal of selling ‘Sagwad’ by Daulat Singh is over. There is a talk between Sheru and Daulat.
दौलत - खैर भुला अब यो च कि हम सग्वड़ कै हैंका देंदा , त वो बि ठीक नि छौ. मोर ऐथर हैका जमीन हो त वो बि बार बार चुभणि रौंद
शेरू- हाँ , ये बात त  सच च .
  The writer is successful in showing wish and wish-fulfillment aspects of life in the drama. Many times, Daulat Singh behaves non-rationally too and it is proof of Lalit Keshwan knowing human behaviors very well.
 The above examples show that Lalit Keshwan not only created a realistic drama but he has been successful in using perfect psychological aspects of the characters of the drama ‘Lalsa’.
‘Lalsa’ a Garhwali drama from ‘Jai Badri Narain’
(A Five Stage Plays collection)
By Lalit Keshwan
Published by Next Era Print and Publication
Delhi, India
Contact number of Garhwali dramatist Lalit Keshwan - 092116730207
Review of Garhwali Drama, Review of Kumauni Drama, Review of Uttarakhandi drama, Review of Himalayan language Drama to be continued….
Copyright@ Bhishm Kukreti

Bhishma Kukreti:
Hundred  Years of Garhwali Drama – 12

                              Khadu Lapata: A Garhwali Satirical Drama That Accelerated Garhwali Drama Movement   

         (Review of All Time favorite Garhwali Drama ‘Khadu Lapata ‘by playwright Lalit Mohan Thapliyal ‘ )
(Garhwali Drama, Garhwali Plays, Modern Garhwali Dramas, Modern Uttarakhandi Dramas, Modern Time Stage Plays of Uttarakhand)

                                Bhishm Kukreti
  The place of Lalit Mohan Thapaliyal as a reverend in developing modern Garhwali dramas (especially satirical and comedy-dramas) as Henry Fielding, Floyd Dell,  Honoree de Balzac, Sir James Mathew Barrie ,James Branch Cabell, A. Chekhov (Sea Gull) , George Colman, George Kaufman, N.V Gogol, William Dean Howell, Jerome K Jerome, Ben Jonson, Moliere, Seumas Brien, Eugene O Neil, George Bernard Shaw, Upton Sinclair, August Strindberg , J.M Synge, William M Thackeray,  Soyinka,  Leo Tolstoy, Royall Tyler, Oscar Wild, Gao Xingjian, in the satirical and Comedy Drama literature.
          Lalit Mohan Thapliyal had a heritage of modern Garhwali dramas initiated by Pundit Bhavani Datt Thapliyal in 1912 and developed by dramatists  Char  Mitra Sukhanko (Pakhu), Vishwmbhar Datt Uniyal(Vasanti, 1932),  Ghana Nand Bahuguna (Samaj), Bhagwati Prasad Panthari (Adh Patan, Bhuton ka Khoh) and Jeet Singh Negi (lyrical drama Bhari Bhool)
   Lalit Mohan Thapliyal wrote ‘Khadu lapata’, Ancheryun Tal’, Ghar jvain and ‘Ekikaran’ etc. however, ‘Khadu lapata is all time favorite Garhwali comedy and satirical social drama. The comedy-satirical play ‘Khadu lapata’ is staged in most of the cities where Garhwalis are in numbers as Delhi, Mumbai, Chandigarh, and the towns of Garhwal.  As Norwegians are proud of Henrik Ibsen for developing Norwegian dramas, Garhwalis are proud of Lalit Mohan Thapliyal for developing and accelerating modern Garhwali dramas.
 Khadu lapata is a One-act stage play and is a very crispy drama. By watching ‘Khadu lapata’, the audience definitely thinks that drama means that the life walks.
 The story is very simple that suddenly a character Hari Singh’s he goat disappears and Hari Singh comes to Pundit Ji (a Puchher (who tells future) and a doctor too) to know about where the goat gone. Later on two more patients also come to Pundit Ji for medical treatment as they ate goat mutton and got stomach upset. Hari singh suspects those ate goat meat and whose stomach was upset. At the end, Hari Singh comes to know the real culprit and he killed the culprit. A very fine story woven around the subject of misbelieves, the social evils entering Garhwali village.
  The characterization is superb in the comedy and satirical drama Khadu Lapata. The dialogues of four characters in the one act play are as per the characteristics of the character. The playwright used perfect phrases for attacking the social evils and creating humor in the play.
  There is full scope for the director to adjust the emotions in the play as his /her need because; the performers can deliver the drama as serious and as hilarious depending on the director’s choice.  This author got a chance to watch ‘Khadu Lapata’ staged by a Delhi team and by the Mumbai team too.   Surprisingly, the Delhi team (Parashar Gaud, etc) projected drama satirical but created a serious atmosphere and the Mumbai team made ‘Khadu lapata’ more laud and hilariously performed by Dinesh Bhardwaj, Sushil Kukreti and Raman Kukreti.
 There is a social message in the drama. However, no preaching is there in the satirical drama. There are opportunities of humor in the satirical drama ‘Khadu lapata, but Lalit Mohan took every care that the humorous dialogues sharpen the attack on social evils.
  The subject and dialogues are from the real-life and both the intellectuals and common men enjoy the drama with ease.
  Sushil Kukreti a famous Garhwali drama comedian of Mumbai mentions,” For me, ‘Khadu lapata is a heaven as I performed three characters – Hari singh, Tulsi and Parma  barring Pundit Ji at different time and as for as performing is concerned,  I enjoyed every character of satirical -humorous drama  ‘Khadu lapata’. The best part of this satirical drama ‘Khadu Lapata’  is that the characters are from real life and their dialogues are of daily uses of a common village of Garhwal “
  The great Garhwali dramatist of Mumbai late Dinesh Bhardwaj wrote a commentary on the drama,” Khadu lapata was first staged in October 1958 in Delhi. Garhwal Bharti Mandal and Garhwal Chhatra Sangh staged this satirical, ever-green ‘ Khadu lapata’ drama more than eight times in Mumbai, and every time, the audience found it fresh and enjoyable. The satirical drama ‘Khadu Lapata’ is one of the great dramas created on this earth.”
Raman Kukreti a social worker and a Garhwali dramatist of Mumbai states that the satirical drama ‘Khadu lapata’ accelerated the Garhwali drama movement in modern times.
Copyright @Bhishm Kukreti Garhwali Drama, Garhwali Plays, Modern Garhwali Dramas, Modern Uttarakhandi Dramas, Modern Time Stage Plays of Uttarakhand to be continued …….


[0] Message Index

[#] Next page

[*] Previous page

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