Author Topic: Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटकों का विवरण  (Read 47288 times)

Bhishma Kukreti

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Khaulya: A Contemporary Garhwali Drama about Malnutrition, Poverty Psychology

              (Review of Contemporary Garhwali Drama ‘Khaulya’ by Nitya Nand Maithani)         

                                     Bhishma Kukreti

                            Nitya Nand Maithani is famous Garhwali fiction writer and Garhwali language dramatist. Nitya Nand Maithani was director of Akashvani in Nazeebabad . His radio plays were popular among Garhwalis of rural Garhwal.
                 One hour long play ‘Khaulya’ deals with subject of poverty, child-marriage and related subject of child marriage and poverty. Symbolically, the play is staged in ‘Andhyru Obari’. Saunu is poor and wants to marry his girl child at fifteen hundred bucks that he can marry his eighteen years old son ‘Khaulya’ Khauly’ resist and acts against his sister engagement. 
      The drama ‘Khaulya’ is one of the jewels of contemporary Garhwali dramas which show many arenas of poverty as malnutrition and its effects, pessimism, energy less life, always afraid of existence and laziness.
    The dramatist is very much successful in characterization and appropriate dialogues for each character as per their characteristics. Dr Anil Dabral appreciates the ‘Pause’ kept by Maithani in his dramas.

References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Modern, Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Modern, Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Modern, Contemporary Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Modern, Contemporary 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 (Modern, Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Modern, Contemporary 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 Modern, Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna, 1986, ‘Chakrchal’, 16 Modern, Contemporary Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058

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Bhishma Kukreti

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               Chyun: A Garhwali Drama Criticizing Blind Faith and Foolishness
         (Review of A Modern Garhwali Drama ‘Chyun’ by Nitya Nand Maithani)

                   Notes on Asian Dramas Criticizing Blind Faith and Foolishness, South Asian Dramas Criticizing Blind Faith and Foolishness, Indian Dramas Criticizing Blind Faith and Foolishness, North Indian Dramas Criticizing Blind Faith and Foolishness, Himalayan Dramas Criticizing Blind Faith and Foolishness, Uttarakhandi language Dramas Criticizing Blind Faith and Foolishness, Garhwali Dramas Criticizing Blind Faith and Foolishness

                                            Bhishma Kukreti

                    Nitya Nand Maithani a prolific Garhwali fiction writer and playwright took entertainment through drams very seriously. Many of his dramas are investigating the human tendencies, human ambitions and aspiration besides foolishness and ignorance.   
    The modern Garhwali drama ‘Chyun’ by Nitya Nand Maithani is in the form of folk story. The main character is a foolish young man Sundaru who is getting married. His would be wife saw a dream that a demon caught her seven brothers and all are in stomach of demon. The life of demon is in a special kind of mushroom (‘Chyun’) posed by parrot staying in a Dainkan tree. Sundaru goes in search of parrot and mushroom (‘Chyun’). He met a woman in the way and she tells al ie that a prince killed demon. Sundaru comes back.
                 The drama definitely attacks on blind faith, ignorance and foolishness. However, the drama is not in preaching style but story construction and dialogues tell the objectives of the drama. Nitya Nand Maithani is expert of entertaining with focused objective of communicating moral objectives of life. ‘Chyun’ drama entertains and communicates the moral too.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (Modern, Contemporary Garhwali Dramas Criticizing Blind Faith and Foolishness from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Modern, Contemporary Garhwali dramas Criticizing Blind Faith and Foolishnessfrom beginning till 1975)
3-Dr Sudharani, Garhwal ka Rangmanch (Modern, Contemporary Garhwali Dramas Criticizing Blind Faith and Foolishness from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (Modern, Contemporary 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 (Modern, Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Modern, Contemporary 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 Modern, Contemporary Garhwali drama)
8- Abodh Bandhu Bahuguna, 1986, ‘Chakrchal’, 16 Modern, Contemporary Garhwali Drama collection, B2 -B48, Janakpuri, New Delhi -110058

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Notes on Asian Dramas Criticizing Blind Faith and Foolishness, South Asian Dramas Criticizing Blind Faith and Foolishness, Indian Dramas Criticizing Blind Faith and Foolishness, North Indian Dramas Criticizing Blind Faith and Foolishness, Himalayan Dramas Criticizing Blind Faith and Foolishness, Uttarakhandi language Dramas Criticizing Blind Faith and Foolishness, Garhwali Dramas Criticizing Blind Faith and Foolishness to be continued…..

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                             Chhutyan Bald: A Modern Garhwali Drama about Power of Youth Unity

(Review of a Modern Garhwali drama ‘Chhutyan Bald’ (1975) by Nitya Nand Maithani)

Notes on Modern Asian Drama about Power of Youth Unity, Modern South Asian Drama about Power of Youth Unity, Modern Indian  Drama about Power of Youth Unity, Modern North Indian Drama about Power of Youth Unity, Modern Himalayan about Power of Youth Unity, Modern  Uttarakhandi Drama about Power of Youth Unity, Modern Garhwali  Drama about Power of Youth Unity


                                                           Bhishma Kukreti


                  ‘Chhutyan Bald’ a one act play by Nitya Nand does not have any particular relationship with culture of Garhwal. The story is weird one. Dr Dabral writes,” If the ‘Chyun’ drama is peak of stupidity or lewdness, the story of ‘Chhutyan Bald’ is weird.”
                   Chimni Devi and Falendi Lal are worried for their daughter’s marriage. Bakhtwar a young man loves or likes the daughter of Chimni Devi and Falendi Lal. However, father of Bakhtwar has other plan. Bakhtwar’s father compels Bakhtwar for marrying another girl. Bakhtwar is getting married and there is marriage procession of Bakhtwar. When the village youth come to know the reality they disturb the marriage procession by herds of bulls and force the guests to run away. The youth take Bakhtwar to the house of Chimni Devi and Falendi Lal.
                    Nitya Nand Maithani used proverbs more than any playwright could do so. The dialogues are the reason for speed into drama and dialogues are as per characters and audience’s point of view.
                      Symbolically, Nitya Nand Maithani is successful in communicating power of youth unity in any community.
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)

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Notes on Modern Asian Drama about Power of Youth Unity, Modern South Asian Drama about Power of Youth Unity, Modern Indian Drama about Power of Youth Unity, Modern North Indian Drama about Power of Youth Unity, Modern Himalayan about Power of Youth Unity, Modern Uttarakhandi Drama about Power of Youth Unity, Modern Garhwali Drama about Power of Youth Unity to be continued

Bhishma Kukreti

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Chaudandi: A Humorous Garhwali Drama about Disadvantages of Gigantic Joint Family

(Review of a Humorous Garhwali Drama ‘Chaudandi’ (1975) written by Nitya Nand Maithani)

Notes on Dramas about Disadvantages of Joint Family, Asian Dramas about Disadvantages of Joint Family, South Asian Dramas about Disadvantages of Joint Family, Indian Dramas about Disadvantages of Joint Family, North Indian Dramas about Disadvantages of Joint Family, Himalayan  Dramas about Disadvantages of Joint Family, Uttarakhandi Dramas about Disadvantages of Joint Family, Garhwali Dramas about Disadvantages of Joint Family
                     
                                                  Bhishma Kukreti 

                   There are advantages and disadvantages of Joint Family system. In a Garhwali Drama ‘Chaudandi’ (1975, Nitya Nand Maithani showed the a disadvantage of Joint family through humorous methodology. The biggest problem of gigantic joint family is that slowly family members ignore other’s emotions and problems or the family members do not care for other’s urgency.  Makan Singh has a gigantic family of fifty members. There are all six daughters, their unemployed husbands and their children of Makan Singh in the family. Makan singh has only one son Teetu and his wife in this big family of fifty members.  Teetu’s wife advised Teetu to run away from home. Teetu run away from home. Later the wife of Teetu shivers that Baba Narsingh’s spirit has come on her body. When she is asked about solution, she replies that there is ‘Pachas Sungrun Dosh (curse because of fifty boars living in house).As incarnation of Narsingh baba she says that all bores from home should be dispatched immediately.
               The drama is humorous and attacks on the family members not caring for other’s privacy or needs.   The drama ‘Chaudandi’ (1975) by Nitya Nand Maithani is hilarious one. The specialty of Nitya Nand Maithani had been that his dialogues create perfect images into the mind of audience.
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)

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Notes on Dramas about Disadvantages of Joint Family, Asian Dramas about Disadvantages of Joint Family, South Asian Dramas about Disadvantages of Joint Family, Indian Dramas about Disadvantages of Joint Family, North Indian Dramas about Disadvantages of Joint Family, Himalayan Dramas about Disadvantages of Joint Family, Uttarakhandi Dramas about Disadvantages of Joint Family, Garhwali Dramas about Disadvantages of Joint Family to be continued……..


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           Tom: A Contemporary Garhwali Drama depicting Negative Effects of Alcohol Addiction 


(Review of ‘Tom’ (1975) a Garhwali drama written by Nitya Nand Maithani)

Notes on Dramas depicting Negative Effects of Alcohol Addiction, Asian Dramas depicting Negative Effects of Alcohol Addiction, South Asian Dramas depicting Negative Effects of Alcohol Addiction, Dramas of SAARC Countries depicting Negative Effects of Alcohol Addiction, Indian Dramas depicting Negative Effects of Alcohol Addiction, North Indian Dramas depicting Negative Effects of Alcohol Addiction, Himalayan Dramas depicting Negative Effects of Alcohol Addiction, Uttarakhandi Dramas depicting Negative Effects of Alcohol Addiction, Garhwali Dramas depicting Negative Effects of Alcohol Addiction

                                                   Bhishma Kukreti

                      Alcohol addiction, alcohol consumption, alcohol abuses and drug addiction among people has been the subject of concern for social workers, intellectuals and writers from the beginning of civilization. That is the reason that readers find the subjects of alcohol addiction, alcohol consumption, alcohol abuses and drug addiction in epics, literature, and folk literature of earlier age. The modern literature is full of subject of alcohol addiction, alcohol consumption, alcohol abuses and drug addiction.

                      German dramatists Holz and Schalf wrote a drama ‘Die Familie Selicke’ about alcohol. The ‘Dreamers ‘by playwright Jack Davis depicts about alcohol abuse. The famous drama ‘A Streetcar Named Desire’ by famous drama playwright Tennessee Williams deals with the subject of alcohol abuse too. ‘The drunkard the drama’ drama by William H. Smith criticizes alcohol abuse.
                  Chinese modern drama and film ‘Qutting’ deals about struggle to overcome drug and alcohol addiction.

‘Tom’: A Contemporary Garhwali Drama depicting Negative Effects of Alcohol Addiction 
                Tom means the pain. The theme of ‘Tom’ drama by Maithani is about escaping from the realities by alcohol consumption, repeating acts by addicted person, and social, monitory and ethical losses by alcohol consumption. The story is about a Jagri (Religious performer of Ghadela a folk ritual) is alcohol addicted. Jagri steals the necklace of a young girl. Jagri is enjoying alcohol and his ailing son dies because of non availability of medicines and care. The drama is written for criticizing alcohol consumption, alcohol addiction and alcohol abuse. The relevancy of ‘Tom’ is very much in today’s time.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (For research on Negative Effects of Alcohol addiction and alcohol consumption in Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (For research on Negative Effects of Alcohol addiction and alcohol consumption in Garhwali dramas)
3-Dr Sudharani, Garhwal ka Rangmanch (For research on Negative Effects of Alcohol addiction and alcohol consumption in Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (For research on Negative Effects of Alcohol addiction and alcohol consumption in 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 (For research on Negative Effects of Alcohol addiction and alcohol consumption in Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (For research on Negative Effects of Alcohol addiction and alcohol consumption in 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 for research on Negative Effects of Alcohol addiction and alcohol consumption)

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Notes on Dramas depicting Negative Effects of Alcohol Addiction, Asian Dramas depicting Negative Effects of Alcohol Addiction, South Asian Dramas depicting Negative Effects of Alcohol Addiction, Dramas of SAARC Countries depicting Negative Effects of Alcohol Addiction, Indian Dramas depicting Negative Effects of Alcohol Addiction, North Indian Dramas depicting Negative Effects of Alcohol Addiction, Himalayan Dramas depicting Negative Effects of Alcohol Addiction, Uttarakhandi Dramas depicting Negative Effects of Alcohol Addiction, Garhwali Dramas depicting Negative Effects of Alcohol Addiction

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Na Theed main Tain: A Garhwali Drama about Desire for Having a Son
 
(Review of a Garhwali Drama ‘Na Theed main Tain’ by Nitya Nand Maithani)

                                            Bhishma Kukreti

                  It is a common fact that every person desires for a son or sons for his heir. The theme of ‘Na Theed main Tain’ by Nitya Nand Maithani is about desire of a son and having daughters. Nannumal wishes for a son and in this process his wife delivers five daughters. Now the children fell ignored from parent side and the father fells torture. Neither parents nor children are comfortable from the situation.
                Nitya Nand Maithani’s dialogues are the life line for the dram and its speed.
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)

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Bhishma Kukreti

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Fulmundi Sasu: A Garhwali Social drama about Struggle of Daughter in Laws

(Review of a Garhwali Social drama ‘Fulmundi Sasu’ by Nitya Nand Maithani)

                                         Bhishma Kukreti
                      It was common culture in past that the mother in law would treat her daughter in law adversely. The mother in law would make sure that her daughter in law would get less food, low nutrient food and get insulted as and when opportunity was there.
                       The Garhwali Social drama ‘Fulmundi Sasu’ by Nitya Nand Maithani is about the torture of a mother in law to her daughter in law. There is a social organization in the village and writers shows the importance of Gram Sudhar Samitis in villages.
     However, from story point of view Nitya Nand Maithani is not successful in providing perfect treatment for which Nitya Nand Maithani is famous.
                Dialogues are as per the prolific nature of Nitya Nand Maithani as playwright.
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                          Hari Hindwan: A Historical Garhwali Drama
(Review of a Historical Garhwali Drama ‘Hari Hindwan’ (1989) by Lalit Keshwan)

Notes on Historical Asian Dramas, Historical South Asian Dramas, Historical Indian Dramas, Historical North Indian Dramas, Historical Himalayan Dramas, Historical Dramas from Uttarakhand, Historical Garhwali Dramas

                                                 Bhishma Kukreti

                       It is difficult to write historical drama or drama on well known legend. Hari Hindwan and Asha Hindwan are well known folk legends of Garhwal. There are folk songs on the chivalry of Hari Hindwan and his brother Asha Hindwan. Famous satirical Garhwali poet Lalit Keshwan wrote and published ‘Hari Hindwan’ a historical Garhwali in 1989.
                             The time period is of the ruling time of Man Shah the king of Garhwal (1591-1611). The kingdom Sirmaur, Himachal Pradesh was affected by the violent acts of demon. The king of Sirmaur declared that he will offer thousands of golden coins, half of the kingdom and his daughter ‘Sukesha’ to the killer of demon. King of Garhwal sends Hari Hindwan a bravest of braves to Sirmaur for killing the demon.
                    Hari Hindwan kills the demon. King of Sirmaur becomes selfish and instead of rewarding, put Hari Hindwan into jail. Hari through dreams sends message to his brother Asha Hindwan. Asha comes to Himachal and fought with the Sirmaur army and won. The king of Sirmaur agreed to marry Sukesha with Hari. Hari Hindwan, Asha Hindwan and Sukesha come to Garhwal where Garhwali king welcomed them.
    Keshwan experimented modernity and jagar in the drama. The drama has huge potentiality for becoming hit stage play. The dialogues are of daily uses.
References:
1-Dr Anil Dabral, Garhwali Gady Parampara (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary Garhwali Dramas from beginning till 1990)
2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary Garhwali dramas from beginning till 1975)
3-Dr Sudharani, Garhwal ka  Rangmanch (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary  Garhwali Dramas from beginning till 1985)
4-Drama special issue of Chitthi Patri magazine (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary 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 (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary Garhwali Drams and theatres from beginning till 1985)
6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (for finding Hurting by Old Tradition and Agonizing from Changes in Contemporary Garhwali dramatists or theatres playwrights till 1985
8- Abodh Bandhu Bahuguna,1986,  ‘Chakrchal’ , 16 Contemporary  Garhwali Drama collection for finding Hurting by Old Tradition and Agonizing from Changes in , B2 -B48, Janakpuri, New Delhi -110058

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Notes on Historical Asian Dramas, Historical South Asian Dramas, Historical Indian Dramas, Historical North Indian Dramas, Historical Himalayan Dramas, Historical Dramas from Uttarakhand, Historical Garhwali Dramas to be continued……





Bhishma Kukreti

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Historical details of ‘Chakrvyuh’ Drama in Garhwal
 
                                    Bhishma Kukreti
                          These days, ‘Chakrvyuh’ a Garhwali poetic or lyrical-prose drama is in news in Mumbai. The Garhwali and Kumauni audience is very much curious to watch the well liked drama ‘Chakrvyuh’ being staged in Kauthig.
                However, there is a long astounding history of dramatization of Chakrvyuh theme in Garhwal.
                     Mahabharata is never-ending mine for dramas in modern days. Chakrvyuh episode of Mahabharata attracted many dramatists for writing and staging plays in their own languages.  ‘Chakrvyuh’ is based on the sacrifice and chivalry of Abhimanyu in   Kurukshetra battle.
                         Chandra Singh Butola and Bachan Ram Gairola ‘Arya’     wrote ‘‘Chakrvyuh’ drama   in Hindi. The drama was definitely fully based on the Parsi theatre style. Hindi version ‘Chakrvyuh’ was first staged in 1901 in Kandara village of today’s Rudraprayag district. People took interest in the drama and started to take shape into folk drama in Kedar valley.
               In seventies,  Pratap Singh Bisht of Barasnadi wrote ‘Chakrvyuh’ script again in Hindi and staged it  in his village Barsnadi, Rudraprayag district. Credit goes to Pratap singh Bisht for popularizing the drama ‘Chakrvyuh’ in Keadr valley.
     Dr.Data Ram Purohit, Shri S. Karnpal and Krishna Nand Nautiyal wrote a script of ‘Chakrvyuh’ in Garhwali and staged it in the year 2001 in Jamohari village, Rudraprayag. 
                The Garhwali version of ‘Chakrvyuh’ dram is gigantic from production point of view. There were 300 performers for the drama when it was staged in Mangoli, Ukhimath.   The Garhwali version drama   ‘Chakrvyuh’ is staged in Shrinagar, Dehradun too and got appreciation from the audience for its proffesonalistic approach and giganticness.   
     The above scripted drama    ‘Chakrvyuh’   was staged in Delhi in 2011 in Mahabharata Utsav of 2011.

     Garhwalis will always remember the contribution of playwrights Dr.Data Ram Purohit, Shri S. Karnpal and Krishna Nand Nautiyal for conceptualizing and writing ‘Chakrvyuh’   drama in Garhwali.
Curtsy to Dr D.R Purohit
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Historical details of ‘Chakrvyuh’ Drama in Garhwal
 
                                    Bhishma Kukreti
                          These days, ‘Chakrvyuh’ a Garhwali poetic or lyrical-prose drama is in news in Mumbai. The Garhwali and Kumauni audience is very much curious to watch the well liked drama ‘Chakrvyuh’ being staged in Kauthig.
                However, there is a long astounding history of dramatization of Chakrvyuh theme in Garhwal.
                     Mahabharata is never-ending mine for dramas in modern days. Chakrvyuh episode of Mahabharata attracted many dramatists for writing and staging plays in their own languages.  ‘Chakrvyuh’ is based on the sacrifice and chivalry of Abhimanyu in   Kurukshetra battle.
                         Chandra Singh Butola and Bachan Ram Gairola ‘Arya’     wrote ‘‘Chakrvyuh’ drama   in Hindi. The drama was definitely fully based on the Parsi theatre style. Hindi version ‘Chakrvyuh’ was first staged in 1901 in Kandara village of today’s Rudraprayag district. People took interest in the drama and started to take shape into folk drama in Kedar valley.
               In seventies,  Pratap Singh Bisht of Barasnadi wrote ‘Chakrvyuh’ script again in Hindi and staged it  in his village Barsnadi, Rudraprayag district. Credit goes to Pratap singh Bisht for popularizing the drama ‘Chakrvyuh’ in Keadr valley.
     Dr.Data Ram Purohit, Shri S. Karnpal and Krishna Nand Nautiyal wrote a script of ‘Chakrvyuh’ in Garhwali and staged it in the year 2001 in Jamohari village, Rudraprayag. 
                The Garhwali version of ‘Chakrvyuh’ dram is gigantic from production point of view. There were 300 performers for the drama when it was staged in Mangoli, Ukhimath.   The Garhwali version drama   ‘Chakrvyuh’ is staged in Shrinagar, Dehradun too and got appreciation from the audience for its proffesonalistic approach and giganticness.   
     The above scripted drama    ‘Chakrvyuh’   was staged in Delhi in 2011 in Mahabharata Utsav of 2011.

     Garhwalis will always remember the contribution of playwrights Dr.Data Ram Purohit, Shri S. Karnpal and Krishna Nand Nautiyal for conceptualizing and writing ‘Chakrvyuh’   drama in Garhwali.

Curtsy to Dr D.R Purohit
copyright@ Bhishma Kukreti

 

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