Author Topic: Re: Information about Garhwali plays-विभिन्न गढ़वाली नाटकों का विवरण  (Read 47318 times)

Bhishma Kukreti

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Tinchari: A Garhwali Drama Explaining Harmful Effects of Alcohol Consumption 

(Review of a Garhwali Drama ‘Tinchari ‘(9176) by Chintamani Barthwal)

Notes on Dramas Explaining Harmful Effects of Alcohol Consumption, Dramas Explaining Harmful Effects of Alcohol Consumption, South Asian Dramas Explaining Harmful Effects of Alcohol Consumption, SAARC Countries Dramas Explaining Harmful Effects of Alcohol Consumption, Indian Dramas Explaining Harmful Effects of Alcohol Consumption, North Indian Dramas Explaining Harmful Effects of Alcohol Consumption, Himalayan Dramas Explaining Harmful Effects of Alcohol Consumption, Mid Himalayan Dramas Explaining Harmful Effects of Alcohol Consumption, Uttarakhandi Dramas Explaining Harmful Effects of Alcohol Consumption, Kumauni  Dramas Explaining Harmful Effects of Alcohol Consumption, Garhwali   Dramas Explaining Harmful Effects of Alcohol Consumption   
शराब के अवगुणों /नुकसानों को दर्शाते नाटक, शराब के अवगुणों /नुकसानों को दर्शाते एशियाई नाटक,शराब के अवगुणों /नुकसानों को दर्शाते दक्षिण एशियाई नाटक,शराब के अवगुणों /नुकसानों को दर्शाते सार्क देशों के नाटक,शराब के अवगुणों /नुकसानों को दर्शाते भारतीय नाटक,शराब के अवगुणों /नुकसानों को दर्शाते उत्तर भारतीय नाटक,शराब के अवगुणों /नुकसानों को दर्शाते हिमालयी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते मध्य हिमालयी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते उत्तराखंडी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते कुमाउनी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते गढवाली नाटक लेखमाला

                                   Bhishma Kukreti

                Alcohol consumption is not suitable for country as India. Alcohol consumption or alcohol use does much harm to the individuals and society as a whole. Alcohol consumption is responsible for disorders as fatty deterioration of the lever; alcohol consumption may bring infection of the lever, sleeping disorder; infection of the pancreas, stomach, esophagus. The alcohol consumption brings diseases as mental instability, loss of memory, premature dementia. It is a known fact that alcohol consumption also may create cancer of mouth, larynx, intestine, throat and breast. Alcohol consumption may create hypertension and heart problems.
           There are examples of violence during alcohol consumptions. The alcohol consumption is also responsible for loss of money, loss of social prestige. Alcohol consumption is also responsible for bringing irresponsible characteristics to the alcohol users.
         From Garhwali drama point of view, the drama ‘Tinchari’ is still relevant and dramatist Girish Sundariyal wrote two dramas on harmful effects of alcohol consumption in Garhwali. The drama ‘Ye bwe daru Pilai de’ conceived by Bhishma Kukreti and Surendra Bisht was staged in 1970-1971 in Bhandari Baug Dehdradun
           The Garhwali drama’ Tinchari’ by Chinta Mani Barthwal about harmful effects of alcohol consumption was staged in Delhi in 1976. Chinta Mani Barthwal was successful in showing the harmful effects of ‘Tinchari’, Kacchi Daru or fermented alcohol without proper technique.  Dr Sudharani a Garhwali drama historian and Parashar Gaur a prominent figure of Garhwali drama of Delhi state that the audience appreciated the drama ‘Tinchari’ written by Chinta Mani Barthwal.
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 Explaining Harmful Effects of Alcohol Consumption, Dramas Explaining Harmful Effects of Alcohol Consumption, South Asian Dramas Explaining Harmful Effects of Alcohol Consumption, SAARC Countries Dramas Explaining Harmful Effects of Alcohol Consumption, Indian Dramas Explaining Harmful Effects of Alcohol Consumption, North Indian Dramas Explaining Harmful Effects of Alcohol Consumption, Himalayan Dramas Explaining Harmful Effects of Alcohol Consumption, Mid Himalayan Dramas Explaining Harmful Effects of Alcohol Consumption, Uttarakhandi Dramas Explaining Harmful Effects of Alcohol Consumption, Kumauni  Dramas Explaining Harmful Effects of Alcohol Consumption, Garhwali   Dramas Explaining Harmful Effects of Alcohol Consumption   to be continued….
शराब के अवगुणों /नुकसानों को दर्शाते नाटक, शराब के अवगुणों /नुकसानों को दर्शाते एशियाई नाटक,शराब के अवगुणों /नुकसानों को दर्शाते दक्षिण एशियाई नाटक,शराब के अवगुणों /नुकसानों को दर्शाते सार्क देशों के नाटक,शराब के अवगुणों /नुकसानों को दर्शाते भारतीय नाटक,शराब के अवगुणों /नुकसानों को दर्शाते उत्तर भारतीय नाटक,शराब के अवगुणों /नुकसानों को दर्शाते हिमालयी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते मध्य हिमालयी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते उत्तराखंडी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते कुमाउनी नाटक,शराब के अवगुणों /नुकसानों को दर्शाते गढवाली नाटक लेखमाला जारी .....





 
 
 


 


Bhishma Kukreti

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Kanshanukram/Kanshvadh: A Garhwali Drama about Political Satire through Mythological Characters

(Review of a Garhwali drama about Political Satire through Mythological Characters ‘Kanshanukram ‘(1979) written by Kanhaiya Lal Dandriyal )

        Notes on Dramas about Political Satire through Mythological Characters, Asian Dramas about Political Satire through Mythological Characters, South Asian Dramas about Political Satire through Mythological Characters, SAARC Countries Dramas about Political Satire through Mythological Characters, Indian Dramas about Political Satire through Mythological Characters, North Indian Dramas about Political Satire through Mythological Characters, Himalayan Dramas about Political Satire through Mythological Characters, Mid Himalayan  Dramas about Political Satire through Mythological Characters, Uttarakhandi Dramas about Political Satire through Mythological Characters, Kumauni Dramas about Political Satire through Mythological Characters, Garhwali Dramas about Political Satire through Mythological Characters
           प्रशासकीय भ्रष्ट तन्त्र दर्शाते नाटक, प्रशासकीय भ्रष्ट तन्त्र दर्शाते एशियाई नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते दक्षिण एशियाई नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते सार्क देशीय नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते भारतीय नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते हिमालयी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते मध्य हिमालयी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते उत्तराखंडी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते कुमाउनी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते गढ़वाली नाटक लेखमाला

                                 Bhishma Kukreti

          Initially Kanhaiya Lal Dandriyal wrote a drama ‘Kanshvadh’ drama based on famous mythological story of Kansh and Krishna. Famous Garhwali dramatist and Garhwali theatre activist Rajendra Dhashmana  rewrote the drama and named it as ‘Kanshanukram ‘. The Garhwali Drama ‘Kanshvadh’ about Political Satire through Mythological Characters was staged in 1979 in Delhi.
          The characters of ‘Kanshvadh’ are the powerful bureaucrats of Kansha. Kansha is a mythological charater of Krishn Leela or Shrimad Bahgwad.
         The drama ‘Kanshvadh’ successfully exposes the tricks of politicians, bureaucrats, and their relatives. The drama ‘Kanshvadh’ shows the methodologies of authorities of higher management hierarchy indulging in grabbing power, indulging in nepotism, favoritism, discrimination, partiality and ignoring the real issues of common people.
         The political satirical drama ‘Kanshvadh’ attacks on how people become corrupt as soon as they get power.
      The drama ‘Kanshvadh’ is still relevant in showing corruption, nepotism, partiality, favoritism, discrimination at high power corridor. The drama ‘Kanshvadh’ shows brilliantly the ministers and bureaucrats becoming corrupt due to selfish nature of the  highest authority (Kansh the king).
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 Political Satire through Mythological Characters, Asian Dramas about Political Satire through Mythological Characters, South Asian Dramas about Political Satire through Mythological Characters, SAARC Countries Dramas about Political Satire through Mythological Characters, Indian Dramas about Political Satire through Mythological Characters, North Indian Dramas about Political Satire through Mythological Characters, Himalayan Dramas about Political Satire through Mythological Characters, Mid Himalayan  Dramas about Political Satire through Mythological Characters, Uttarakhandi Dramas about Political Satire through Mythological Characters, Kumauni Dramas about Political Satire through Mythological Characters, Garhwali Dramas about Political Satire through Mythological Characters to be continued…..
प्रशासकीय भ्रष्ट तन्त्र दर्शाते नाटक, प्रशासकीय भ्रष्ट तन्त्र दर्शाते एशियाई नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते दक्षिण एशियाई नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते सार्क देशीय नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते भारतीय नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते हिमालयी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते मध्य हिमालयी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते उत्तराखंडी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते कुमाउनी नाटक,प्रशासकीय भ्रष्ट तन्त्र दर्शाते गढ़वाली नाटक लेखमाला जारी

Bhishma Kukreti

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Kafan: An Adapted Garhwali Drama based on the story ‘Kafan’ by Prem Chand



Bhishma Kukreti

            There had been attempts for adaptation of famous stories written by famous writer or famous drama in Garhwali Drama world as ‘Chatti ki ek rat’ or ‘Natak Band karo’.
              There had been attempt for adaptation of famous Hindi story ‘Kafan’ written by Prem Chand in Garhwali drama. The story is about two agriculture workers father and son. The wife of son dies at the time of delivering child. Both father and son were busy in satisfying their two days hunger by one potato bulb while the woman was crying for delivery pain. In morning, they find that the woman is no more they go to Jameedar for money for buying ‘Kafan’. The jameedar pays them money for ‘Kafan’. Instead of buying ‘Kafan’, both son and father spend money on wine and munching.
            The story deals with escapism among field workers and the reason for their emotion less behavior.
              From record point of view, Bhishma Kukreti and Sapurn Singh Bisht adapted this story nto Garhwali drama and staged in 1970 in a local social-cultural function of Bhandari Baug residents, Dehradun. Sampurn Singh played father’s role and Bhishma Kukreti played son’s role. Bisht and Kukreti transformed the second half of story into hum our and satire form. The first half of story ‘Kafan’ does not resembles with Garhwali environment. The dialogues by Sampurn Bisht and Bhishma Kukreti of second half of the story suited to Garhwali environment than first half.  There was one dialogue which attracted the attention of audience by son. The father narrates the ‘terhaveen’ feast when Padhan’s mother dies. Then son asks to his father,” ab yi padhanu naunu roj roj kilai ni mardan? Are kuch jeeman khano t mildi!’.
                         The well known Garhwali story writer Kusum Nautiyal also adapted ‘Kafan’ story. She changed the story for clear expression of sensitivity of the subject. The adapted version of   ‘Kafan’ by Kusum Nautiyal was staged in 1980 in Delhi. 
            The biggest problem of adaptation of    ‘Kafan’ in Garhwali is that the environment of villages narrated by Prem Chand in the original story does not suit to rural Garhwal. For example, Prem Chand shows the environment of autumn season and the characters spend night outside of room. In rural Garhwal, nobody spends night out of room in autumn season.
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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Swayambar: A Garhwali  Social Drama Criticizing Satirically Taking Dowry for the Bride from Groom
(Review of a Garhwali Drama ‘Swayambar’ written by Kanhaiya Lal Dandriyal)
Notes on Social dramas , social plays criticizing wrong customs, Asian Social dramas, social plays criticizing wrong customs, South Asian Social dramas , social plays criticizing wrong customs, SAARC countries Social dramas, social plays criticizing wrong customs, Indian Social dramas, social plays criticizing wrong customs, North Indian Social dramas, social plays criticizing wrong customs, Himalayan Social dramas, social plays criticizing wrong customs, Mid Himalayan Social dramas , social plays criticizing wrong customs, Uttarakhandi Social dramas , social plays criticizing wrong customs, Kumauni Social dramas , social plays criticizing wrong customs, Garhwali Social dramas , social plays criticizing wrong customs,

                                 Bhishma Kukreti

                     In old rural Garhwal, there was a rude custom for father taking money from bride side for daughter’s marriage and many times marrying daughter with widower or old age male for the sake of money.
             Kanhaiya Lal Dandriyal wrote a drama ‘Swayambar ‘criticizing this old custom.  ‘Swayambar ‘was staged in Delhi in 1983.There is auction of a girl in the drama. The drama is successful in showing the basic qualities of human being as greed, instability myopic thinking, and deceiving characteristics.
  The drama is humorous and satirical in nature. The dialogues are humorous and touch the heart of audience. The drama contains sound text of sociology. Kanhaiya Lal Dandriyal uses direct method for criticizing the custom of selling daughter in the name of marriage. 

Source: Personal Discussion with Parashar Gaur is his visit to Mumbai
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Notes on Social dramas , social plays criticizing wrong customs, Asian Social dramas, social plays criticizing wrong customs, South Asian Social dramas , social plays criticizing wrong customs, SAARC countries Social dramas, social plays criticizing wrong customs, Indian Social dramas, social plays criticizing wrong customs, North Indian Social dramas, social plays criticizing wrong customs, Himalayan Social dramas, social plays criticizing wrong customs, Mid Himalayan Social dramas , social plays criticizing wrong customs, Uttarakhandi Social dramas , social plays criticizing wrong customs, Kumauni Social dramas , social plays criticizing wrong customs, Garhwali Social dramas , social plays criticizing wrong customs to be continued…


Bhishma Kukreti

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Khabesh: A Garhwali Drama about Repression by Mother in Law towards Daughter in laws

(Review of Garhwali Drama ‘Khabesh’ written by Madan Ballabh Dobhal)

                                            Bhishma Kukreti
               Khabesh deals with three problems of rural Garhwal of before sixties- the oppression of mother in laws towards daughter in laws, migration and blind faith.
                The writer used three subjects and could not be successful in impressing the audience. The drama is an average drama. There is no curiosity for the audience to wait for the future course of action in the drama.
                  The basic problem is that dramatist did not decide the main subject and did not provide time for developing theme. There are folk song and a Jagar in speeding up the drama.

Reference:
The original typed manuscript handed over to this author by Parashar Gaud.
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                        Mangan: A Tragic Garhwali Drama about Handicap Female

(Review of Garhwali Drama ‘Mangan’ (1981) written by Chandra Shekhar Naithani)

Notes on Asian Tragic Dramas about Handicap,  South Asian Tragic Dramas about Handicap, SAARC countries Tragic Dramas about Handicap, Indian Tragic Dramas about Handicap, North Indian Tragic Dramas about Handicap, Himalayan Tragic Dramas about Handicap, Mid Himalayan Tragic Dramas about Handicap, Uttarakhandi Tragic Dramas about Handicap, Kumauni Tragic Dramas about Handicap, Garhwali Tragic Dramas about Handicap
एशियाई नाटकों में करुण रस, मध्य एशियाई नाटकों में करुण रस,सार्क देशीय नाटकों में करुण रस, भारतीय नाटकों में करुण रस,उत्तर भारतीय नाटकों में करुण रस, हिमालयी नाटकों में करुण रस, मध्य हिमालयी नाटकों में करुण रस, उत्तराखंडी नाटकों में करुण रस,कुमाउनीनाटकों में करुण रस, गढ़वाली नाटकों में करुण रस लेखमाला

                                               Bhishma Kukreti

               Whether he is a male or she is female, being physically handicap is a tragic aspect for every human being. The physically handicap human being has to pass through various problems, hurdles not only to balance the physical weaknesses but has to face various social harassments too. The parents of such physically handicap females have to undergo a never ending tension of marrying their handicap daughters.  When married the physically female handicap human being has to face psychological harassment from mother in law side. Even there is logic on a mother in law harassing her physically handicap daughter in law. The mother in law undergoes tremendous social and individual strain and stress by knowing that her daughter in law is physically handicap.   
                   Less is written on the subject of physically handicap human being by Garhwali playwrights. Parashar Gaud the prominent figure of Garhwali dramas or Rakesh Gairola one of the Garhwali drama activist appreciate  Chandra Shekhar Naithani for his taking initiative for writing a drama in Garhwali language on the subject of physically handicap female. A Drama dedicated Garhwali organization Bhagirathi Kala Sangam, Aliganj, New Delhi staged the Garhwali play ‘Mangan’ about a female handicap written by playwright Chandra Shekhar Naithani in Delhi in 1982.
             Naithani has been successful in keeping the curiosity alive till end for the coming events of drama in ‘Mangan’.
           The family members, relatives and friends of any handicap person undergo to strain, constant worry, trauma, suffering, disturbances and stress. Chandra Shekhar Naithani touches those traumas in the drama.
               There are two aspects of facing the weakness. One aspect for a handicap person is to go for struggle and another aspect of life is to escape from the struggle. One aspect is for other people to encourage handicap for overcoming the weaknesses and other reality is that other human beings discourage the handicap and encourage the handicap for escapism.  The audience comes to know choice of dramatist for struggle or escapism by handicap character at the last ending scene of the drama ‘Mangan’.
           There is subject of thinking in tragic drama ‘Mangan’ about the fate of ill fated handicap in the society. The playwright Naithani brings the emotions of adversity, affliction, catastrophe, misfortune, depression, direness in the drama with focused theme and suitable dialogues.
                  The drama ‘Mangan’ by playwright Chandra Shekhar Naithani is one of the finest examples of tragedy in modern Garhwali drama.

Curtsey: The reviewer is thankful to Parashar Gaud for his taking pain in supplying manuscript of ‘Mangan’ a Garhwali tragedy drama about handicap female.
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-Notes of Parashar Gaud in Mera Pahad


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Notes on Tragedy of Handicap Female in Asian Dramas, Tragedy of Handicap Female in South Asian Dramas, Tragedy of Handicap Female in SAARC Countries Dramas, Tragedy of Handicap Female in Indian Dramas, Tragedy of Handicap Female in North Indian Dramas, Tragedy of Handicap Female in Himalayan Dramas, Tragedy of Handicap Female in Mid Himalayan Dramas, Tragedy of Handicap Female in Uttarakhandi Dramas, Tragedy of Handicap Female in Kumauni Dramas, Tragedy of Handicap Female in Garhwali Dramas to be continued…
एशियाई नाटकों में करुण रस, मध्य एशियाई नाटकों में करुण रस,सार्क देशीय नाटकों में करुण रस, भारतीय नाटकों में करुण रस,उत्तर भारतीय नाटकों में करुण रस, हिमालयी नाटकों में करुण रस, मध्य हिमालयी नाटकों में करुण रस, उत्तराखंडी नाटकों में करुण रस,कुमाउनीनाटकों में करुण रस, गढ़वाली नाटकों में करुण रस लेखमाला जारी …..


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Andolan: An Experimental Garhwali Drama about Separate Uttarakhand Movement 

(Review of an Experimental Drama ‘Andolan’ written by Parashar Gaud)
Notes on Experimental dramas and Street theatres ; Asian Experimental dramas and Street theatres ; South Asian Experimental dramas and Street Dramas; SAARC Countries Experimental dramas and Street Dramas; Indian Experimental theatres and Street Dramas; North Indian Experimental theatres and Street Dramas; Experimental theatres and Street Dramas in Delhi; Himalayan Experimental theatres and Street Dramas; Mid Himalayan Experimental theatres and Street Dramas; Uttarakhandi Experimental theatres and Street Dramas; Kumauni Experimental and Street Dramas; Garhwali Experimental theatres and Street Dramas; Experimental theatres and Street Dramas in Uttarakhand ; Experimental theatres and Street Dramas in Dehradun
नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, एशियाई नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, दक्षिण एशियाई नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, सार्क देशीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, भारतीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, उत्तर भारतीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, उत्तराखंडी नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, कुमाउनी नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, गढ़वालीनुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक लेखमाला

                                             Bhishma Kukreti

                 In public, Parashar Gaud is more famous for his first Garhwali film Jagwal. However, Parashar Gaud had been a prominent Garhwali drama personality in Delhi. Parashar Gaud was backbone of Garhwali drama world in Delhi. There is no Garhwali drama taker in Delhi after Parashar Gaud left Delhi for Canada. Parashar was true Garhwali drama activist as drama writer, as performer, as director and as producer.
    Parashar Gaud wrote an experimental Garhwali drama ‘Andolan’ based on separate Uttarakhand movement.  It seems that Parashar wrote this experimental drama as street drama or ‘Nukkad Natak’. There are numerous characters in the experimental and street drama ‘Andolan’. There are numerous plots and many sub plots in the Garhwali experimental and street drama ‘Andolan’. The experimental and street drama ‘Andolan’ deals with many important reasons for need of separate Uttarakhand state.  There are contemporary incidents as March in Delhi by movement activist, death of Veer Chandra Singh Garhwali, interview of a reporter with Chandra sing Garhwali, comments about Hemvati Nandan Bahuguna, election and election slogans, opportunist political and social leaders in Delhi and Uttar Pradesh and in Uttarakhand and many more well known incidents in this experimental and street Garhwali drama ‘Andolan’.
      Street dramas are very good means of communication for every community. There was vacuum for street dramas in Garhwali drama world. Parashar Gaud fulfils the gap by providing experimental and street drama ‘Andolan’.
       The main characteristics of a street drama are that it should have a theme for the social cause and it should be in regional language only.
              The drama ‘Andolan’ is an experimental drama for Garhwali language in the sense that it is totally non-conventional in the form and style. Parashar Gaud used the style of Jamure and Ustad style as the folk dramatists perform in the streets of in urban or rural areas.
 In an interview with this writer, Parashar gaud states that the experimental and street Garhwali drama ‘Andolan’ is tribute to experimental theatre writers Arun kakde, Richard Maxwell, Satya Dev Dube, Antonin Artaud, Rajendra Dhashmana, Carmelo Bene, Dinesh Thakur, Bertolt Brecht, Vijay Mehta, Girish Karnad, Dario Fo, Luigi Pirandello, Vijay Tendulkar, Samuel Becket,Arvind Deshpande,  Isabelle Junot , Sulbha Deshpane, Young Jeen Le, Shankar Shesh, C.P.Deshpande , Meng Jinghui ,   and other playwrights of experimental dramas. 
Curtsey: Parashar Gaud for supplying original manuscript of an experimental and street Garhwali drama
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 Experimental theatres and Street Dramas; Asian Experimental theatres and Street Dramas; South Asian Experimental theatres and Street Dramas; SAARC Countries Experimental theatres and Street Dramas; Indian Experimental theatres and Street Dramas; North Indian Experimental theatres and Street Dramas; Experimental theatres and Street Dramas in Delhi; Himalayan Experimental theatres and Street Dramas; Mid Himalayan Experimental theatres and Street Dramas; Uttarakhandi Experimental theatres and Street Dramas; Kumauni Experimental theatres and Street Dramas; Garhwali Experimental theatres and Street Dramas; Experimental theatres and Street Dramas in Uttarakhand ; Experimental theatres and Street Dramas in Dehradun to be continued….
नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, एशियाई नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, दक्षिण एशियाई नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, सार्क देशीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, भारतीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, उत्तर भारतीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, उत्तराखंडी नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, कुमाउनी नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, गढ़वालीनुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक लेखमाला जारी .....


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Ardhgrameshwar: A Modern Garhwali Drama Taking Contemporary issues

(Review of a Modern Garhwali Drama ‘Ardhgrameshwar ‘ (1976) written by Rajendra Dhashmana and Directed by Mitra Nand Kukreti )

Notes on contemporariness in modern dramas, contemporariness in modern Asian dramas, contemporariness in modern South Asian dramas, contemporariness in modern SAARC country’s dramas, contemporariness in modern Indian dramas, contemporariness in modern North Indian dramas, contemporariness in modern Himalayan dramas, contemporariness in modern Mid Himalayan dramas, contemporariness in modern Uttarakhandi dramas, contemporariness in modern Kumauni dramas, contemporariness in modern Garhwali dramas

                                            Bhishma Kukreti

                   Rajendra Dhashmana is first Garhwali drama playwright changing the old drama format and brought the new sense and new format for Garhwali drama art. Same way Mitra Nand Kukreti brought newness in the field of Garhwali stage play direction or in the field of Garhwali drama world. Rajendra Dhashmana as a playwright and Mitra Nand Kukreti as a director of Garhwali stage play world are complimentary to each other. Rajendra Dhashmana took initiative in bringing modernity in Garhwali drama and Mitra Nand brought freshness and new imagination in directing ‘Ardhgrameshwar ‘a Garhwali stage play. If Rajendra Dhashmana brought freshness through new subjects and writing in the modern Garhwali stage plays, Mitra Nand Kukreti brought the new aspects in production, placing characters dressing sense, entry of characters, dialogue deliveries, aspects of body languages of performing characters, dialogue deliveries, affectivity of distance between two or more performing characters, movement of performing characters, exact movement of performing characters, uses of lighting and shadow in the Garhwali drama world through ‘Ardhgrameshwar’ a Garhwali stage play.
                Before writing Ardhgrameshwar ‘a Garhwali stage play, Rajendra Dhashmana wrote a drama ‘Jankjod’ in Garhwali in 1975. While Mitra Nand Kukreti had good experience of dramatization of Hindi and English stage plays beside his famous column on analysis of ‘Drama’ of Delhi’ for a daily newspaper. Jagar a Garhwali drama organization of Delhi staged Ardhgrameshwar ‘a Garhwali stage play in Delhi in 1976.
   Ardhgrameshwar ‘a Garhwali stage play is about the migrated Garhwalis suggesting the means of progress in rural Garhwal. For suggestion about progress of village migrated Garhwalis attend the conference and their suggestions are as per their profession. For example a poet suggests poetry is the means of progress, a clerk suggest for type righter as means of progress, a professor suggests speeches as means of progress of village. At the end women folks from village and cities bring the real solutions.
     There are twenty main characters in the drama and more than ten other assisting characters. There are folk songs and folk rites (mantra0 in the drama. The dialogues fit the characters or characters of the drama. The dialogues are witty and do not spare anybody.
              Realism is the key of Ardhgrameshwar ‘a Garhwali stage play. Ardhgrameshwar ‘a Garhwali stage play got appreciation for its writing and presentation from critics of non –Garhwalis too. The well known critics of Delhi drama world positioned Rajendra Dhashmana and Mitra Nand Kukreti as modern most dramatists of India. There were more than ten shows of Ardhgrameshwar ‘a Garhwali stage play all over India. Rajendra Dhashmana  is successful in showing the static or inert mental position of migrated Garhwalis due to their day to their professional works and becoming myopic about other issues such as thinking about their native land.
   As Europe remembers Ibsen, Strindberg, Pirandello and Beckett for bring contemporariness in European modern dramas the Indians appreciate the work of Rajendra Dhashmana and Mitra Nand Kukreti for bringing contemporariness, present-day issues, and present topic in the modern Garhwali drama. 
        Indians will always remember Rajendra Dhashmana’s Ardhgrameshwar ‘for bringing contemporariness, present social issues in the dramas of language as Garhwali.
References:
A-Curtsey to Parashar gaur for supplying manuscript of Ardhgrameshwar ‘a Garhwali stage play
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- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site

Notes on contemporariness in modern dramas, contemporariness in modern Asian dramas, contemporariness in modern South Asian dramas, contemporariness in modern SAARC country’s dramas, contemporariness in modern Indian dramas, contemporariness in modern North Indian dramas, contemporariness in modern Himalayan dramas, contemporariness in modern Mid Himalayan dramas, contemporariness in modern Uttarakhandi dramas, contemporariness in modern Kumauni dramas, contemporariness in modern Garhwali dramas to be continued…


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Paisa Na Dhyallaa Nam ch Guman Sing Rautela: A Garhwali Drama about Diminishing Prosperity and Pride of Landlord

(Review of a Garhwali drama ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela’ (1992) adapted and written by Famous Playwright Rajendra Dhashmana)

Notes on Dramas showing false pride for  lost glory and prosperity, Asian Dramas showing false pride for  lost glory and prosperity, South Asian Dramas showing false pride for  lost glory and prosperity, SAARC Country Dramas showing false pride for  lost glory and prosperity, Indian sub continent Dramas showing false pride for  lost glory and prosperity, Indian Dramas showing false pride for  lost glory and prosperity, North Indian Dramas showing false pride for  lost glory and prosperity, Himalayan Dramas showing false pride for  lost glory and prosperity, Mid-Himalayan Dramas showing false pride for  lost glory and prosperity, Uttarakhandi Dramas showing false pride for  lost glory and prosperity, Kumauni Dramas showing false pride for  lost glory and prosperity, Marathi Dramas showing false pride for  lost glory and prosperity, Garhwali Dramas showing false pride for  lost glory and prosperity


                                          Bhishma Kukreti

                      Asians will always remember the works of great Asian playwright Rajendra Dhashmana for his bringing newness and contemporary style and subject in local language as Garhwali dramas. Rajendra Dhashmana changed the format for Garhwali dramas and dramatization. Asians appreciate the original works of Rajendra Dhashmana for Asian local languages as Garhwali dramas. However, Rajendra Dhashmana also adapted the other language’s dramas into Garhwali dramas. A famous Asian literature critic, Hindi poet, Dams-activist, Stage play activist Rajendra Dhashmana adapted a Marathi Drama’ Bada Chirebandi’ written by famous Marathi Playwright Mahesh Elkunchvar into Garhwali Drama as ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela’. The adapted drama Paisa na Dhyallaa Nam ch Guman Sing Rautela’ was successfully staged in Delhi in 1992 and 1993. 
          There used to be a class ‘Thokdar’ , ‘Jameedar’ or landlord s in hills of  Uttarakhand for centuries who were owner of land of a certain territory. Under the Thokdar, the Kabjedar, Sirtan and Khaikar used to be the land cultivators. Thokdar used to collect the revinew taxes for Garhwali king, Gorkha king or British ruler. After independence, Thokdari system was ended by Indian government. In the past, Thokdars were as powerful as the king of Garhwal. They had power and they were prosperous too. Howvwer, after diminishing of Thokdari system, the prosperity of averageThokdar also diminished .However, manay ‘thokdars’ did not lessen their expenses on lavish living or ‘That-bat’ and either had to borrow and sell their ancestral properties to their ex-subject.  The Garhwali drama ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘ shows the lost prosperity, loosing pride of such ‘Thokdars’ whose income has been diminishing with the time.
         Rajendra Dhashmana successfully adapted the Marathi drama ‘Bada Chirebandi’ as per Garhwali culture and system. The dialogues and staging technique are appreciable. There is lost pride, there is frustration of ex-landlord for losing power and prosperity, there is aggravation among family members of ex-landlord, there is confusion for bringing the old pride back among family members of ex-landlord family in the drama. Kesar sing Rautela is the symbol ofa  Thaokdar who can’t bear the losing old glory of being landlord,   Kesar is the son of ex-landlord and in frustration he always uses abusive language as ‘apan bwe k maisu’ , apan bani k maisu’ etc
  The drama is still relevant for those who show their prosperity pride without keeping in mind the real income.   Rajendra Dhashmana was able to show keeping false pride for protecting the old glory and old prosperity by selling current ancestral properties by ex-landlord.
   Asians are proud of Rajendra Dhashmana for bringing such contemporary drama of its time.

References:
A-Curtsey to Parashar gaur for supplying manuscript of Garhwali stage play ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘
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- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site
9-Sovinreers of Garhwal Sabha Dehradun, 2005 and 2007 for Lok Natya Mahotsava
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Notes on Dramas showing false pride for  lost glory and prosperity, Asian Dramas showing false pride for  lost glory and prosperity, South Asian Dramas showing false pride for  lost glory and prosperity, SAARC Country Dramas showing false pride for  lost glory and prosperity, Indian sub continent Dramas showing false pride for  lost glory and prosperity, Indian Dramas showing false pride for  lost glory and prosperity, North Indian Dramas showing false pride for  lost glory and prosperity, Himalayan Dramas showing false pride for  lost glory and prosperity, Mid-Himalayan Dramas showing false pride for  lost glory and prosperity, Uttarakhandi Dramas showing false pride for  lost glory and prosperity, Kumauni Dramas showing false pride for  lost glory and prosperity, Marathi Dramas showing false pride for  lost glory and prosperity, Garhwali Dramas showing false pride for  lost glory and prosperity to be continued….



Bhishma Kukreti

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                                     Mahabharata: A Garhwali Poetic-Dance-Drama based on Epic Mahabharata

Notes on epic based dramas against destructive weapons  ; Asian epic based dramas against destructive weapons  ; South Asian epic based dramas against destructive weapons  ; SAARC Countries  epic based dramas against destructive weapons  ; Indian subcontinent epic based dramas against destructive weapons  ; Indian epic based dramas against destructive weapons  ; North Indian epic based dramas against destructive weapons  ; Himalayan epic based dramas against destructive weapons  ; Mid-Himalayan epic based dramas against destructive weapons  ; Uttarakhandi epic based dramas against destructive weapons  ; Kumauni epic based dramas against destructive weapons  ; Garhwali epic based dramas against destructive weapons 
   महाकव्य आधारित आधुनिक नाटक, महाकव्य आधारित आधुनिक एशियाई नाटक,महाकव्य आधारित आधुनिक दक्षिण एशियाई नाटक,महाकव्य आधारित आधुनिक सार्क देशीय नाटक,महाकव्य आधारित आधुनिक भारतीय नाटक,महाकव्य आधारित आधुनिक उत्तर भारतीय नाटक,महाकव्य आधारित आधुनिक हिमालयी नाटक,महाकव्य आधारित आधुनिक मध्य हिमालयी नाटक,महाकव्य आधारित आधुनिक उत्तराखंडी नाटक,महाकव्य आधारित आधुनिक कुमाउनी नाटक,महाकव्य आधारित आधुनिक गढ़वाली नाटक लेखमाला     

                                    Bhishma Kukreti
                The great epic Mahabharata is mines for dramatization. Each story in Mahabharata can deliver a drama. For centuries, Mahabharata had been an inspiring source for writers to write dramas on various subjects of this great epic. Famous Asian dramatist Brajendra Lal Shah wrote and directed a Mahabharata epic base poetic-dance-drama on the tone of Garhwali Pandav Style. Epic based drama ‘Mahabharata’ based on Pandava style was staged in Delhi in 1984. World famous folk music director provided music for great epic based Garhwali drama ‘Mahabharata’.
             Famous Asian dramatist Brajendra Lal used Garhwali Jagar style for dance, poetic dialogues, singing, music and Pandava worship. World famous folk music director Mohan Upreti enhanced the drama by his music.
             The subject of epic based Uttarakhandi drama ‘Mahabharata’ is lust for power, extreme envy among  higher management representatives , encroachment on   other’s right, greed for power, harms of wars, harms from political greed to the common men;  damages by highly destructive weapon. Famous Asian dramatist Brajendra Lal Shah was successful in depicting thousands years old story for showing modern problems of modern human beings in terms of greed for power; lust for power; envy for power; oppression of other’s right for power; losses of human bodies, wiping out of productive wealth, complete damages of scared resources by wars;, using destructive and inhumanly weapons for getting power   in the epic based drama ‘Mahabharata’. 
            The ‘Jagar’ style dialogues attract the audience and music was very much supportive for showing the giganticness of epic Mahabharata in epic based drama ‘Mahabharata’ by famous Asian dramatist Branjendra Lal Shah. Epic based Garhwali drama ‘Mahabharata’ by famous Asian dramatist Brajendra Lal Shah is one of the mile stones in the history of Garhwali-Kumauni drama.
References:
A-Curtsey to Parashar gaur for supplying manuscript of Garhwali stage play ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘
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- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site
9-Sovinreers of Garhwal Sabha Dehradun, 2005 and 2007 for Lok Natya Mahotsava

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Notes on epic based dramas against destructive weapons  ; Asian epic based dramas against destructive weapons  ; South Asian epic based dramas against destructive weapons  ; SAARC Countries  epic based dramas against destructive weapons  ; Indian subcontinent epic based dramas against destructive weapons  ; Indian epic based dramas against destructive weapons  ; North Indian epic based dramas against destructive weapons  ; Himalayan epic based dramas against destructive weapons  ; Mid-Himalayan epic based dramas against destructive weapons  ; Uttarakhandi epic based dramas against destructive weapons  ; Kumauni epic based dramas against destructive weapons  ; Garhwali epic based dramas against destructive weapons  to be continued…
महाकव्य आधारित आधुनिक नाटक, महाकव्य आधारित आधुनिक एशियाई नाटक,महाकव्य आधारित आधुनिक दक्षिण एशियाई नाटक,महाकव्य आधारित आधुनिक सार्क देशीय नाटक,महाकव्य आधारित आधुनिक भारतीय नाटक,महाकव्य आधारित आधुनिक उत्तर भारतीय नाटक,महाकव्य आधारित आधुनिक हिमालयी नाटक,महाकव्य आधारित आधुनिक मध्य हिमालयी नाटक,महाकव्य आधारित आधुनिक उत्तराखंडी नाटक,महाकव्य आधारित आधुनिक कुमाउनी नाटक,महाकव्य आधारित आधुनिक गढ़वाली नाटक लेखमाला जारी


 

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