Jugal Koul
Enchanting colour that art of theatre emanates, seems to have swung in its full bloom with the celebration of illustrious World Theatre Day, that commensurate this year with the sacred festival of colours “Holi”. In Hindi,Colour (Rang)has always been synonymous with the spirit of Theatre(Rang manch). Fifty two years ago in the 9th world congress of International Theatre Institute held at Vienna, President Arvi Kivimaa had announced the need for commemoration of World Theatre Day globally .On 27th March 1962 at the opening of ‘Theatre of Nations’ season in Paris, this remarkable tradition had formally begun. Since then,every year World Theatre Day is celebrated together by the international theatre community to promote mutual harmony between peoples and share their vision of theatre globally through creativity and peace. It is marked traditionally by circulation of international message authored by a theatre personality of world stature. Noble prize winner eminent satirist and paywright,Dario Fo has been chosen to Author international message of 2013.
This journey of colour, in our towering Himalayan state yet again turns festive and proud on the conferment of highest honour of the country Padamshree to renowned theatre director from Jammu Balwant Thakur.Last year this highest honour was conferred on Sh Moti Lal Kemmu,noted playwright of the state. Balwant’s ramble to the excellence is an odyssey of endless struggle sustained with his robust fire of conviction. Bestowed with ever exploring creative passion and extraordinarily daring vision, his work on indigenous folk theatre has always captivated the connoisseurs and onlookers world over.Since long,he has been been decorated and honored by almost every prestigious award and recognition those are presented by the premier institutions of the country. “Bawa Jitto”,the Magnum opus of Dogri theatre in its first appearance at the National Theatre Festival 1986, became a milestone in exposing Balwant’s directorial genius ,in creating his own distinguished school of theatre which constituted the fused shades of rich folk elements, physical theatre and realistic drama.Since then it was never looking back as it continues to captivate audiences across states and cultures to all prestigious destinations for its spectacular appeal. Balwant Thakur’s” Melodious imagery constructed through his own idiom of cross fertilization of body and rich folk theatre, in traditional folk tale “Ghumyee”,has swayed the hearts and minds of people across the globe transcending the barriers of language and cultures for the aesthetics it invokes in a refined and unique theatrically expression. Today,with humility and grace while he exhorts to dedicate this highest honour of the land, to all his fellow associates who were complimentary part of his mesmerizing journey, his stature has soared even higher.
Staging of Abhigñ? na?? kuntalam (Abhigyan Shakuntulam) on the concluding day of JK drama festival comes as a token of tribute to one of the greatest poet dramatist from the classical age of the orient, “Kalidasa”.Few years back legendary theatre director Kavi Rattan’s classic directorial marvel Bodhiyan’s “Bhagvataujikam” had brought alive the saga of classical theatre in its true style and essence.Today, we also need to reflect our gratitude to this age and its pioneer,Bharat Muni for the Dramaturgy,”Natya Shastra” which explains the scale and structure of eloquent theatre that swayed in Indian subcontinent then, much before the world human community discovered its true form and substance. Natya shastra’s first chapter tells the birth of Drama.The dramatic masterpieces from legendry playwrights like Bhasa, Kalidasa, Shudraka and Bhavabuti still captivate the visiting seekers till date. It is an irony that barring the seasoned maestro Kavi Rattan Sharma, no one amid the professionally evolved theatre directors, seems inclined to attempt these treasure treatise on stage. We also need to celebrate the innumerable theatrical shades manifested from the scattered pieces of the classical legacy travelled across centuries in to our folklore and living traditions after its gradual wane and final disappearance from the Indian Theatre scene.
Theatre is an interactive art.In absentia of any viable adaptations and original language plays , the journey of regional theatre may not actually begin. It is the Adaptation of illustrious works of Gorky, Tagore,Bodhyan,Shudrak and Dharmvir Bharti and others, by Legendary Dogri litterateur Ram Nath Shastri that became a founding inspiration for the intellectual exposition of theatre community through plays like “Paataal vaasi”, “Dak ghar”, “Bhagvataujikam”, “Mitti di ghadi”,”Anna yug” and many more.Later, adaptation and presentation of known plays like “Jasma-oden”, “Andha Yug”, “Urbhangam”, “Suraj Ka Satwan Goda”,,”Aashaad ka eak din”, “Baki itihas”etc added another fruitful chapter in Jammu theatre’s journey towards the synthesized exploration.
Wide range of prevalent theatrical styles like Staislavsky’s realism, Parsi melo, Brechtian alienation, Grotowskian suggestive body theatre or traditional folk theatre, contented with legends, Myths, Rasa theory, socio political turblance, Psychological thrills and resounding folk tales has shaped the armature of the indigenous Dogri theatre. Although lacking in extraneous expertise of stage craft and design, it had actually begun much earlier. “Sarpanch”, by Dinu Bia Pant was a stepping stone in this direction. Hundreds of its shows had been performed prior to its unraveling as configured proscenium presentationby Kavi Rattan Sharma. Smooth and viable to the craft of theatre, staging of Original dogri Plays like Sarpanch, “Bawa Jittoo”, “Ghumayee”,” Jeene Di Kaid”, “Allad Goli Veer Sipahi”, “Kala Suraj”, “Panj Kalyani”, “Lekha Behi Da” , ‘Sawa Ser Knak”and “Devyani” by known Dogri Playwrights like Ram Nath Shastri, Dinu Bai Pant, Balwant Thakur,Mohan Singh, N.D. Jamwal,Deepak kumar and others, contained the virgin flavour of indigenous Dogri theatre and yet these plays are relevant to the contemporary human situations elsewhere.
In this direction,Mushtak Kak’s theatrical brush with Shakespeare in staging the Dogri adaptations of Macbeth(Rattdiratt) and Othello (Uma) conveys his versatility to sketch the sensibilities of these world classics in local flavor and ethos.Consequent to his preoccupation with Mainstream cinema, Mushtaq’s intermittent spells of absence is always felt in Jammu.
Veteran theatre director Deepak kumar’s silence has finally broken when audience was enthralled to witness his Dogri translation of Tagore’s one of the finest plays “Muqtdhara”.
It has added another valuable play in the kitty of credible adaptations in dogri language.
Actor is an indispensable soul of theatre.Without actor theatre can not exist.Jammu theatre since the days of visiting groups like Ram leela , Raas leela,Alfred theatre company and post independence progressive movement stands testimony to the memorable acting styles. Imagery of performance from brilliant actors who ruled the vibrant theatre movement of 1960s ,70s and 80s in which, plays from almost every nationally as well as internationally acclaimed playwrights were attempted in proscenium, still hover on the landscape of Jammu theatre. Last two decades have also brought to the fore, several potentially and talented actors. But biggest question mark remains, ‘Have they received the recognition and honour they deserved?”Answer is alarming pathetic! We need to rise today to pay our honour and tribute to these unsung legends and also awaken to the essence of insightful international message delivered by Dario Fo,carefully , “A long time ago, Power resolved the intolerance against Commedia dell’Arte actors by chasing them out of the country. Today, actors and theatre companies have difficulties finding public stages, theatres and spectators, all because of the crisis.”
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