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TURKEY
THEATRE REVIEWS
kindly provided
by Dr. Laurence Raw
Macbeth
by William
Shakespeare
translated by Haluk Bilginer.
Performed
by Oyun Atölyesi at
the Şinasi Sahnesi,
Ankara, 27-28 November 2010. Then returning to İstanbul
for remainder of 2010-11 season
2010 marks the thirtieth anniversary of
the most memorable production of the Scottish play I have ever seen –
Peter O’Toole’s version (colloquially known as O’Beth)
at the Old Vic in Brian Forbes’ staging with Brian Blessed as Banquo. I am not sure if O’Toole was actually drunk
when I saw him (on a sunny Saturday afternoon, I remember), but it certainly
seemed so, as he delivered his lines in ringing tones, stressing odd syllables
and taking seemingly endless pauses between individual words (“This
… supernaTUral …. Soliciting/ …
cannot …. Be ill/ CanNOT
be … good.”) The critics might have panned it; but audiences loved
it – seats were particularly hard to come by.
Kemal Aydoğan’s
production for Oyun Atölyesi
contained no such highlights. It was a stripped-down version of
Shakespeare’s play, focusing in particular on Macbeth (İlker Aksum’s) and Lady Macbeth’s (Esra Kızıldoğan’s)
moral and physical degeneration. At the beginning of the play they came across
as wide-eyed innocents: Macbeth seemed heroic, but simultaneously
inexperienced, as if unable quite to contemplate what he had achieved in
battle. His wife was sexually frustrated; how else could one justify the
orgiastic pleasure she had as she asked the spirits to “come, unsex me
here,” while thrusting the head of a sword into her vagina. While
Shakespeare’s text doesn’t really support this piece of stage-business
(Lady Macbeth actually wants to be de-sexed, so that she cannot feel the
emotional consequences of what she is about to do), it seemed acceptable in Aydoğan’s revival, suggesting Lady
Macbeth’s inexperience. In spite of her wishes, she could never escape
the consequences of her actions. In the famous sleep-walking scene she stumbled
round and round the playing area in a blood-stained nightshirt, clutching her
vagina in a manner reminiscent of Mia Farrow in Polanski’s
Rosemary’s Baby. Corruption had entered her body and could not be
exorcized. Meanwhile her husband became increasingly desperate in his attempts
to escape his inevitable fate; at one point he collapsed in Seyton’s
(Osman Alça’s)
arms, as if fully aware that his death was approaching. His climactic fight
with Macduff (Saygın Soysal) was done in slow-motion in semi-darkness, to the
accompaniment of ritualistic music. Everyone knew what the outcome would be; it
was just a matter of going through the motions. On this view
Shakespeare’s play was transformed into a Jacobean morality-play, in
which the characters could never escape the consequences of their actions.
Aydoğan’s treatment of the witches owed a clear debt
to Orson Welles, whose voodoo version of the play so shocked New York audiences
in the mid-1930s. Dressed in grass skirts and beating tribal drums, they cast a
threatening presence over the action, surrounding Macbeth rather like leopards
stalking their prey. Throughout the play they watched from an elevated position
at the back of the stage, reminding us of how none of the human beings could
ever escape their fate. At the end of the production they turned towards the
audience, their faces covered with masks, showing us the impersonality of this
fate.
Inevitably in a stripped-down production
of this nature (two hours including a twenty-minute interval), some scenes were
left out, such as the Porter scene. Other parts of the play were telescoped: Banquo’s (Murat Tüzün’s)
murder came soon after Macbeth’s crowning ceremony. If Macbeth was going
to survive for any length of time, he had to remove his potential enemies (and
erstwhile friends) post-haste. Other scenes were scaled down to suit the
company’s limited acting-resources (only 12 actors in total). Macbeth and
Lady Macbeth stood alone in the front of the playing area and raised their
glasses towards the audience; as they did so, Banquo’s
ghost appeared. This was not a banquet – as in Shakespeare’s play
– but a public celebration, where the audience were treated as guests. Banquo’s appearance ruined the entire occasion.
Perhaps one criticism might be levelled at
Aydoğan’s production; in his desire to
tell the story as economically as possible, he did not give the actors
sufficient space to develop their speaking parts. Most of the soliloquies were
cut – even Macbeth’s famous “Tomorrow and tomorrow and
tomorrow” speech, as he reacts to the news of his wife’s death. But
perhaps this was not really necessary in a revival foregrounding
Macbeth’s immaturity; to have him reflecting on life as “a walking
shadow, a poor player/ That struts and frets his hour
upon the stage/ And then is heard no more,” could have made him seem more
intelligent than he actually was.
This Macbeth might not have been
the greatest production I have seen, but it fulfilled its principal function to
popularise Shakespeare for a predominantly young audience. It was hardly
surprising that it was greeted with a standing ovation at the end.
More About Acting
The Mayor of Zalamea
by Calderón de la Barca
(Compania Nacional del Teatro Clasico,
Madrid);
Medea
by Euripides
(B Teatral, İstanbul)
A one week’s visit to Madrid during a Turkish public holiday
gave me the chance to see The Mayor of Zalamea (El
Alcalde de Zalamea),
performed at the National Classical Theatre. Siumato
Mambo Gerriets’ production was attractively
costumed in early seventeenth century style, ably performed by a large cast (18
actors), and eagerly attended by a packed house of (largely) middle-aged
playgoers. The revival ran two hours without an interval, and not once did I
see anyone opening a mobile phone, either to check the time or to see whether
any texts had been delivered. This came as a welcome change from the
run-of-the-mill Turkish productions, where audiences seem to make a habit of
doing this at the most inopportune moments. During a
production of Fosforlu Çevriye
– already reviewed in Theatreworld Internet Magazine – one
woman was so obsessed with her phone that she sent text after text in reply,
even while disturbing the playgoers behind her (myself included).
However what rendered The Mayor of Zalamea
more interesting was in the way it was performed. The actors seemed thoroughly
at home in their roles; they performed them without efforts, as if they had
become so accustomed to Calderón’s plays
that they did not need to study them in any great depth. Probably I am
maligning the actors (and their director), who most likely spent several weeks
mining the text before performing it in front of an audience. However, on the
night I saw it, this Mayor of Zalamea seemed
strangely uninvolving; while admiring the actors’ technical skill, I
never become emotionally engaged. This was a shame, given the potentially
shocking nature of the material, where Isabel (Eva Rufo)
is raped (in a play foregrounding the ides of honour) and forced to spend the
rest of her life in a convent.
Euripides’ Medea also has the
emotional kick of a mule, as it tells of a woman seeking revenge for being
betrayed by her husband. Sadly the production I saw at the Akün
Theatre, Ankara, performed by B Teatral, a small
private company from İstanbul, did not have a
programme, so I can neither give any of the actors’ names nor cite the
translator. However I can say that the actress playing Medea
was both startling and compelling. Her mobile face registered both the
ferocity of her core-deep anger and the masks she placed over it to deceive her
victims. When, in the end, she found herself hoist by her own petard, the play
across her face told as much as the words she spoke. It was a performance which
powered the entire production.
Balanced
against her, the logical, rather obtuse Jason seems almost understandable in
his choices. The pompously commanding Creon came
across as self-important, someone incapable of seeing through the masks to the
danger evident in this darkly passionate, rejected Medea.
As these characters came and went, the chemistry between Tharps
and the intricately choreographed chorus was foregrounded.
The acting-style could best be described
as rough-and-ready, lacking the smooth polish of the Spanish company. Yet it
seemed particularly suitable for Medea: a
rather unpleasant experience which is nonetheless compelling, fascinating
theatre. Euripides’ portrait of a woman undone by the fatal flaw of her
own inability to adapt to her rejection is one which an audience can debate in
modern terms as well as those of Euripides’ own time. B Teatral’s revival made us aware of how old plays can
still affect modern audiences; to such an extent that they might be persuaded
to close their mobile phones for the duration of the performance (which I am
glad to say they did!)
The Three Musketeers
by Alexandre
Dumas
music
by Giuseppe Verdi
Performed at the Grand Theatre, Ankara, 4 November 2010.
In repertory till May 2011
Years ago I remember enjoying Richard Lester’s monumental
two-part version of the famous tale, with a star-studded cast including Richard
Chamberlain, Oliver Reed and Charlton Heston as the evil Cardinal Richelieu.
The style was jokey, almost tongue-in-cheek, but there was plenty of swash and
buckle to divert viewers’ attention away from the rather contrived plot.
Much the same could be said for G. Armağan Davran and A. Volkan Ersoy’s dance-drama
version of the tale performed at the Grand Theatre (Büyük
Tiyatro). The story was familiar enough: D’Artagnan (Cankat Özer), a poor swordsperson, encounters the three other
musketeers Porthos (Oliver Spence), Athos (Kadir Okurer) and Aramis (Emre Güler)
and, after a series of skirmishes, during which D’Artagnan
proves himself as a fighter, the four of them stride about revolutionary France
righting wrongs and rescuing damsels in distress. They have a series of titanic
tussles, both physical and mental, with Milady (Alınula
Ersoy) and Richelieu (Tarkan
Serengül), while trying to resist the unwanted
attentions of Lord Buckingham (Kuzey Kıyıcan), who continually threatens to scupper
their plans. Eventually they emerge triumphant, but not with
out a series of hair-raising escapades.
Performed on a series of chocolate-box
sets (by Nihat Kahraman),
this Three Musketeers held the attention through a combination of lively
movement and colourful staging. The four musketeers could really fight;
although their sword-fights were composed of stylised movements, there was an
undercurrent of violence lurking beneath them. The dancers had to be well-drilled, otherwise they could have suffered serious injury.
Their efforts were ably supported by the State Opera House orchestra under the
capable baton of Bujur Hoinic;
since the company began to look further afield beyond the Turkish Republic for
their conductors, the standards of playing have
dramatically improved.
All in all, a
lively evening, even if the memory of it resembled a Chinese meal; good to
savour while it lasted, but leaving me wanting more once it had finished.
INDIA
kindly provided by Deepak Bhuyan
Semi-dramatic asset of folk culture and its uses in Shankarian Theater.
Deepak Bhuyan.
The
semi-dramatic folk functions of Arunachal Pradesh and Assam have been practiced
from time immemorial. These were spontaneous expressions of persons having
aesthetic and educative enthusiasm for broadening and brightening the beauty of
self and society. In the upgrading socio-cultural circumferences the folk
culture (theater, dances, and songs along with socio-ritualistic activities)
started its journey in the human society, from which the small states of North
East India could not abated. As a theater worker of North East India I would place some
examples of semi dramatic folk functions
of Assam and Arunachal Pradesh through which the use of semi dramatic
asset of our folk functions in Shankarian theater can
be understood in detail.
The
folk theater of Arunachal Pradesh has its tremendous influence on Shankarian theater. The impact of
semi dramatic folk functions of Assam on Shankarian
theater has been
briefed by the scholars of this field. But the impact of folk
theater of Arunachal Pradesh on Shankarian theater has not yet been mentioned in the broad field of its
study. Through the study of semi dramatic asset of folk culture and its uses in
Shankarian Theater, it will be clear to us all that
how the asset of our folk heritage can be used for betterment of our life and
nation and make our cultural tower of a dignified height.
The lack of elaboration of theatrical art of North East India in
international platform is noticed by all. So the effort of making a history on
theatrical art of North East India is a demand of time and tradition of the
region. However this is not a place for discussion of the same subject,
therefore my effort will concentrates on elaboration of the influence of folk
semi dramatic functions of Arunachal Pradesh and Assam on Shankarian
Theater. Arunachal Pradesh is a home land of various tribes and sub tribes. The
practice of theatrical performances centering on
religion has been continued in Arunachal Pradesh since time immemorial. In this
context the following tribes can be mentioned as the pioneer of the concerned
culture.
1.The Monpas. 2. The Gallongs.
3. The Membas. 4. The Sherdukpens.
and 5. The Khampas.
These tribes are rich with their
traditional theatrical cultures which are said semi dramatic functions of folk
culture because these functions are not fully equipped with the required
characteristics of today`s theater. Though these are lack of total theatrical
characteristics but the theater of modern world has been developed from such
semi dramatic folk culture which can be said the birth beds of modern genres of
theater.
The glittered dramatic technique of folk semi dramatic functions of
Arunachal and Assam has bold expressions in the Shankarian
theater. Shankardeva innovated his theater through accumulating and pasteurizing
the various assets of semi dramatic folk culture of North East India. The
dramatic art of Bardo pantomime of Arunachal Pradesh,
practiced by Memba tribes, is one of the most
remarkable asset used by Shankardeva in his plays.
The utmost important subject which is not yet been widely known that it is
Arunachal Pradesh where the use of mask in theatrical performances are noticed
for the first time in the easternmost part of India. The culture of mask making
and its uses in their semi dramatic functions was an ancient practice of the
concerned tribes of Arunachal Pradesh. When the Arunachali
practiced the semi dramatic functions with their beautiful masks, at that
period what the people of Assam deserved as their own is not clear from the
sources of our history. Even the use of mask in theatrical tradition is
observed from the epoch of Shankardeva which was
introduced by the saint himself. We do not have any function of using mask in
theatrical or in any religious functions in the pre Shankarian
period of Assam. It should be mentioned hear that the existence of present
Assam was not in today`s shape and size in the period of Shankardeva.
It was mainly divided into two major parts ruled by Konch
and Ahom kings, where the relationship among the hill
tribes with the plain`s people was adorable. We get information of disturbances
done by hill tribes but in spite of such incidents the relationship among hill
tribes with the plain tribes and other people was quite peaceful and
cooperative in socio –religious aspects. To establish the truth of the
said subject the name of Naruttam, the devotee of Shankardeva belongs to Nocte
tribes of Arunachal Pradesh can be placed. The cultural assimilation and
exchange among the hill tribes and the plain`s population of Assam has a strong
heritage and the unity in diversity in NE region is continued till today.
It is evident, that Shankardeva adapted the
technique of using mask to empower his theater from the folk base of Arunachal
Pradesh. Most of the scholars have been analyzing Shankarian
theater looking to the mid Indian culture due to his
pilgrimage to shrines of those places with an apprehension that he could have
learned about the theater from the places he visited. But the rich tradition of
folk culture of our present Eastern region has not been included for the said
studies. The history of using mask
in theatrical performance in pre Shankarian period of
Assam has no records. So it must be acknowledged that the art of using mask in
theater was the sole asset of the people of Arunachal Pradesh which the great
saint Shankardeva used for his drama. We have the
history of Assamese mask making from the late sixties of 1500 AD. But the
history of mask making and their uses in ritualistic functions of hill tribes
of NE India has been observed since ancient time and its uses in theatrical
performances are also seen equally in case of the concerned tribes of Arunachal
Pradesh.
An important subject should be noted here that the Dhulia Bhaona of Guwalpara, Assam is
generally mentioned as a source of Shankarian theater which is extremely erroneous. Dhulia Bhaona, the name itself is sufficient to express its inner
truth that it is a product of Shankarian theater instead of being an ingredient. The concept of Bhaona was unimaginable till the advent of Shankarian culture. The word Bhaona
was used by the biographers of Shankardeva and Madhavdeva after their demise. So the Dhulia Bhaona is determined to be a performance based on Shankarian theatrical culture created in the later part of
the 16th century. The presentational style of Dhulia Bhaona
is same with the Shankarian theater
and the salutation to the Guru (Master) Shankardeva
is another proof that Dhulia Bhaona is a unique
creation having base on Shankarian Theater.
Another remarkable comment given on Shakarian
theater that the thought and theory of Shankarian theater is related with puppetry because puppetry has an
antique history. We do not want to make any contradiction with the comments
given by our scholars regarding the possibilities of adapting thoughts and
theories of puppetry by Shankardeva in innovation of
his theater. But we cannot remain idle without being investigated the facts and
figures given by the concerned scholars. If we search the history of puppetry
in Assam then we get a huge blank space from the ancient time to the medieval
Assam, where the presence of puppetry could not be traced out. The history of
puppetry practices may be ancient in other parts of India as well as world and
it may be a glorified chapter of our cultural tradition too, but it does not
mean that it has an impact on Shankarian theater. Because the puppetry of Shankardeva`s
period was not in such a rich state to be followed or to be encouraged with for
implementation of its technique to form a new theater. We have no historical
data of puppetry practices from 8th century to the 15th century of Assam ( North East India.) Then on what base we acknowledge that Shankardeva followed puppetry in innovation of his theater?
In some scattered elaborations the practice of puppetry in the form of dance is
found. These were known as Putala Nach
( Puppet or Doll`s Dance) which were not fully bloomed
as puppetry. However according to
the elaborations given by our scholars and researchers it can be presumed that
the practice of Putala Nach
( Doll`s dance) was prevailed in pre Shankarian period which was not in full bloomed position to
be recognized equally with the puppetry of other places of India. The puppetry
of Assam was known as Putala Nach
and later as Putala Bhaona.
The use of the word Bhaona shows that it is also a
sub function springing out of Shankarian Theater. The
similarities of theory and practice of Dhulia Bhaona
and Putala Bhaona cannot be
denied. It is also an equally important subject that the Putala
Bhaona follows the characteristics of Dhulia Bhaona in the form of puppetry.
In the context of Putala Bhaona
or Putala Nach (Puppetry of
Assam) the following elaborations can be stated for perfection. Puttala Nach of Assam can be
divided into three categories depending on the subject and style of
presentation. The first category of Assamese puppetry is seen in the Kamrup and Mongaldoi district of
Assam where the entire style and subject of Dhulia Bhaona
is followed in the form of puppetry. Second category is seen in Majuli, the great river island, where the Shankarian plays are presented in the form of puppetry and
the third category is comparatively new innovation to the field of Assamese
puppetry where the influence of modern plays of professional mobile theater is
observed. The later is seen in the Kalaigoan of Darrang district. Having observed the said scenario it can
be summarized that the Putala Nach
which was said to be prevailed in pre Shankarian
period was not self sufficient to be counted as rich folk asset of Assam. But
it has got the form of self sufficiency through the adoption and acquisition of
Shakarian theatrical art. Therefore the influence of
puppet theater on Shankarian theater
is a skeptical subject and may be a misleading
comment. Many scholars are describing that the person who plays the puppets
through the strings of his hands (Suta dhori means Sutradhara), may be the source of creation of
the great character Sutradhara of Shankardeva`s
plays. But we do not have any clue to support the comment on the elaborations
made above. The fact of diverting the string man of puppetry to Sutradhara of Shankarian theater may be a poor
apprehension without having any field study of the subject. Because the name of
the string man of Assamese puppetry was Bajikar
(magician) and later he was introduced as Sutradhara basing on Shankarian theatrical culture.
The major semi dramatic asset of Assamese folk culture which was taken
by Shankardeva for creation of his new theater is the
Oja Pali function of Assam.
It can be said that this one is the main function through which the saint got
inspiration for innovation of his theater. Oja-Pali
is an ancient folk function of Assam where the Oja is
the leader and Palis are treated as assistant. This
art form has many similarities with the Shankarian theater. In this context the semi dramatic folk functions of
Arunachal Pradesh also can be mentioned. For comparison of both folk functions
with Shankarian Theater, the technical (comprising)
factors of these functions are to be revealed. We get the following aspects of Oja-Pali depending on the said base.
1. Oja-Pali is performed with narrative songs and dramatic
interludes to depict the stories of the epics Ramayana, Mahabharata and the
story of Manasa, the serpent Goddess of Padma Purana. Oja
means the leading artist who is proficient of singing, dancing and acting with
an attractive personality on the other hand the Pali
means subordinate artist experienced on singing, dancing, acting and cymbal
playing.
2. The
two forms of Oja-Pali is
known as Vyasa and Sukananni.
The first form depicts the stories of Ramayana and Mahabharata and the other
form Sukananni, depicts the story of Beula Lakhinder of Padma Purana.
3. Dance
and gestures of hands and fingers are the most attractive features of these
functions where the only musical instrument khuti tal ( pairs of small size cymbals which are almost equal to
the size of a palm, made of bell metal) is played by the Palis
(assistants). The Daina Pali , who stands to the
right side of the Oja during performance, is treated as the chief assistant
of the function. The numbers of Palis are generally
four but it can be increased to six or eight if required.
4. The
stories are depicted through three art forms - song, dance and dialogue
(drama).
5. Oja, as a chief of the troupe sings songs with various
gesticulations of hands and fingers with rhythmic movements. The Chief
assistant Daina Pali, cooperates the Oja in his
elaborating efforts and the other assistants (Pali)
give an uniqueness to the total depiction of the story through their vocal and
musical participations. The vary scenario resembles with the Sutradhara (Oja), Gayan (Daina
Pali) and Bayan (Other
assistants) of Shankarian Theater. The creation of
Sutradhara from the character Oja is almost obvious
to all. Like the Oja the possibilities of divergence
of Daina pali
and other Palis to the Gayan
and Bayan of Shankarian
theater is of course a pragmatic fact.
6. The
performer of Oja-Pali function wear white Ghagra ( a kind of lower garments hanging from waist to the
ankle), Mirjal Chola ( a
kind of long shirt or cloak covered to the knee) , Kamarbandha
(Waist belt of cotton cloth), Chador( a kind of scurf), Muglai
Pag ( the turban looks like the turban of Mughal emperor) and ornaments like Unnti
(ear ring), Kanthahar (Necklace) and Kharu(Bangle).The costumes of Sutradhara and Gayan Bayan of Shankarian theater are almost similar to the costumes of Oja-Pali. So it can be said that Oja-Pali
is the remrkable source of Shankarian
theater costumes.
7. Oja with the help of Daina Pali creates quasi-dramatic situation to enrich the
environment of the elaborated fact and to facilitate the fact to be understood
by all. The same characteristics are seen in case of Sutradhara and Gayan Bayan to reach the same
goal of storytelling and diverting people to the path of righteousness.
Having analyzed the characteristics of Oja-Pali art form of Assam and studying
the Bardo pantomime of Arunachal Pradesh everyone
will be of the same opinion that Shankardeva used the
artistic assets of these ancient art forms
in his theater. On the other hand it is also quite clear to all that the
idea of using mask in Shankarian theater
was taken from the folk culture of Arunachal Pradesh. The similarities of Bardo Pantomime of Memba tribes
with the Shankarian theater
in case of using masks show us how a unique theatrical presentation can be made
from the tribal and popular art form of ancient period.
Memba is the third largest tribal community
among the six Buddhist tribes of Arunachal Pradesh. Though the Membas are Buddhist and Lord Buddha is treated as their
supreme deity but they believe some other Gods and Goddesses too. Lakhrpo, Choijegepu, Lhasangpha Jajin, Denakpo, Chenji, Chen and Lu are
the names of their additional deities. This tribal community performs Bardo pantomime in the courtyard of Buddhist monasteries
where the additional deities and common men are seen as characters of the
performance. The resemblance of the show with the practices of Shankarian theater in the courtyard of Namghar
(Vaishnavite monasteries) can be understood easily. The aims and objectives of the
function is also quite similar to the newly devised
theater of Shankardeva. The costumes of Bardo pantomime and the masks of this ancient theatrical
function has an impact on Shankarian
theater. So the adaption of these mighty aspects of folk theatrical functions
by Shankardeva for his newly devised theater is a
clear subject which can be gauged easily and so the relevancy of the subject
should be acknowledged without being hesitated.
Contemporary Theater:
Concept and Confusions.
Deepak Bhuyan.
Allardyce Nicoll in his book -British Drama
-wrote that
if we search for one single epithet to apply to the modern stage we are forced
in the end to select the adjective – eclectic. No era offers such a
motley array of complex and confusing trends. -- It is true that all sorts of
eclectic approaches are on the road now. When the ideology and the approach of
staging play differs [or staging a play without having any ideology, both are
same.] , then the confusing trends get its motion.
Because staging a play is not a mere effort to be extolled, not only a trend of
making name and fame or an approach of mere amusements. It’s not a money
making tactics too. All theatrical presentations should deeply coincide with
the ostensible and unavoidable aspects of human life .So the view point through
which the life is observed deserves the priority, therefore the ideological
reflection on the concerned presentation is bound to be reflected. In order
fully to appreciate the modern theatrical activities, everyone
of us should try to understand the content of the theater and the way of
expressing its messages. We should not be hypnotized by the technical
capability of the presentations. Keen attention on the concept and perfectness
of socio-political and ideological aspects are to be given without fail. Because through the judgment of the said aspects, the contemporary
indispensability of a play can be marked. The ideological eclecticism
and oblivious of contemporary life and livelihood are poisonous to our
contemporary health of humankind, therefore these should be treated as
obnoxious.
Having
understood the inner meaning of play presentation or the aims and objectives of
theatrical activities it can be said that contemporary theater carries the
content of pang and problems of contemporary life to make a dike for the safety
of people. The dilapidation of socio-political, cultural and ethical avenues are to be repaired without fail. Theater
carry the message of the said subjects. So all theaters are contemporary to its period because of its
contemporary contents. Shakespearean plays were also contemporary to the
period of Shakespeare. Contemporary
theater is not a genre, because it is bound to be contemporary in its nature. Theaters, which are not contemporary, can be named as
Historical, Mythological etc. But a historical or mythological play also may be
contemporary for the lesson or the message of the play, if it is educative for
the contemporary life and longings.
The teaching of Lord Buddha – Non violence is the supreme religion,- is contemporary forever. Therefore the play which carries
the message and character of Lord Buddha cannot be denied as mythological or
mystical play. It may be
mythological but because of its content it is obviously contemporary. These can
be named as contemporary historical play, contemporary mythological play and so
on.
The
negligence of spirituality is highly observed in modern intellectuality, mainly
in the theatrical thoughts and applications. Advocacy on the subject may be a
holy duty for any class of people in vein or worth but the unavoidable truth
carried by the spirituality or theological circumferences for the greater
interest of humankind should have a prestigious place in the theatrical
thoughts and theories of modern period. Because the greater interest of mass people
should not be forgotten by the theater practitioners. It does not mean that
they will allow anything without having deep study of the concerned subjects
and will teach the
audiences to face the fate and to recognize destiny for their
lifelong socio-economical disasters.
Theater should not be judged as contemporary depending on the
applications of latest theatrical techniques and its allied services such as
settings and lighting designs. Contemporary theater technique, settings and
lighting designs are treated as modernity of theater. Only
because these aspects theater may not be contemporary, if it does not carry the
required essence of contemporary content.
The
concept of contemporary theater is going to be confused for lack of proper
elaborations. Because of different viewpoints the elaboration contradicts with
each other. Therefore the confusions and complexities are growing unnaturally
which indirectly harms the new comers of our theater world. The facts of
raising unwanted confusions are to be analyzed by the persons who have been
searching the reality and actuality of contemporary theater.
Art for art sake and theater for theater sake is a point of view for a
class of theater workers. Another view point is art for people’s sake and
so theater also should be for the sake of people. If a class of theater workers
try to serve for the greater
interest of broad masses through
their theater art then the characteristics of their presentations will differ
with the another class of theater workers who present their plays for the sake
of untamed beauty of theatrical art. A class of theater
workers oblivious to the effect of globalization and economic liberalization on
various nations and ethnic groups.
They are stick to the latest theater techniques and beauty of their
theatrical presentations, where they present slices of life having not much
importance of broad masses. But on the other hand another class of theater
workers believe that the globalization and economic liberalizations are rising
as a threat to the security of the small nations or ethnic groups. So the later
group compelled to study and to be cautious for the effective elements which
indirectly help the stated unwanted subjects in their presentations. By this
way the theater workers are engulfed by polarization in course of time. We
should not forget that though the conch shells are beautiful but these are not
live, only the live beauty enhances peace and prosperity of human life, not by
the lifeless beauty of conch shell. Because the live beauties
of the outwardly beautiful conch shells are internally vacated. Our
theater should not be vacated in the name of theatrical art and expressions
alone to be outwardly beautiful as conch shell, it
should be full of live beauty of sweat and struggle, glow and glory, peace and
progress. Drama will have to fulfill the desire of
large section of people and the stage should not be a place of amusement for a
particular section of people such as critics, connoisseurs and intellectuals.
The fact which
has already been elaborated for the sake of contemporary theater’s
concept and confusions is said to be elaborated from the art for people’s
sake view point. So there is more one another expression of the subject which
belongs to the art for art sake view point. It is the concerned person of the
theatrical art which he or she wants to follow and as a serious theater worker
which one is essential to be followed.
PROLOGUE :
Theater techniques are used to instill the message of the play in the mind and intellect of
audiences. So theater techniques are judged according to the result showed by
the plays. Such results are based on the boldness of expressions as felt and
enjoyed by the esteemed audiences.
A wide range of theatrical experimentations has been going on for want
of theater technique from the very beginning of modern era. It was surfaced
depending on the theatrical experiences of medieval period. Many theater
practitioners aiming at different subjects [form, content, character, message
etc. ] devised some methods of play presentations
according to their wit and experiences. This was done both in inward and
outward expressions of plays. Inward expression can be said as technique
applied in the script of the play and outward is known as technique applied in presentations.
However all these efforts were made for the greater interest of the
audiences not for the development of theater. Because
theater will be developed automatically through the required fulfillment of the
interest of audiences, it will bring nothing eradicating the interest of
audiences. Aiming at the interest of audiences all sorts of theatrical thought
and theories were began. In short it will be better to understand that the
benefit of audience or beneficiaries is coveted through the theater and its
techniques.
SHANKARIAN THEATER.
Shankarian theater is widely known as Ankia Bhawna of Vrajawali language, practiced in Assam. Its framework was
borrowed from the classical Sanskrit drama but its integral parts were made up
entirely of indigenous materials such as Oja Pali, Puppet play, Recitative verses etc. Srimanta Shankardeva innovated this Ankia Nat in 1500 AD collecting the said indigenous
materials which are available in the state till today. Though the word Ankia is used to mean the plays of
Shankardeva but it has no
scientific reason. In this context Dr. Maheswar Neog said that – it is not known who is responsible
for such application of the word. Presently the said Ankia
plays are named as Shankarian play or Shankari Nat.
Shankardevas technique of play writings was later
followed by his disciples and a good number of Shankarian
plays were accumulated. In the mean
time though the accurate time period is not known, a new branch of Shankarian theater grew up in Assamese language with all
sorts of Shankarian theaterical
characteristics. Now the plays of both languages [Vrajawali
and Assamese] were practiced all over Assam.
SHANKARIAN THEATER TECHNIQUE.
For systematic analysis of Shankarian theater
technique the study of scripts and its presentations are done in the following ways
,--
1] Presentational Technique :- A] Stage, set materials and
settings. B] Orchestration. C]
Other stage decorations. These aspects can be treated as outer technique.
2]Technique Applied
in script. :- A] Language and Style of scripting. B]
Plot and Mood of expression. C] Actor
Spectators relation, which can be said as inner technique.
PRESENTATIONAL
[OUTER] TECHNIQUE.
A] Stage
and Stage materials and settings :- The stage of Shankarian
theater is very simple . It is made
in an area covering 20 to 40 fits in rectangular shape in the same ground level
of the audience. However the size of the stage is dependable on the crowed of
the audiences. In the four corners of the rectangle four banana plants were
installed excavating the ground to be seen as if fresh banana plants are
growing naturally. The boundary is covered with bamboo bar keeping required way
for entrance and exit of the players and other concerned persons of the
presentation. For making large stage the numbers of banana plants may increase. Audience can view the performance from
three sides of the rectangle where the other side of the rectangle is reserved
for orchestra party, Actors, Sutradhara and the leader of the orchestra [ Bayan ] .
Mohata, Anria, Agnigarh and Anr kapor are the permanent stage materials of Shankarian theater . The use of
these materials and making procedures are,
Mahata -- It is a
pyrotechnic light made of bananas trunk root [ Corm]. To get the lighting
effect of Mahata mustered oil and other indigenous
ingredients of fireworks were used. The special effect of Mahata
is given at the time of the Gayanbayan, chief
actors’ entry or at the time of dancing .
Anria—Anria is a local torch of burning
cloth soaked in mustered oil fitted with bamboo of three to five fits length,
which is used as handle.
Agnigarh.—Agnigarh is known as fire
arch. It’s first use is starts through the entrance of Orchestra party [ Gayanbayan ] of Shankarian theater [ Bhawna ].
All performers get entry and exit through the fire arch from the beginning to
the end of the show according to their demand in the performance. When the
musicians passed through the fire arch[ Agnigarh ] there are display of fireworks [ Mahata ] emitting variegated colors of light. The fire arch
is consist of two upright bamboo bar joining one another at the top end to form
an obtuse angle
which looks like an arch. Small torches [ Anrias
as depicted above .] being hung on this over hanging arch. The number of the
torches should be Six, nine, twelve, fourteen, or twenty-one
, each of these numbers are
treated auspicious in the Vaishnava traditions.
Anr Kapor :- Anr kapor
is a piece of white cloth four by six ft in length and breath. It is used at
the time of immediate entrance to the stage holding by two persons in introducing the
Chief actor Sutradhar
, Hero and Gayanbayan. When the Sutradhara, Gayanbayan and Hero take their positions and get ready for
action the piece of cloth is taken off amidst peals of rejoicing voice of
glorifying Krishna culture. It can be said that the Anr
kapor of 1500 AD may be the origin of today’s
modern screen of Proscenium Theater.
Mask and Effigies :- Mask is a striking feature
of Shankarian theater. Masks were made of clay, wood,
bamboo cloth and
painted with lime, Vermilion
[ hengul ] ,
Yellow arsenic [ haital ], Indigo and Lamp black. Shankardeva believed that people of all strata can be
impressed through the proper use of masks.
Another striking feature of Shankarian theater is use of effigies of Animals, Serpent, Birds and
other demonical characters. All these effigies were made of bamboo, wood and
cloth with proper painting. Effigies and masks create an extra attractive
dimension to the performance of Shankarian Theater.
No settings are seen in Shankarian
presentations for depiction of any sequence or scene, because there was nothing
to express about time and place of the events. If any establishment of place
time and atmosphere are required then it is informed by Sutradhara or by the
characters themselves in verbal elaborations to the audiences and it is
established in the imaginary state of the audiences. Shankarian
theater actors play their role in the imaginary sequence and settings of
audiences which they built up in the mind of audiences through the said elaborations.
B] Orchestration:- A group
of orchestra playing Khols [ Mridang
] and cymbals with equal players in both instruments are seen as permanent
property of the Shankarian theater. Drama begins with
the said orchestra and it is consist of three phases, which are known as Saru
Dhemali , Bor dhemali and Gurughat. Dr. Moheswar Neog elaborated that no
written code is known to exist for the conducting of the dhemalies,
and the names of these preliminaries
not more than three of which are generally performed in each group of sattra [ Vaishnavite
monasteries.] also differ from place to place. Some of the preliminaries
introduced by Sankara, seem to have died out, others may have been introduced in
later times, and some of them seem to have merged into one another. The total
numbers of these preliminaries are said to be twelve. The following dhemalies are at least still spoken of - Saru or suta dhemali
[ minor preliminary ], bar dhemali [major preliminary], na dhemali [new preliminary], cho dhemali [mask preliminary] nata dhemali [dance
preliminary ] , deva
dhemali [gods’preliminary
], raga dhemali [preliminary with classical
melodies], ghosa dhemali
[preliminary with ghosa], garuda-mardana-dhemali,
barpetia dhemali
[preliminary originating at Barpeta]. In some sattras chahini [originally, an
intermediate stroke on musical instruments in between two concerts] or utha [rising up] chahini
at the beginning and guru ghat [concert in honor
of the religious preceptor] at the
end of the preliminaries are also counted with them. The orchestra is commonly
known as Gayan Bayan. After
performing their performance in the beginning of the presentations they sit
aside and cooperate with songs and music with Sutradhara and Bayan up to the end of the performance. It is observed in
the Gayan Bayan [Orchestra ] that though this function can be treated as
preliminary of the play presentation but it carries a symbolic meaning
too. The attention of audiences is
drawn through the orchestra along with the symbolic expression that the result
of proper attention leads the viewers for attainment of Dharma, Artha, Kama and Muksha . This four phases success is
shown through the symbolic expression of Gayan
Banyans’ choreography. The numeric Assamese four is made through the
rhythmic whirl round movement of the orchestra players to express the meaning.
C] Other
stage decorations :- A large canopy [white
cloth with loose frilled edges and ornamented with circular red cloth representing the sun moon and lotus leaves] hung over
the stage [ in the rectangular area ] and decoration with leaves, flowers and
festoons is made around the boundary of the stage without being disturbed the
perceptiveness of audience. Chandeliers , capable of holding hundred earthen
cups of mustered oil , Anriya of burning cloth soaked
in mustered oil , Pyrotechnic light
such as Mahata are used for lighting and special
lighting effect according to the demand of the performance.
TECHNIQUE APPLIED IN
SCRIPTS. [ INNER TECHNIQUE]
A]
Language and Style of Scripting :- Songs ,Verses , Dialogues and Dances are
used for elaboration of dramatic events. Verses are written in Sanskrit language , dialogues and songs are in Vrajawali – a mixture of Maithili and Assamese
language. It is known to all that the drama of Shankardeva
is composed of seven elements i,e Gayanbayan,
Sutradhara, Sanskrit verses, Vajrawali words , Songs
, Mask and Effigies. The Gayan and Bayan add to the
glamour and gravity of the performance. The connoisseur appreciates the words
of Sutradhara and the dances. Sanskrit verses are composed for the scholarly
audience. A section of audience will be attracted by the meaning of songs and
melody. The villagers get attracted through the Vajrawali
language with deepest feelings of their heart and the ignorant mass people
understand the performing fact being satisfied through the mask and effigies.
And by this way the Krishna culture will be understood by all classes of
people. As a playwright, with deep democratic feelings Shanakardeva
tried to popularize his faith on Krishna culture aiming at all classes of
people.. All his plays carry the same message of
Krishna and the culture showed by Krishna in the name of Krishna except in his
play Ram Vijaya , where the character of Krishna was replaced by Ram.
B] Plot
and mood of expression :- All plots
of Shankaradevas plays are taken from Bhagawata Purana except the plot
of Ram Vijaya where the story is depicted from
Ramayana. His approach of elaborations regarding the necessity of Krishna
culture is seen in every step of his literary activities. Dr. Maheswar Neogs expression on this
subject will be suitable here. Dr Neog wrote, - There
is no complication in the subject matter by the admission of episodes or sub
plot or incidental action. We never lost sight of the hero throughout the play.
--- the theory of Sanskrit drama demands of the perfect play arrangement
according to the parallels of the five stages of development of action, the
five element of the plot, and the five junctures , Shankara does not seem to have closely observed the
theoretical niceties , - - Shankara avoid the mention
of time ,days and hours as far as practical , and the sequence of events goes
on in quick succession. The unity of time place and action are not observed.
Even long journeys on earth or between earth and heaven are represented through
dances, sometimes accompanied with songs. The Sanskrit dramaturgists
prohibit the introduction of certain tropics as harmful to the sentiment or
sprit of the hero or offensive to the feelings of the audience. They hold it
improper to show on the stage such
events as a national calamity, the downfall of king, the siege of a town, a
battle, killing or death a marriage or any other religious rites or such as
domestic details as eating , bathing, sleeping amorous dalliance . In Shankaras drama these rules do not exist at all.
The stress of expressing the message of the
story is seen heavier then the story’s amplification. He used all his
power of expressions such as Sanskrit verses, Sutradharas
activities, songs and dances and intensely measured dialogues of players, to
execute the thematic output of his plays within a short period of time as much
as possible. So instead of getting attached with the story audience involved
with the elaborations of Sutradhara [ the narrator ] , basing on songs, dances
and fast moving sequences of his plays.
C] Actor
spectators relation :- Story
telling effort of Shankarian theater is dominated by
the instilling effort of message to the intellect of the audience. However it
is clear that the story’s depiction does not lose the temper of vivacity
because of dance and musical elaborations as well as the narrations of
Sutradhara. So audiences get attached with the facts given by
the narrator with the help of songs and dances, without being emotionally
involved with the story. On the other hand in the
quick successions of events, where the scope of emotional attachment with the
presenting event is debarred.
Shankardeva created the character Sutradhara
[The Narrator and Stage instructor, because all sorts of theatrical activities
take place according to his instruction. ] in such a
way through which he broke up the
partition between actors and
spectators . In time of depiction of story through dramatic characters the
commentary of Sutradhara on the ongoing event continues. Depending on this
characteristic of Shankarian theater,
critics emphasize that the dramatic quality of Shankarian
theater is lesser then expectation. The reason is that the Sutradhara deserves
the lion’s share of dialogues comparatively with other actors.
Actor
spectator’s relationship is required to foster the aims and objectives of
play performance and to enjoy the fruits of benevolence of such
performances. If the audiences do
not have the said relationship and keep themselves in a remote distance then the
expected result may not be possible. So the actor spectator’s dichotomy
must be vanished. Shankardeva tried to establish the
actor spectator’s relationship in an exceptional way. It was established
through proper understanding of his plays thematic output. Actor
spectator’s dichotomy totally vanished at the end of the performance
through evaluation of the presentation depending on Sutradharas
elaborations. It was executed through the various narrative descriptions of
Sutradhara with the help of dances, songs, verses and acting.
. However because of presentational
characteristics, emotional involvement of audiences cannot be denied. So Shankardeva
stress on narrations through Sutradhara and other performing arts. By this way establishing the actor
spectator’s relationship Shankarian Theater
keeps itself free from emotional attachment of audiences.
TRANSFORMATIONS.
Transformations of Shankarian
theater has been noticed in the later period with some
sorts of newly developed characteristics. Though the accurate times of such
transformations are not known but the result of such transformations were well
adored by the people of this country. Depending on the Shankarian
theater technique many playwrights began their writings in Assamese language
taking plot from Ramayana, Mahabharata and other Puranas.
The major changes of such plays can be placed as follows :-
1
The performance of Sutradhara from
beginning to the end of the show has been curtailed. However Sutradhara remains
as important as before.
2
The Sanskrit verses of Sutradhara has been diminished
then that of Shankara. In
some of such
plays it has been abated totally.
3. The dialogue portion [ Actors line ] increased in full figure as in the modern
drama.
4. The durations of plays increase to 150 minutes
to 180 minutes, where the durations of Shankar’s play was very
short.
5. Use of songs
and dances also diminished in the new trend of the Shankarian
theater.
The dramatic performances which are belong to Shankarian technique in
Assamese language are known as Bhawna. Critics
elaborate that though the Shankarian theater was designed for religious propaganda but it has
ceased the said functioning and its utility in giving aesthetic pleasure to
people has not decreased.
EPILOGUE.
In the context of Shankarian Theater and its
technique and transformations, it can be mentioned that a new trend of modern
theater can be germinated from it.
Use of Shankarian theater technique is
scarcely observed in the modern Assamese theater [Amateur] .
But the vast possibility of growing a new trend of theater through proper use
of Shankarian theater technique cannot be
denied.
SHANKARIAN THEATER AND
KRISHNA CULTURE.
Deepak Bhuyan.
Shankarian
theater can be defined as an Assamese theater of 15th century innovated by Shankardeva, the great Vaishnavite
monk of India and later on nurtured by his disciples, to enlighten the people
of North East India, irrespective of cast or creed in the line of
socio-cultural-educational and ethical field, along with, never ending, incomparable, debonair Krishna culture. Shankarian
theater is a popular theater of Assam which has been practicing in the state till today in Vrajawali and Assamese languages. Many writers have been
discussing abundantly regarding various talent and teachings of Shankardeva, but in case of his theatrical aspects, less
importance is noticed.
The causes can
be outlined as follows :-
1) The lack of required effort of
understanding Shankardevas theater
is seen among the modern theater
practitioners of Assam.
2) Many scholars were in opinion that Shankardeva used his theater as a tool of propaganda of his
newly devised Bhagawat based religion. So they were
not interested to discuss his theater on general platform of theater.
3) Major portions of his plays covered with
songs and dances, so a group of critics categorized his plays as dance drama
and kept the plays aside from the main stream.
4) In the tradition of Shankarian
theater a new branch has springing up , which is known
as Matrivasa Bhawna. It
also remains out of focus for the modern theater practitioners because of its
mythological contents.
Observing the above summation it can be said that the theological
aspects of Shankarian theater is the main cause of giving less
interest by the modern theater practitioners. The necessities of Shankarian theater analysis in modern trend and tendencies
were not felt by them because they had already been stamped the plays of Shankardeva as mystical plays. It is also true that in the
changing scenario of industrial development and peoples
materialistic achievements the aged old subjects of God and supreme soul has
been denied by the persons who carried so called excessive progressive outlook
in them. But Shankarian theater has a new dimension
of peoples culture, with bold progressive inner look, which is not yet been
revealed broadly in proper sense.
Krishna the most charismatic character of Indian peoples
culture was introduce by Shankardeva, which tends towards
sound living. In the doctoral
thesis Jyotiprasad Agarwala : The Dramatist
Artist of Katubuddin Ahmed it was mentioned that
Krishna was the product of the very concept of Indian altruism. Out of many semi Gods Krishna has been zealously singled out by the Vaishnavite saint Shankardeva. Shankardeva put much effort to carry high culture to the
midst of the people. For his success in this sphere Assamese are now said to be
highly cultured.
Shankardeva used the word Krishna for the
first time with a broad based dimension. Krishna is the cultural manifestation
of mankind who is destined to fight against anti-culture (Duskriti).
Krishna culture struggles constantly against the corrupt and
degenerated pseudo-cultural trend that raise their ugly heads cajoling and
flirting with the underdeveloped minds. Jyotiprasad
has critically analyzed the significance of the Krishna character. When he
refers to the artists constant struggle against the evil trends he means that
culture is the intimate guiding factor in his battle against evil forces. This
persistent fight against evil will be on for building up peace and beauty on
earth. Silpir Prithivi
– the artists world written by Jyotiprasad precisely brings an analogy of Lord Krishna and
Arjuna. Krishna the charioteer in the battle of Kurukhetra symbolizes culture and Arjuna
the commander of the battle against evil force.
Shankardeva fought against untouchability
more than five hundred years ago in the then conservative society of Assam with
great success. He realized the Catholic culture of Assam comprising various
ethnic groups of North East India. Analyzing the statement of Dr. Katubuddin Ahmed and the teaching of Jyotiprasad
on rediscovering of Shankardevas Krishna culture can
be described as follows,
Krishna culture is a well equipped peoples
culture through which the dominants get courage and vitality to fight against
evil power, where the Krishna the righteousness lead them to desired
fulfillment. Shankardeva stressed on reformation
instead of so called revolution. Because he believed that development of
socio-cultural, political and economical aspects can be expected through the reformation
of every human being. Reform
yourselves world will reform itself – was the base of his thought. It was
an interesting as well as a subject to be heartened that in the
amidst of feudalistic atmosphere Shankardeva started a struggle against feudalism without
being perceived by the feudalist. Through the invisible struggle against feudalism
he aimed for peaceful homogenous society of equality, unity, peace and
prosperity. It can be assumed that the thought of Shankardeva
was later on followed by Mahatma Gandhi in case of establishing Ram Rajya. – the state of equality , unity , peace and prosperity which
can be compared with modern socialism. Shankardevas
struggle against feudalism was invisible because it was not outwardly developed
among the public with so called slogans and public processions. It was
developed quite inwardly in the heart of common people in the name of Krishna
culture where the path of embarrassing equality, unity peace and prosperity can
be made permanently for the benefit of mankind. Shankardeva
did not initiated Konch King
Naranarayana in spite of his several request. From
the said scenario it can be said without having any hesitation that Shankardeva was against the system and its makers. So he
tried to educate people and to reform them through the Krishna culture for
proper and greater achievements of life aiming at the very base of his thought
– Reform yourselves world will reform itself.
In the broad base sense it is clear to all that
Shankardevas struggle was basically for the total
change, which establish peoples culture eliminating all sorts of anti-culture
prevailed in the socio–cultural political and economical sphere of his
time. Dr. K. Ahmeds elaboration on Jyotiprasads
expression can be summarized here which may be well briefed of the subject.
– Jyoti Prasad Agarwalla
critically analysed the significance of Krishna
character which well affirms that the influence he imbibed was basically
borrowed from Shankardeva. Jyoti
Prasad appealed all to try to understand Shankardeva
who was endeavored to give a total shape of our traditional culture. Shankardeva thoroughly utilized his genius for translating
his ideas into action. Shankardeva is our cultural mentor.
Could we not travel to a new world by emulating that cultural ideal which was
bestowed to us by him five hundred years ago ? Jyotiprasad affirms.
In continuation with Dr. Ahmeds
elaboration some lines of Silpir Prithivi
of Jyotiprasad can be placed here for more perfection
of Krishna culture. Jyoti Prasad wrote that -- We
have to follow Krishna but not the mere Krishna of Vrindavana
and the name alone. The Krishna of Vrindavana and the
name Krishna is in the outward shape of Hinduism. But we have Hindu, Muslim, Sikh ,Christian and others in our country. Everyone has
their own cultural faith and symbol like Krishna. Now we have to dig out the
meaning of Krishna to our present epoch. The truth in it is universal and it is
similar to the cultural symbol of other religions. We can’t make the
cultural symbols similar to each other. But the similarities of meaning are there
which we have to follow. That’s the meaning of cultural assimilation. It
is the undefeatable path of cultural unity. That is the meaning of Krishna and
the similarities among all religions is called Sanskriti
[ culture.] Today the culture is the only savior of
our needs and deeds. If we study the rule of cultural evolution as showed by Shankardeva then we get the name Culture in place of
Krishna. What is culture , what is the definition of culture, is known to every
Hindu, Muslim, Sikh, Christian, and everybody is aspirant of culture, because
anti-culture [duskriti] destructs every peaceful
means due to lack of culture: [Sanskriti.] It makes hindrances in the path of prosperity.
So it may be a thing or way of life or a system of society, whatever it may be,
it must be freed from anti-culture [duskriti] to
establish beauty on earth. That is to be done without fail. That is called
cultural effort and the result of such efforts are
named as culture. Culture is light, culture is beautiful. This is the culture
which was established by the Aryans and made it an ideology for mankind. So
Krishna has been worshiping as a God. Through the analysis of Krishna’s
life story it will be clear to all that peoples culture can be named as
Krishna.
It is Krishna culture through which people get inspiration for better
and greater life. Krishna culture is a feelings of
righteousness which leads for total change establishing the peace and harmony
among the people of various strata. Shankardeva
wanted to reform society through the Krishna culture of love and persuasion
instead of lunching a violent struggle as seen in our modern days. Only because
of this factors the modern progressive thinkers are
keeping themselves aside from the discussion of Shankarian
thought in modern light. However some Marxist writers are discussing about Shankarian thought giving pin spot but sufficient flood
light is not yet been properly focused. Dr. Hiren Gohain, Dr.Shiva Nath Barman, Dr. Amalendu Guha are the pioneer of this line , who has been trying to
analyze the socio-political economical and cultural aspects of Shankarian thought in new light.
Marx and
Engels taught that the struggle between the proletariat and the capitalists
would ultimately lead to a socialist revolution in which the working class
would overthrow the power of the capitalists and in the interests of the
working people set up a dictatorship of the proletariat ,
their own government. It was a lesion of 1850 AD. But in 1500 AD Shankardeva taught that all sorts of repression can be
overthrown through the devotion of Krishna culture and in the interest of the
common people set up a peaceful society . It was not a
subject of fatalism or surrender to the absolute idea
not even the delirious mental state of fetishism. Because Krishna himself
elaborated that whenever righteousness declines and unrighteousness becomes
powerful, then I myself come to birth, for the protection of the good, for the
destruction of the evil-doers. For the sake of firmly establishing
righteousness I am born from age to age.
Roopkonwar Jyotiprasad
Agarwalla nicely explained this idea in the following
words :
The world history of every epoch is nothing but
Mahabharata. The same beginning, same contradictions and same ending , only the actors are changed. It is seen all over
the world and India that the story of Mahabharata is repeating itself. Who is
blind Dhitarastra, on what new shape Krishna is going
to be brought up in which guwals village, all this
things will be understood through keen observations. Up to the present time the
Krishna’s life is the eternal truth of this universe. This symbol of
culture gets birth through the suppression of anti-culture. Anti-culture is
afraid of culture so it tries to kill the culture arresting its parents and
locking them in jail. Culture gets birth illuminating the jail – and
being nourished in the lap of common public [Guwal-
Cowherd.] defeats the anti-culture. So it is said that Krishna culture is peoples
culture.
Shankardeva focused this truth through his practical life
and writings in his life long dedication and
devotion. Therefore his theatrical aspects are to be judge on the platform as
viewed in the said elaboration of Krishna culture. It must be stated her that
the Krishna culture is not an outdated religion oriented culture, it has the
vitality of bringing people to the path of peace and prosperity. So the modern
critics should have a look on Shankarian theater through the revolutionary aspects of Krishna
character and its allegorical expressions, omitting the supernatural Vrindavani characteristics. Shankardeva
inspired his successors to write plays on Krishna culture. His main disciple Madhavdeva and other notable devotees followed the path as
instructed by him. Plot, characterization, dialogue and song are all
subordinated to the main purpose of instilling in to the hearts of the audience
the strength and necessity of Krishna culture. In course of time the practice
of writing drama in Vajrawali language died out and a
new practice of writing plays in Assamese language in the same Shankarian style has been developed. This plays were known
as Matrivasa Bhawna. The
plays of both languages are still in practice but the trend of Shankarian theater is still
barricaded in the religious arena. The technique of Shankarian
theater has not got the required status in the modern
theatrical field. However a lean effort has been observed in case of using Shankarian theater technique in some modern Assamese
dramas. Such efforts should be bold and the continuation of such effort should
be encouraged to establish the
Shankarian theater technique all over the world.
If you are interested
submitting news of forthcoming productions or a review of a show in your
Country for publication on this page - please email me: GPowner@aol.com