Jugal Koul
Spectacular panorama of historic Amar mahal (museum), its whispering terraces and columns, crisscrossing balcony, open spaces, breathtaking lawns and serene gaze of meandering Tawi below, brushed with the unique exotic excellence by the live and moving characters of Shakespearean play Richard III , performed recently by the internationally reputed local theatre group Natrang and Rangroot, marks the commemoration of 52nd world theatre day with the prestige and nostalgia of royal empirical eloquence. Brilliance of actors ,director Asheish Nijhawan’s dramatic fineness, communicative light design and the luxury of colossal palace in its architectural marvel, actually standing as the back drop and stage, became memorable spectacle for the quality seeking theatre audience of Jammu. It symbolically reminiscences back the ambience of grand and eloquent theatre performance by the illustrious Victoria Theatre Company at the green hall of Mubarak Mandi palace in the year 1889,during the reign of Dogra ruler Maharaja Pratap singh. In grand empirical setting, palace was then thronged by the invitees which included noble elites, art connoisseurs, members of Dogra court and the royal family.
On 27th March 1962 at the opening of ‘Theatre of Nations’ season in Paris, remarkable tradition of celebrating World Theatre Day across the globe had formally begun. However need for this commemoration had been decided and announced by President Arvi Kivimaa in the 9th world congress of International Theatre Institute held at Vienna in the year 1961.Every year,since then, 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. Brett Bailey, noted south African playwright and director has been honoured to author the international message for 2014. International Message is translated into more than 20 languages, read for tens of thousands of spectators before performances in theatres throughout the world and printed in hundreds of daily newspapers. Colleagues in the audio-visual field lend a fraternal hand, with more than a hundred radio and television stations transmitting the Message to listeners in all corners of the five continents.
Festivity of theatre has never been unknown in our Himalayan Region. Since Vedic period predominant and vibrant theatre activity has remained inseparable part of our devotional, moral and commemorative social ethos. Neelmath Puran vividly illustrates its existence and significance during prehistoric times. ‘Preksha’ the bonanza of tricolor theatrical performances by artists amid the buzz and beat of resonant multi musical instruments likeSankba(conch), Pataha(Drum),Venu(flute) and Muraja(Tambourine), elaborates the scale and substance of theatre our ancient folks must have lived with.Prize distribution ceromany called’Yathavidhi preksadana’ was held to confer rewards and honorarium in aftermath of a performance. The remote shades of ancient theatre can still be traced and identified in the elements of our social rituals, folk forms and living traditions.In Contemporary theatre the hybridization of ancient, traditional and folk forms with the technically advance proscenium has already begun. Theatre of roots is its successfully evolved experiment. Pioneer of indigenous Dogri theatre who transcended the post modernism into another resonant dimension where proscenium, biomechanics and folk embrace each other in a unique eloquent symphony, internationally acclaimed widely honoured & traveled eminent theatre director, designer and playwright Padam Shri Balwant Thakur whose phenomenon work recognized around the globe as his distinct school of theatre, has tremendously contributed in making Dogri to be recognized and honoured at the national and international scene. His most popular work ‘Bawa Jitto’ the Magnum opus of Dogri theatre and melodious imagery “Ghumyee” captured in his own fascinating idiom,still continue to surprise and invade the hearts of audience across the world theatre destinations.
Dealing with Ibsen’s intricate thought especially in his most controversial Norwegian play “Gengangere”translated by William Archer as “Ghost”,could certainly have been a hurricane endeavour for any amateur or professional theatre director but it is the distinctive skill of Master crafts man like the noted theatre director Mushtaq Kak to turn the same into an outstanding performance. His aesthetic sensibilities and command on the proscenium design is well known.In absentia of any set, his treatment is based on aesthetic elaborations ,creative realistic techniques, light design , blocks of movements and effective use of attires, ,expressions, gestures making realistic theatre more handy and mobile.
With more and more youngsters pursuing their academics from Indian Theatre Deptt Chandigarh , National School of Drama and the host of other premiere institutions/university departments in the country and abroad , the resurrection of an effluent theatre movement could genuinely be hoped, but it may not happen without the sustained effort, fire of conviction, commitment and immense love for theatre. Veteran director Kavi Rattan Sharma is an outstanding example in this context.Soon after his return from National School of Drama, owing to his passion and devotion for theatre, he infused creative dynamism ,to the robust movement of 1970s, by reinforcing the proscenium theatre scene of Jammu with professionalism, expertise and infatuating colours.After ” Visarjan”,”Agni Barkha”,X-reflection seems to be yet another directorial masterpiece from promising young director Abishek Bharti, which unveil his command on the theatrical syntax and spine. He does not seem to brood and flaunt his theatre academics to seek instant authority but instead provokes onlooker to identify him through his extraordinary work. Resembling with the Balwantanian school ,Abishek’s emphasis on the exploration of indigenous theatre of shivaliks by the synthesis of bio mechanics and folk forms like Bhaktan, Swang Haren, Jatar, Kud and Chinj etc. Based on his ingenious vision ,rare talent and honesty, his work should have invited attention of prime institutions which patronize theatre.
It has become quite ceremonious to attribute the entire perceptional landscape of theatre to the JK Academy sponsored annual drama festival.Sole purpose of its initiation in the year 1960 was to create awareness ,healthy competition and also deepen the artistic expression among the actors, directors and playwrights.And it had become instrumental to a reasonable extent for evolution of highly vibrant theatre movement of 1970s and 1980s which created eminent theatre directors like Balwant Thakur (Padam Shri), Kavi Rattan Sharma, Mushtaq Kak, Deepak Kumar and play wrights like Prof Ram Nath Shastri (Padam Shri), Moti Lal kemmu (Padam Shri), N D Jamwal, Mohan Singh and others. But sadly tradition of this single lonely festivity seems to struggle in restoring its diminished sheen, consequent to the absentia of any wide and viable theatre movement like yester decades which could nourish and enthuse the aspirants with awareness, interaction , free flow of knowledge and potential competition. Besides lack of appropriate and subsidized technical theatre auditoriums, spaces, studios and sitting premises for community interaction is also a paramount obstruction to the re- emergence robust theatre movement.
While we celebrate,Brett Bailey’s thought provoking message on world theatre day should also make us truly introspect about our role and conduct as the esteemed community of theatre. “Are we, the artists of arenas and stages, conforming to the sanitized demands of the market, or seizing the power that we have: to clear a space in the hearts and minds of society, to gather people around us, to inspire, enchant and inform, and to create a world of hope and open-hearted collaboration?”
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