Jugal Koul
Today, in the spirit of great legacy , once again entire planet appears in the festive reception of “World Theatre Day”. Every theatre space of the national and international landscape once again seem to have awakened with the enigmatic buzz of colourful celebrations. Proposed By President Arvi Kivimaa in the 9th world congress of International Theatre Institute in June 1961,this illustrious tradition actually came into existence on 27th March 1962, on the opening day of ‘Theatre of Nations’ seasons in Paris with first International theatre message being authored by the eminent French poet, Novelist and artist Jean Cocteau. Ever since, each year on the 27th March World Theatre Day has been celebrated in several ways and styles by more than 100 ITI National Centres across the globe. Keeping its pace with the festivity of the day, JK Academy’s annual drama festival which concluded a week earlier seems to be the lone yearly theatre activity that justifies the presence of theatre on the amateur theatre scene of state.
WORLD THEATRE DAY
The Oriental scriptures regard theatre as a divine disposition noble and sacred to the core.Brahma created theatre as fifth veda to communicate the highly philosophical and intricate Sanskrit connotations of four Vedas to common man.He visioned it to Bharata Muni who as per the given command presented the first ever theatre performance before the hundred sons of Brahma.Concept of modern day proscenium ,theatre of alienation and intimate theatre probably can traverse its roots to the classical age of orient.It was certainly subtler and flexible than the Greece classical theatre scene.’Natyashastra’ the oldest dramaturgy envisaged by Bharat Muni, through its robust syntax commanded the eloquent theatre architecture and presentation styles of rang manch(Theatre).It was an amazing synthesis of moralistic content, acting, dance,dramatic structure, aesthetics, costumes, makeup and architecture. Be it decorated Mattavaranis(wooden platforms), placed on either or both sides of Rangshirsha( back space) and Rangpitha(front space) of rectangular stage measuring sixty four hastas by thirty two hastas,auditorium or the Nepathya(back stage), every space had its theatrical essence and logical utility.Master pieces from classical age ‘Shakuntala’,’Urubangam’ , ‘Mrcchakatika’ and “Bhagvataujikam” conceptualized by the eminent playwrights like Kalidasa,Bhasa , Shudraka and Bodhiyan travelling meticulously since millennia, continue to provoke the present day audience with its amazing construct and content.
Apart the lone professional theatre group Natrang for its wide range of consistent regular theatre ,the larger domestic scene reflects a very pathetic spectacle. Rallying around only on World Theatre Day is like offspring visiting an abandoned mother for superficial social formality and prestige. In shocking contrast to the commendable heritage and illustrious landscape of nineteen seventies and eighties one can witness very few potential brushes of vigour and symphony despite of so much bustle in the air. Diaspora generally seems to have given up to shadow boxing and monotonous rhetoric .Access to award syndromes bereft of going through the evolution of theatre sensibilities is a dangerous trend.One has not to look too far for inspiration and guidance in this regard. Internationally acclaimed theatre patriarch Padamshri Balwant Thakur’s toilsome marathon creative journey could be the finest examples for aspirants to visit and learn.Although their conspicuous absence from the present theatre scene is far from reason,eminent theatre directors like Mushtak Kak and Deepak Kumar, known for their exemplary independent style of theatre also owe their versatility to the tremendous amount of hard work and love for theatre. The Pioneer Living legend who reinforced the modern proscenium theatre to the landscape of our Himalayan region ,Kavi Ratan Sharma’s life and works can also become a great instrument of introspection for the aspirants.
Despite the shades of grey the uneasy lull seems to have been breached by few directors acquiring perfection through the sustained rigour in the art of theatre.In the recently concluded JK Drama festival some exceptional work of their theatrical acumen was witnessed. Gurmeet Jamwal and Ravinder Sharma’s daring engagement with the Masterpieces of Contemporary Indian theatre like Dr Shanker Shesh’s ‘Komal Gandhar’ and Dr Dharam veer Bharti’s ‘Andha Yug’ showed their in depth grip over the subject,control over the craft and versatility in experimentation. Recapturing the dramatic conflict of Mahabharata through captivating movements ,Catchy dialogues ,creatively woven dramatic structure and fine acting, do loudly convey their maturity in the medium of theatre .Vikram Sharma is another director whose work infatuates the heart of audience by the distinctive aesthetic appeal ,refined design, usage of sets,lights and music. Delightful experimentation with the moods of characters in his directorial venture ‘The Last Séance’ appears genuinely soothing and dramatically effluent.
Nearly two and a half decades have passed when Athol Fugard’s “The Island” was staged in intimate format at Abhinav theatre.Once again the English language theatre seems to have revisited the state with higher eloquence in content, style of communication and the theatre apparatus for a longer sustainable innings. Theatrical adaptation and direction of ‘Oliver Twist’ and ‘The Great Expectations’ the famous novels from Charles Dickens by Aarushi Thakur who is a postgraduate in International Politics from University of Leicester, UK and a trained actor from Royal Academy of Dramatic Arts, arrives at a distinctive historic mark. In great departure to the conventions till date,her refined artistic and literary sensibilities bloom her theatrical sketch in a subtle profound poetic matrix. Her work is futuristic, fresh and brimmed with unique sense of wonder.
Change is an inevitable phenomenon of nature and we must welcome the spirit of transcend in theatre with fresh insights and panoramas which the youngsters like Aarushi Thakur visualize and stand for. That is what the author of 53rd international theatre message, eminent Polish director KrzysztofWarlikowski firmly states, “We no longer have the strength to try and glimpse what lies beyond the gate, behind the wall. And that’s exactly why theater should exist and where it should seek its strength. To peek inside where looking is forbidden.”