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.”

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