Content from Wikipedia

Hindi Drama after 1940s and beyond

Pages from Wikipedia

As the Independence struggle was gathering steam playwrights broaching issues of nationalism and subversive ideas against the British, yet to dodge censorship, they adapted themes from mythology, history and legend and used them as vehicle for political messages, a trend that continues to date, though now it was employed to bring out social, personal and psychological issues rather than clearly political.

Post-independence the emerging republic threw up new issues for playwrights to tackle and express, and Hindi playwriting showed greater brevity and symbolism, but it was not as prolific as in case with Hindi poetry or fiction.[43] Yet we have playwrights like Jagdish Chandra Mathur (Konark) and Upendranath Ashk (Anjo Didi), who displayed a steadily evolving understanding of thematic development, theatrical constraints and stagecraft, and Gyandev Agnihotri stood out for his symbolism, wit and satire as visible in classic Shuturmurg written in 1960s.[44] before moving into screenwriting for Hindi films in the 1970s. [45][41][46][47]

The first original Hindi play of 20th century was Andha Yug (The Blind Epoch), by Dharamvir Bharati, which came in 1953, found in Mahabharat, both an ideal source and expression of modern discontent and predicament of a society riddled with corruption. Starting with Ebrahim Alkazi it was staged by numerous directors. With his verse play Uttar Priyadarshini, Agyeya found the story Ashoka's redemption, reflecting the modern call for peace.[48][47] Ashadh Ka Ek Din (One Day in Ashadh), the debut play of modernist Mohan Rakesh was published in 1958, based on the life of Sanskrit dramatist Kalidas, and is considered the first Modern Hindi play.[49] Mohan Rakesh went on to write two more plays, Aadhe Adhure (Halfway House) and Leheron Ke Raj Hans (Great Swans of the Waves) and left one, Paon Taley Ki Zameen (Ground beneath the Feet) unfinished by the time of his death in 1972, but he had shifted the landscape of Hindi theatre.[49] Today, his rise as a prominent playwright in 1960s is seen as the coming of age of Modern Indian playwriting in Bengali, just as Vijay Tendulkar did it in Marathi, Badal Sircar in Bengali, and Girish Karnad in Kannada.[50] His plays have now become classics of Indian theatre, have been performed by almost every major Indian theatre director and have been part of the University curriculum in Hindi-speaking areas. [51]

Initially inspired by western dramaturgy, in structure and movement, many initial playwrights adapted Isben and Brecht, but soon returned to roots and found both content and form, giving birth to the movement called "theatre of the roots", a concerted attempt to decolonize Indian theatre and distance itself from western theatre.[52] Be it Habib Tanvir's Agra Bazar (1954) and Charandas Chor (1975), which brought in new indigenous forms of expression,[32] On the other hand there were younger playwrights like Surendra Verma, with his Surya Ki Antim Kiran Se Surya Ki Pahli Kiran Tak (From Sunset to Sunrise, 1972), Draupadi and Athwan sarga (Eighth Chapter, 1976), rapidly experimented with forms and formats,[47] and writers who ventured into playwrighting to produced important works, like Bhisham Sahni who has been associated with both IPTA and Progressive Writers Association, most noted for his partition-novel Tamas wrote, Hanush (1977), Madhavi (1982) and Muavze (1993).

Over the years the repertoire of Hindi plays has expanded to included translated and adapted works of successful playwrights from other languages, like Vijay Tendulkar, Girish Karnad, Mahesh Elkunchwar, G. P. Deshpande and Badal Sircar (Evam Indrajit, 1963, Pagla Ghoda, 1967).[3]

Danish Iqbal’s Dara Shikoh is a modern classic which was staged by director M S Sathyu. In the words of noted critic Ramesh Chand Charlie Dara Shikoh is a turning point of traditional theatrical sensibilities. Use of Wali Deccani's period poetry provides this Play with a very rare artistic and historical context. Dazzling use of Kathak choreography by Rani Khanum and her Troupe, and authentic costumes including head gear, swords and period art work was a treat for the eyes. This Play had a good run at cities like Delhi, Gurgaon and Banglore.

Another notable Drama of Danish Iqbal is Dilli jo ek Shehr Thaa depicts the life and times of a Delhi lost during the invasion of Nadir Shah. He was awarded Mohan Rakesh Samman for this Play by the Chief Minister of Delhi Sheila Dixit. Recently this Play was staged by Bharti Sharma of Kshitij Group and had Delhi audience mesmerized by its production values and grandeur.

Danish also wrote Sahir' on the life and times of Sahir Ludhyanvi which was staged in Delhi for a packed audience and became a landmark production for the use of old film songs as part of Dramatic Narrative. Directed by NRI Director Pramila Le Hunt this play became a commercial success and had audience wishing more and more of Sahir. Danish Iqbal also wrote Kuchh Ishq Kiya Kuchh Kaam on the life and work of legendary poet Faiz Ahmed Faiz and Sarah Ka Sara Aasman on the poetess Sarah Shagufta, besides the biographical Drama 'Ghalib' which used Ghalib's poetry for the basic narrative and was staged at Dubai for the expatriate Indian Community. Danish had also given the block buster 'Woh Akhiri Hichki' and 'Amrita: A Sublime Love Story'(on the life and times of Amrita Pritam) and some other early works. In recent years he has been using lot of elements of Cinema and mass media to bring theatrical sensibilities closer to the audiences fed with lot of Bollywood. It is a pity that his collected work is not available till now although few versions of 'Dara Shikoh' and 'Ghalib' are available but Dara Shikoh being a costly historical costume Drama it is not easy to stage such a demanding production. 'Dilli Jo Ek Shehr Thaa' has all the markings of a classic stage play combining high voltage conflict with realistic characterizations, treacherous conspiracies, romance, poetry, dances and catchy dialogues.

Sayeed Alam is known for his wit and humour and more particularly for Plays like 'Ghalib in New Delhi' 'Big B' and many other gems which are regularly staged for massive turn out of theatre lovers. Maulana Azad is his magnum opus both for its content and style.

Shahid's 'Three B' is also a significant Play. He has been associated with many groups like 'Natwa' and others. Zaheer Anwar has kept the flag of Theatre flying in Kolkata. Unlike the writers of previous generation Sayeed, Shahid, Danish and Zaheer do not write bookish Plays but their work is a product of vigorous performing tradition.