Jugal Koul
As the nooks and theatre spaces all over the world are abuzz with performances, seminars, interactions, rallies and commemorative events, we have one of our own cherished reasons to mark the festivity of 54th world theatre day in honour of one of the worlds greatest dramatist, rhetorician, philosopher, mystic, aesthetician, musician, poet and social reformer, Abhinavagupta of Kashmir, being intercepted on his millennium celebration year. His genius has left an indelible deep influence not only on the Indian culture and vedic heritage,but even after the passage of a millennium his illustrious work has become the conspicuous subject for research in around more than fifty countries of the present day world. His unique commentary, “Abhinav Bharti”, on the worlds oldest dramaturgy, Bharat Muni’s ‘Natyashastra’ is considered one of the most enlightening, authoritative interpretations of this ancient treatise on theatre,elaborating even threadbare details of the traditions preexisting to Bharat Muni. Proponent of universally acclaimed school of Kashmir Shaivism, Abhinav Gupta has contributed volumes of priceless literature on tantra and theatre.
Initiated in 1961 by the International Theatre Institute (ITI) in its 9th world congress at Vienna., the remarkable tradition of celebrating World Theatre Day formally began amid international theatre community on 27march 1962 in ‘Theatre of Nations’ seasons in Paris to share the vision of theatre globally and bring harmony and peace among the peoples and cultures. Various national and international theatre events are organized to mark this occasion across the globe. Most important feature of the World Theatre Day is circulation of the International Message by a personality of world stature who shares his or her reflections on the theme of Theatre and a Culture of Peace. The first World Theatre Day International Message was written by Jean Cocteau (France) in 1962. Anatoli Vassiliev, internationally acclaimed theatre director and professor of Russian Theatre has been chosen to author the international theatre message this year. He is the founder of the Moscow Theatre School of Dramatic Arts.
Last few years have seen a kind of resurrection of theatre movement in our region after a long slumber for more than two decades. Although its momentum at present may not appear as desired,yet on a positive perspective it may expedite in coming years reconciling with the most memorable decades (1960s to 1980s) that witnessed the epitome of theatrical excellence in and around both the capital cities of our state. JK Academy in its consistent traditional role and renewed endeavor to an extent has been able to catapult the dampened spirit and enthuse the aspiring and theatre directors towards theatre by sponsoring, collaborating and organizing theatre festivals,workshops, exotic interactive presentation.
Be it striking experimentation of folk with proscenium while narrating the folk tale Kunjoo Chanchloo by Abhishek Bharti, or creating Mesmerizing Greek sketch, drama and grandeur by Ravinder Sharma in Dogri adaptation of Antigone or Vikram Sharma’s exploring the deep psychological anguish and expositions in “Pishach Yatra” or Fusion of elements from traditional theatre ‘Bandpather’with the post modern proscenium in ‘Wattepead’ by Arshad Mushtak, and many more such endeavors speak loud about the class of directors/ playwrights/ actors/ technicians who have earned refinement and versatality in theatre craft, echoing the advent the another brilliant period of theatre movement in our state. Known theatre directors like Mushtaq kak and Dr Sudhir Mahajan through their own theatrical endeavours as well as the back support and guidance to the struggling theatre aspirants are instrumental in infusing life to this movement.Mushtaq Ali’s quest to restore the subdued excellence in Kashmir theatre is really appreciable.Since decades he is working tirelessly for its rejuvenation. Although Bhawani Bashir in rural scene and Ayash Arif in the urban context in some way or the other seem to attempt their due obligations to the theatre, yet Nasar Nasims and Amin Bhats are conspicuously required to play the more active role in this domain. Internationally acclaimed theatre group Natrang has remained the only professional theatre group of the state involved in the multifarious prudent and acclaimed theatre work since more than three and half decades of its existence. Repertory has created a battery of theatre directors, actors playwrights and technicians having earned their eminence in different art mediums.Magnum Opus of Dogri Theatre designed and directed by Globally reputed, eminent theatre maestro, Padamshri Balwant Thakur,”Bawa Jitto” is continuing to spell bound national and international audience even after three decades of its appearance in National Theatre Festival.
Hosting one the most prestigious international theatre festival, Bharat Rang Mohotsav in Collaboration with National School of Drama New Delhi in February this year, appears to be a milestone contribution of JK Academy in the field of theatre. Under the flagship of National School of Drama, prestigious festival of Bharat Rang Mohotsav is designed and conceptualized to acclimatize the masses across the country to the enigma of theatre by inviting few amid the most refined theatre productions from all around the world. First ever international theatre festival organized in Jammu was indeed an exposure for the local fraternity and theatre lovers towards the wide range of innovative techniques ,craft, fresh insights on design, light, script and adaptations. One could witness exuberant creative crisscross beyond the scope of proscenium ,evolving the most subtle and poignant expressions through the fusion of acting,body usage and light in Sri Lankan English play,Dear Children Sincerely. A delightful production of ‘Ramayana’ only one of its own kind,was a complete Puppet dance drama.
Actually conceptionalized and designed more than half a century ago is an unparalleled marvel that continues to surprise the onlooker through generations. Excellent fusion of ballet and puppetry. All the actors wear mask faces, crowns and headgears and so skillfully create the illusion of wooden puppets in their stylized movements. Italian play “The comedy of harlequin and pulcinella”, had two actors, Nathila Mentha and Claudia De Magilo who played multiple characters through typically stylized postures, gestures, farcical expressions and hurried style of speech. Actors, imbibed high energy movements and emotions and used masks exploring the puzzle that was central to the story.Despite unfamiliar language the story unfolded so smoothly that audience gave a standing ovation.One actor wonder play of the festival was ‘Pigeon show: A fools play’ performed solo by the 62 year old veteran American actor/teacher, Ronlin Forman who through his histoinics, mimicary and sharp witty acting versatility, left the audience spellbound. A wonderful demonstration from a veteran who all alone in the play challenging the length and breadth of the stage moves from absurdity to aesthetics,one extreme to another ,from farcical Comedia dell’arte to the distortion of grotesque, provoking the fool within to cope with the extremities of life situations. Girish’s masterpiece stage play ‘Agnivarsham’in Telgu was an extra ordinary spectacle of performances by the actors exploiting scenic compositions music and classical dance interludes and symbolic sets. Moti Lal Kemmu’s Arman Pather directed by his son Ravi Kemmu, with the latent appeal for alarming the world about the vanishing water bodies,showcased the timeless sufiana poetries and popular folk elements of Kashmir. The whole play was interwoven with the rich and colourful classic traditional theatre narrative of band pather played by the brilliant actors.
This year,theatre world has lost one of the most inspiring , mesmerizing nuggets of the modern times. Kavi Rattan Sharma the maestro who truly ruled the hearts of theatre lovers in our Himalayan region, has gently passed in to history, leaving behind the unparalleled legacy of his distinguish genius that created euphoria on the theatre landscape in 1970s and 1980s. He was a true exponent of Abrahim Alkazi, doyen of modern proscenium theatre under whose dynamic command and rigrous training at National School of Drama he developed the distinctive insights. Kavi’s return back home infused new direction knowledge, creative adventure, colour and eloquence to the Jammu theatre movement. Highly Influenced by the Alkazi’s style of conducting proscenium,his passionate temperament,aesthetic refinement and restless creative energies transformed the lackluster amature theatre scene in to a professionally robust, competitive and fascinating memorable spectacle. From Mohan Rakesh’s Aadhe Adhure, to Vijay Tendulkar’s ‘Khamosh Adalat Jari Hai’, From classics like Bhagvad Ajjukam to Badal Sarkar’s Juloos, from Jasma Oden to Anil Barve’s “Thankyou Mr Glad”, from Spartacus to Sarpanch he dealt with a wide genre of plays with his own unique evolved vision,whose impressions still resonate in the minds of audience.
This year we are also celebrating birth centenary of renowned Kashmiri poet and one of the finest Opera Playwright, Dina Nath Nadim. Inspired by Chinese classical Opera, “White Haired Girl”, on his visit to Peking he conceived the widely acclaimed opera, ‘Bombur ta Yamarzal” (The Narcissus and the Bumbleebee), first of its kind in the entire country, which was staged first time at the famous Neudos Hotel Srinagar in 1954 Marshal Nikolai Bulganin accompanied by Nikita Khrushchev the First Secretary of the Soviet Communist Party’s Central Committee on witnessing the repeat performance of the play in 1955 were so impressed to offer Nadim Sahib a close hug. Its all songs inc bambroo bambroo became a popular household number in the valley.
Like the bloom of Narcissus when Bumblebees sing, theatre inherits the power of healing that has always rejuvenated the human spirit. The essence of theatre could not have been better explained than the words of Anatoli Vassiliev author of 54th international message, ” it constitutes the most transparent side of light, it does not belong to either south, or north, or east, or west – oh no, it is the essence of light itself, shining from all four corners of the world, immediately recognizable by any person, whether hostile or friendly towards it.
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