Monday, 11 May 2009

Special Issue on Garrhwali language Stage Plays by Hamari Chitthi

a Garhwali language Magazine and Brahman Vad You will be pleased to know that a much waited special issue on Garhwali Rangmanch by Hamari Chitthi is now available at stands. This special issue is dedicated to various aspects of Garhwali Drama or stage play. The brief about the is as follows: Editorial: Madan Duklan the editor in chief of Hamari Chitthi explained in his editorial about the need of special issue for Hamari Chitthi. He also offered some glimpse of historical aspects of modern Garhwali drama, the evolution of Garhwali drama from folk drama to drama like Ardh Grameshwar and Khadu Lapata. in his editorial, Madan Duklan pinned point the reasons behind the present depression in the Garhwali drama world and urged the Garhwali society and Uttarakhand goverment to come forward for adapting necessary actions to protect the declining staging of garhwali plays. Folk dramas by Badis and Garhwali women in perspective of Bharat Natya Shashtra (badyun swang ar jannyanyun swang ar Bharat ku Natya Shastra): Bhishma kukreti offered well researched commentary on the Gadhwali fok drama created by badis and women folks of garhwal from the point of view of Natya Shashtra of Bharat a sanskrit classic created before 3000 years back. In his brilliant discussion, Bhishma Kukreti judged Garhwali folk drama from the perspective of raptures, story, origin of plot, plot dimensions, dailogues, characterization of characters, importance of inspirational subjects and the reality, make ups, stage arrangement, dreasses, ornaments, training of artists in Garhwali folk dramas performed by badis and women folks of garhwal area. Each aspect is analysed by example and that is the sepciality of this article. Bhawani Datt Thapaliyal-the first Garhwali dramtist: the famous Hindi and Garhwali dramatist of Lucknow Urmil Kumar Thapliyal threw light on the garhwali drama works of his grand father Bhawani Datt Thapliyal and other historical aspects of Garhwali drama from the begining of last century till date. Urmil Kumar opened many new aspects and subjects of garhwali drama in this article Garhwali lok natya: Parampara and survexan by Dr nand Kishore Dhoundiyal: in this intellectual discussion Dr Dhaoundiyal , first analysed the panorama of folk dramas and then he judged the garhwali folk dras from the point of views of various aspects of drama, poetry and games. he gave region wise details of Garhwali folk plays or dramas. Well researched work and valluable for the future research scholars to get reference from the article. Garhwali loknatya ki Sameeksha by Dr Rajeshwar Uniyal: The expert of Garhwali folk literature Dr Rajeshwar Uniyal analysed the Garhwali folk drama from many angles. first he divide the folk drama into---Gadyatmak, Padyatmak and champoo aspect. He then analysed garhwali folk drama from Lokik natak, Dharmik natak point of views. he also judged garhwali drama from the angle of age i.e. Prachin and Adhulik yugin lok natak. Lastly, Dr Rajeshwar investigated garhwali folk drama from the story direction---lok sahitya par adharit and kalpana par adharit. This well written article for research scholars Garhwali Rangmanc or History of Gadhwali stage plays by Dr Sudharani (translated by Bhishma Kukreti) : Dr sudharani provided minute historical details of Garhwali stage plyas played in various places of India in her article garhwali Rangmanch.She gave details of all Garhwali dramas staged from 1913 till 1988. We shall always obliged for her research works on this subject. Parvatiyaa Lok Natya: Bhramit Nepathya (Confused back ground of hill Dramas): In this brilliant article , dr Urmil Thapaliyal exposed the weaknesses of less attention on garhwali dramas and the fuure aspects for developing the culture of Garhwali drama and its popularization. he gave many examples of various dramas of Garhwali. Garhwali natak by Kula nand Ghansala: Kula nand ghansala is garhwali drama activist, writer and performer too. With offering examples, Ghansala analyzed the problems and solutions of garhwali stage playing in Dehradun and garhwl territories. Dehradun man rangamnch/hindi Garhwali: In this well reasearched article we get historical details of garhwali and hindi stage plays performed in Dehradun. This article is treasurer for our literature history. Garhwali swang (natak) man has (humour in Garhwali drama) - a discussion between Bhishma Kukreti and late Abodh bandhu Bahuguna: in this discussion the dues explain various aspects of humour in garhwali dramas and importance of popularizing garhwali dramas. As whole the issue will be called collector issue. However, as a part time convener, I aplogize from Shrimati Vijaya P.Dobriyal and Shri Rama Kant Dyama (Mumbai) that your views could not be published in this issue of Garhwali drama. Your views are very vital and utter importance for developing culture of Garhwali dramas in Mumbai and other Indian cities. Shri Duklan has promised that in next issue, your views on garhwali dramas in Mumbai will be published. Brahman vad in this issue: Whether madan Duklan likes it or not but it is atruth that hamari chitthi has shown inclination on supporting Brahman Vad. None of rajput and Arya writer could write articles for this special issue of vital subject. Madan duklan can only explain about the reason behind no contribution of rajput and Arya writers for the subject

1 comment:

  1. Madan duklan's special issue on Garhwali language stage plays is the first attempt of its kind on Garhwali stage plays. The issue has also included articles on tradtional Swaang theatre of the Badis. Kudos to Duklan.

    However Duklan's issue leaves so much to be desired. He has left ourt a vast repertory of traditional Pandava theatre, theatre of Pattar(masks)performance with more than six cycles to its credit. The ritual theatre of Bagdwali has not been even referred to. Discussion on the Badi or Beda theatre is peripheral. The famous Budloo swaan of the Bedas has not been discussed. Other items of the repertory of the Badis were Jangli Maur, Bandukya, Albeli.The occasions of performances were Ausars which happened during Laang and Bart rituals.

    A large number of enactments known as Khels in Jaunsaar, Babar, Parvat, Panchgain, Singtoor,Pattis of Garwal were performed during the Burhi and the traditionsal Diwalis
    Besides the Harya and Hirn plays held on the occasion of Dhaknaach in the Mahasu temples of Tons valley should hold significance for the writers of history of the Garhwali theatre.
    It is equally surprising that Duklaan has seen several performances of Chakravyooh, a Pandava theatre variant in Dehadun. Exclusion of this genre from the chronicles of Duklan should not be deliberate. There is not even a distant reference to the Bhadauli or Talwaar theatrical forms of Garhwal of which one adaptation Paanch Bhai Kathait, Duklan happened to see in Dehradun . Another deliberate omission is a mask dance drama Burhdeva shown in Town Hall, Dehradun which the editor of Hamari Chitthi happened to witness.

    I request the editor to have more comprehensive in his approach especially when he claims to be compiling a document so historical.
    D. R. Purohit