Wednesday, August 7, 2013
Thursday, August 1, 2013
INTERVIEW IN HINDU
Seasoned playwright and radio anchor, Danish Iqbal is an inventive mind rolling on many things creative
I have had to wait for this appointment with Danish Iqbal long enough to make infinity intelligible. Over the past week or so, he has been busy location hunting across Haryana for a documentary on that State’s skewed sex ratio. He is the writer of the documentary being directed by M.S. Sathyu. Before that, he was associated with The Wolf and the North Wind, which was based on his concept and directed by Pramila Le Hunte. Earlier this summer, there was Ek Kutte Ki Kahani, a play staged as part of the birth centenary celebrations of Manto. In between, he was in negotiations with Sayeed Alam for a play on the foods of India. And just before that, Danish was wrapping up….well, suffice to say there are more colours on Danish’s firmament than a rainbow contains.
Some day, he is a playwright, another he writes documentaries. Another day, he turns a producer-director. Yet another day sees him as an author just as many an evening he has been a radio jockey. Some ventures are fulfilling, others leave him a shade disappointed.
So, through this summer of searing heat and fickle rains, I have had to learn to wait my turn. The moment finally arrives on a particularly humid afternoon. Danish comes down some 25 kilometres from his apartment in Greater Noida to Red Cross Road in New Delhi from where we walk down to Le Meridien. He gets talking. There is a new acting course at Jamia Millia Islamia’s famous Mass Communication Centre which he has virtually devised, I learn. Then there are new shades he would like to give to the curriculum at the university. He would like to focus on scripts, dialogues and other unsung heroes of creative pursuit. The pride he takes in talking about it reminds me of a father talking of his growing child. His voice barely rises above barely audible level otherwise. Except, of course, when he talks about teaching at Jamia.
The acting course for all age groups seems interesting, but not as half enthusing as the documentary on how women are procured in Haryana. So, you have written the story, I make the mistake of asking. He is polite but prompt to correct me. “It is not a feature film or a short film. It is a real documentary with real people. There is no script or dialogues. If you do a story for a magazine, you can take recourse to concealing your sources. In a documentary, it is much more difficult to get people to open up.” He is clearly waiting for the ‘real’ documentary with ‘real’ people to get rolling, considering he has been researching for it for a while.
As we settle down at Le Meridien’s ample meeting space, he is eager to talk of Sathyu’s documentary. Gradually as he starts giving out finer details, one notices he is a creative guy with a scientific bent of mind. He ferrets out his words with the tender care of a man chiselling his diamonds. Never given to endless sentences spoken with abandon, Danish’s words can be both disquieting and uplifting, depending on what he chooses to share with you. Prodding him leads me to a progressive discovery of my ignorance. “I am not what they would call an everyday theatre person.” Indeed, he is not. He is remarkably well and widely read. “I have read the Vedas and the Mahabharat. I am intrigued by the character of Krishan ji. I want to do a mythological play. There are hardly any mythological plays though the television serials in the 1980s made the epics very popular. I also have a script ready about a play similar to Gandhiji’s three monkeys. Instead of the monkeys, I intend to name three characters Satwant, Godse and Kasab. This is secularism of another kind!”
As he talks of the play, his voice trails off. There is a touch of wistfulness about it as he has had the script with him for a while yet he is waiting for somebody to bankroll it. Never mind, He is happy to flip pages and talk of Amrita: A Sublime Love Story that has travelled across the country from Amritsar to Hyderabad. The play talks of the relationship Amrita Pritam shared with Sahir Ludhianvi even though she was living with Imroz. “I had sent the script to Imroz Sahab. He did not take much interest in it for a long time until one fine morning I got a call from his end. That is how the play came up.” It subsequently had scores of shows and was even scheduled to travel to Pakistan before being cancelled due to political developments there. Danish, a veteran of 26 plays, bears no grudges. He is happy to talk of the positives. “It was a unique relationship that Amrita shared with Sahir,” he says, changes tracks and happily quotes Faiz Ahmed Faiz.
It does not in the least bit surprise me considering he has been anchoring a show replete with poetry for AIR FM Gold for more than a decade now. In fact, Danish was associated with AIR FM right from 1993, having come to Delhi from Hyderabad. One does not come across such shows anymore, I share my anguish with him. “Poetry is not written in a vacuum. Usually, there is some folklore behind it,” he says, and his voice once again trails off. Though he has had great emotional attachment to FM Gold and regards it to be his baby, Danish is not happy talking about the channel.
The reason being a complaint this April that had been made by some presenters about being discriminated against in work allocation and salaries and being subjected to sexual harassment. Accordingly, duty officers N.K. Verma and Shelly were relieved of their duties with immediate effect and Danish, who played a supervisory role in the administration, suspended pending investigation.
Interestingly, after the case came up, he was given the Gandhian Philosophy Award by AIR for the documentary Sandarbhon ke Akashdeep! This followed the award for the best radio play a few years ago for Jungali Booti.
“It is not proper for me to say anything. Some day, the truth will come out,” is all he volunteers, adding, the investigations have not progressed much. Where he has progressed much is in his career as a playwright. With his play The Wolf and the North Wind going truly international — it is to be staged in Edinburgh this August — and another round of Amrita… on the cards, this is one stage which is not bereft of joy.
As we part ways, he has an ace up his sleeve. “I have also done a two-volume book, ‘Conservation of Built Heritage’.” Danish may not be anchoring any show, but his words are still far from being daft, his thoughts anything but cluttered. Though he refuses to wallow in beguiling nostalgia, he has built a volume of work that would be enviable for some one 20 years older. With stage and students, the famous presenter may have just found his anchor! In the fitness of things, the name of one of his forthcoming plays is Main Gaya Waqt Nahin Hoon! He could whisper, no scream, it about himself!
Friday, February 3, 2012
Faiz Festival
The Incarcerated Poet
Article in Pioneer
The play Chand Roz Aur Meri Jaan drew its inspiration from Faiz Ahmad Faiz’s poetry and was a dramatised reading of his wife’s letters. By Utpal K Banerjee.
Faiz Ahmad Faiz (1911-1984), Pakistan’s poet laureate and one of the most important litterateur of Urdu language, had seen many variegated dimensions of life. Following the Muslim traditions of South Asia, he was given an early grounding in the basics of religious studies in a mosque. Later, he became an avowed communist and founded in 1936 the branch of All India Progressive Writers’ Movement in Punjab. He was a staunch supporter of Sufism and had close relations with several Sufi poets of his time. He had joined the British Army, Indian Army and rose to the rank of lieutenant colonel in 1944, resigning from the Army in 1947. He was a journalist of very high repute, having become the first editor-in-Chief of the Pakistan Times, the leading newspaper of the land, after Partition. He was also a government official, — appointed secretary of Pakistan Arts Council in 1959 and working in that capacity till 1962.
Faiz’s birth centenary falls in November 2011 and it is entirely appropriate that the Urdu Academy of Delhi administration would dedicate their 23rd Urdu Drama Festival to the centenary event of the great poet, whose many ghazals and nazms have enriched the entire subcontinent’s music and celluloid world. The inaugural play, Chand Roz Aur Meri Jaan (Few Days, My Beloved), presented by Wings Cultural Society, drew its inspiration from the Poet’s immortal lines: Chand roz aur merii jaan faqat chand hii roz… Directed by the thespian Salima Raza, the play was basically a dramatised reading of Faiz’s own letters as well as letters written by his wife Alys, graphically recreating the days when Faiz was imprisoned for his involvement with the political party and Major General Akbar Khan’s coup plan in 1951 and release came some five years later.
As Raza explains, “Alys was an English woman who had come to India, looking for a Sikh gentleman whom she intended to marry. This didn’t happen and meanwhile she had met Faiz. They fell in love, got married in the 1930s and had a partnership in the truest sense. They were utterly devoted to each other and to their daughters, Moneeza and Salima, whose names keep cropping up in the letters. Faiz’s imprisonment was on ludicrous charges of sedition and conspiracy under some antiquated law of the 1860s and Faiz was moved from their Lahore home to a Sind jail. But, even in the middle of her deep anguish, Alys was steadfast to him, exhorting: ‘You must write, write, write; the coming generations demand it’!”
The dramatised reading follows the worthy tradition of Dear Liar, George Bernard Shaw’s letters exchanged with his old flame Ellen Terry (whom he used to address as ‘Ellen, Ellener, Ellenest’), read by Naseeruddin Shah and Ratna Pathak-Shah; and Tumhari Amrita, Amrita Pritam’s exchange of letters with her young painter-companion Imroz, recreated by Shabana Azmi and Farooq Sheikh. In the case of Chand Roz, the enchanting voice of Salima Raza, along with the powerful presence of Danish Iqbal, cast a spell on the audience with enchanting poetry and magical music: played on from time to time. Comments the director, “For anyone to create poems anytime, someone has to be his or her muse. While Faiz created poems of ineffable beauty, Alys had lived poems all the time!” As to why the letters were selected rather than a full play, Taza replied,” I wanted to reflect the poet’s private persona. Poems do manage to reveal only what Faiz would have intended to show!”
A dramatic moment awaited the end of the recitation session. It appeared that Faiz’s daughter Moneeza was present in the audience and, when she was invited to the stage, she broke into tears to say, “I could never bring myself to read these tender letters exchanged between my parents. Now that you have brought them alive on the stage, the world can see that it was not merely that my father was a great poet; it was also that my mother, who never came to limelight, was equally responsible for all his outpourings!”
Article in Pioneer
The play Chand Roz Aur Meri Jaan drew its inspiration from Faiz Ahmad Faiz’s poetry and was a dramatised reading of his wife’s letters. By Utpal K Banerjee.
Faiz Ahmad Faiz (1911-1984), Pakistan’s poet laureate and one of the most important litterateur of Urdu language, had seen many variegated dimensions of life. Following the Muslim traditions of South Asia, he was given an early grounding in the basics of religious studies in a mosque. Later, he became an avowed communist and founded in 1936 the branch of All India Progressive Writers’ Movement in Punjab. He was a staunch supporter of Sufism and had close relations with several Sufi poets of his time. He had joined the British Army, Indian Army and rose to the rank of lieutenant colonel in 1944, resigning from the Army in 1947. He was a journalist of very high repute, having become the first editor-in-Chief of the Pakistan Times, the leading newspaper of the land, after Partition. He was also a government official, — appointed secretary of Pakistan Arts Council in 1959 and working in that capacity till 1962.
Faiz’s birth centenary falls in November 2011 and it is entirely appropriate that the Urdu Academy of Delhi administration would dedicate their 23rd Urdu Drama Festival to the centenary event of the great poet, whose many ghazals and nazms have enriched the entire subcontinent’s music and celluloid world. The inaugural play, Chand Roz Aur Meri Jaan (Few Days, My Beloved), presented by Wings Cultural Society, drew its inspiration from the Poet’s immortal lines: Chand roz aur merii jaan faqat chand hii roz… Directed by the thespian Salima Raza, the play was basically a dramatised reading of Faiz’s own letters as well as letters written by his wife Alys, graphically recreating the days when Faiz was imprisoned for his involvement with the political party and Major General Akbar Khan’s coup plan in 1951 and release came some five years later.
As Raza explains, “Alys was an English woman who had come to India, looking for a Sikh gentleman whom she intended to marry. This didn’t happen and meanwhile she had met Faiz. They fell in love, got married in the 1930s and had a partnership in the truest sense. They were utterly devoted to each other and to their daughters, Moneeza and Salima, whose names keep cropping up in the letters. Faiz’s imprisonment was on ludicrous charges of sedition and conspiracy under some antiquated law of the 1860s and Faiz was moved from their Lahore home to a Sind jail. But, even in the middle of her deep anguish, Alys was steadfast to him, exhorting: ‘You must write, write, write; the coming generations demand it’!”
The dramatised reading follows the worthy tradition of Dear Liar, George Bernard Shaw’s letters exchanged with his old flame Ellen Terry (whom he used to address as ‘Ellen, Ellener, Ellenest’), read by Naseeruddin Shah and Ratna Pathak-Shah; and Tumhari Amrita, Amrita Pritam’s exchange of letters with her young painter-companion Imroz, recreated by Shabana Azmi and Farooq Sheikh. In the case of Chand Roz, the enchanting voice of Salima Raza, along with the powerful presence of Danish Iqbal, cast a spell on the audience with enchanting poetry and magical music: played on from time to time. Comments the director, “For anyone to create poems anytime, someone has to be his or her muse. While Faiz created poems of ineffable beauty, Alys had lived poems all the time!” As to why the letters were selected rather than a full play, Taza replied,” I wanted to reflect the poet’s private persona. Poems do manage to reveal only what Faiz would have intended to show!”
A dramatic moment awaited the end of the recitation session. It appeared that Faiz’s daughter Moneeza was present in the audience and, when she was invited to the stage, she broke into tears to say, “I could never bring myself to read these tender letters exchanged between my parents. Now that you have brought them alive on the stage, the world can see that it was not merely that my father was a great poet; it was also that my mother, who never came to limelight, was equally responsible for all his outpourings!”
Dara Shikoh Review
Kamal Puruthi’s Article on Dara Shikoh
Theatre
Industry has indeed got a new, challenging and a well-crafted script Dara Shikoh written by the playwright Danish Iqbal. Danish’s is well known name for his long association with All India Radio. Dara Shikoh in Urdu is a well-researched masterpiece directed by noted film maker MS Sathyu who won accolades for his critically acclaimed film Garam Hawa way back in 1973. After seeing this presentation of the play staged last month at IHC, one is reminded of the plays like Tughlaq by Girish Karnad and Quai
d-e-Hayat by Surender Verma. In these plays also one gets to hear chaste Urdu. For the first time perhaps, a play has been written on this historical figure.
An evening full of History
Dara, the possessor of glory as it actually means in Persian, was the most beloved son of the Mughal emperor Shahjahan and this love of his father became the reason for him to become the victim of hatred by his 3 brothers. In 1657, Shahjahan became ill and Aurangzeb moved against his brother, the crown prince, Dara Shikoh. Dara Shikoh was interested in Sufi and Hindu wisdom and spirituality. Like his great grandfather, Akbar, Dara Shikoh had been religiously eclectic, an avid reader of books on Hindu mythology and said to be the follower of God Shiva and Aurangzeb, who saw himself as an orthodox Muslim, characterized Dara Shikoh’s views as heretical. Dara devoted much effort towards finding a common mystical language between Islam and Hinduism. Towards this goal he translated the Upanishads from its original Sanskrit into Persian so it could be read by Muslim scholars.
Dara was defeated by Aurangzeb at the battlefield of Samogarh. He attempted to gather support after this defeat and sought refuge under Malik Jiwan, a Baluch chieftain, who had once been saved by the Mughal prince from the wrath of Shah Jahan. However, Malik betrayed Dara and turned him over to his brother Aurangzeb. Marched through the streets of the capital in chains, he was first imprisoned and then murdered by assassins and his head was delivered to Aurangzeb. The actor in the lead role of Dara Shikoh delivered his dialogues with full élan and pristine Urdu.
Scene by scene the history of the Mughal era unfolds beautifully through well-woven dialogues rendered with the required effort. A non-Urdu actor needs to put in deliberate effort to get to the layer of the language. Since some of the spoken dialogues are so hard that even an Urdu speaker will have to refer a dictionary. Speaking about the set design, it is seen that a multi layered Set works better in such plays and is comfortable for actors to move around. It was quite visible that the actors didn’t get enough time to rehearse on the stage with this broad set. The play had a big cast, mainly young and known faces of the Delhi theatre scene.
Deeksha Thakur in her role of Roshanara did an incredible job by showing the multifaceted persona. Manish in his portrayal of Jamali was excellent and lovably acceptable even with his Punjabi accent in his inappropriate Urdu diction at times. Though he was not an exception, if we talk about the Urdu pronunciation, many more were there who didn’t even struggle hard to get their diction right. Going further the critic feels that the young dancing girls could have been directed enough to bring in symmetry and get their best output.
The main credential goes to the costume designers Babli Chhabra & Jotan Arora and makeup artists, who gave the actors a natural and realistic look. If the play was publicized enough through the right medium, it could have gathered more audiences. But it is never too late to put in some administrative effort. In a professional production like this by Impresario Asia, publicity through shoddy colorful rough paper pamphlets is perhaps not a very good idea to go for.
Performance with huge potential
The cast and the crew have a huge potential to be able to make it to the National theatre festival provided the whole team shows a good amount of coordinated teamwork. Such plays cannot stand well in individuality (of the actors with main roles). A scattered picture may not fetch expected results especially the actors in small roles, supposedly fresher on stage must not be taken dispassionately and demand more attention than the seasoned and professional actors. Although this staging was quite lukewarm in spite of the high expectations from the names associated with it, nevertheless the same play is a must watch for every theatre lover for its highs and flaws.
kamalpruthi@gmail.com
Theatre
Industry has indeed got a new, challenging and a well-crafted script Dara Shikoh written by the playwright Danish Iqbal. Danish’s is well known name for his long association with All India Radio. Dara Shikoh in Urdu is a well-researched masterpiece directed by noted film maker MS Sathyu who won accolades for his critically acclaimed film Garam Hawa way back in 1973. After seeing this presentation of the play staged last month at IHC, one is reminded of the plays like Tughlaq by Girish Karnad and Quai
d-e-Hayat by Surender Verma. In these plays also one gets to hear chaste Urdu. For the first time perhaps, a play has been written on this historical figure.
An evening full of History
Dara, the possessor of glory as it actually means in Persian, was the most beloved son of the Mughal emperor Shahjahan and this love of his father became the reason for him to become the victim of hatred by his 3 brothers. In 1657, Shahjahan became ill and Aurangzeb moved against his brother, the crown prince, Dara Shikoh. Dara Shikoh was interested in Sufi and Hindu wisdom and spirituality. Like his great grandfather, Akbar, Dara Shikoh had been religiously eclectic, an avid reader of books on Hindu mythology and said to be the follower of God Shiva and Aurangzeb, who saw himself as an orthodox Muslim, characterized Dara Shikoh’s views as heretical. Dara devoted much effort towards finding a common mystical language between Islam and Hinduism. Towards this goal he translated the Upanishads from its original Sanskrit into Persian so it could be read by Muslim scholars.
Dara was defeated by Aurangzeb at the battlefield of Samogarh. He attempted to gather support after this defeat and sought refuge under Malik Jiwan, a Baluch chieftain, who had once been saved by the Mughal prince from the wrath of Shah Jahan. However, Malik betrayed Dara and turned him over to his brother Aurangzeb. Marched through the streets of the capital in chains, he was first imprisoned and then murdered by assassins and his head was delivered to Aurangzeb. The actor in the lead role of Dara Shikoh delivered his dialogues with full élan and pristine Urdu.
Scene by scene the history of the Mughal era unfolds beautifully through well-woven dialogues rendered with the required effort. A non-Urdu actor needs to put in deliberate effort to get to the layer of the language. Since some of the spoken dialogues are so hard that even an Urdu speaker will have to refer a dictionary. Speaking about the set design, it is seen that a multi layered Set works better in such plays and is comfortable for actors to move around. It was quite visible that the actors didn’t get enough time to rehearse on the stage with this broad set. The play had a big cast, mainly young and known faces of the Delhi theatre scene.
Deeksha Thakur in her role of Roshanara did an incredible job by showing the multifaceted persona. Manish in his portrayal of Jamali was excellent and lovably acceptable even with his Punjabi accent in his inappropriate Urdu diction at times. Though he was not an exception, if we talk about the Urdu pronunciation, many more were there who didn’t even struggle hard to get their diction right. Going further the critic feels that the young dancing girls could have been directed enough to bring in symmetry and get their best output.
The main credential goes to the costume designers Babli Chhabra & Jotan Arora and makeup artists, who gave the actors a natural and realistic look. If the play was publicized enough through the right medium, it could have gathered more audiences. But it is never too late to put in some administrative effort. In a professional production like this by Impresario Asia, publicity through shoddy colorful rough paper pamphlets is perhaps not a very good idea to go for.
Performance with huge potential
The cast and the crew have a huge potential to be able to make it to the National theatre festival provided the whole team shows a good amount of coordinated teamwork. Such plays cannot stand well in individuality (of the actors with main roles). A scattered picture may not fetch expected results especially the actors in small roles, supposedly fresher on stage must not be taken dispassionately and demand more attention than the seasoned and professional actors. Although this staging was quite lukewarm in spite of the high expectations from the names associated with it, nevertheless the same play is a must watch for every theatre lover for its highs and flaws.
kamalpruthi@gmail.com
Winsome threesome
DIWAN SINGH BAJELI
Mohan Rakesh Natya Samaroh featured some sensitive plays focusing mostly on women – their importance and exploitation.
The three-day Mohan Rakesh Natya Samaroh organised by Sahitya Kala Parishad, Delhi, is a significant step to discover fresh talent in the field of Hindi playwriting. Over the years, this annual festival has been evoking tremendous response from theatre lovers as well as from young playwrights to see the award-winning plays selected through an All-India competition organised by the Parishad. Through this competition, started in 1982, some plays like “Taj Mahal Ka Tender” and “Court Martial” were discovered and ever since these are being frequently seen on the stage.
The festival opened with “Dilli Jo Ek Shahar Tha” written by Danish Iqbal, who has distinguished himself in many creative fields like theatre, film, television and script writing. Directed by Bharti Sharma, a graduate from National School of Drama and well known for her sensitive stage direction and acting, the play deals with the ignominious defeat of Nasir-ud-Din Muhammad Shah at the hands of Nadir Shah followed by the massacre of the people of Delhi and indiscriminate plunder of the royal treasury. As the play unfolds the rise and fall of Muhammad Shah, its focus centres on the treachery of subedars and military chieftains and court intrigues that are responsible for the defeat of the emperor. In contrast, Noor, an accomplished courtesan who loves the emperor for his humane qualities and patronage for art and culture, displays rare courage and unshakable loyalty for the defeated emperor. In her confrontation with the conqueror she inflicts moral defeat on him and refuses to surrender to the lust of the brutal invader.
A properly constructed dramatic piece, the dialogue, especially in the scene that shows the confrontation between Noor and Nadir Shah, is at its dramatic best. Deep Kumar as Nadir Shah is brilliantly cast. As soon as he enters the scene the production acquires dramatic momentum. Bharti Sharma as Noor gives a convincing performance. As Noor she faces Nadir Shah with dignity and courage. Mohit Tripathi's Nasir-ud-Din Muhammad Shah is alcoholic but he retains his sanity, common sense and appreciation of the arts.
Mere puppet
Prize-winning play “Kahan Mera Ujiyara” by Nairanjana Shrivastav, a young playwright, poetess and feature writer, is directed by Surendra Sharma, a seasoned director and founder of Rang Saptak. Against the backdrop of ancient Egypt, the pathetic story of an Egyptian Queen is revealed. She is a mere puppet in the hands of her ministers and priests who force her to marry her own son. Unable to face her formidable enemies she along with her slave-turned-husband, commits suicide. The play opens inside a pyramid with the dead king surrounded by slaves who indulge in polemics on the morality of their impending death and with them court secrets will also bury. The play changes direction and its dramatic conflict becomes weak. The conflict appears to be resolved abruptly.
The best part of the production is its imaginatively designed set which could be transformed into various locales – the inner part of the pyramid, the place where rituals are performed and the chamber of the queen. The production conveys its message that women in all ages whether a queen of a housewife are exploited by a male dominated society.
The festival ended with the staging of Meera Kant's “Uttar Prashn” under the direction of eminent director Satish Anand. Presented mainly through the female point of view, it indicts men including Lord Krishna, for their anti-women world outlook. In recent years, Meera has emerged as a sensitive dramatist who explores various themes within the framework of a dramatic structure.
The milieu and characters are drawn from the Mahabharat and through these characters the contemporary struggle of women to get themselves empowered is conveyed logically. Satish's production is neat, well-rehearsed, evoking period atmosphere and brings the characters alive.
Ashish Sharma as Krishna impresses the audience with his stage presence, style of delivery and movements. Saptpani as queen Yashomati gives a powerful performance. Her queen is bold, intelligent and farsighted and is able to frustrate the evil designs of her courtiers and priest to dethrone her.
DIWAN SINGH BAJELI
Mohan Rakesh Natya Samaroh featured some sensitive plays focusing mostly on women – their importance and exploitation.
The three-day Mohan Rakesh Natya Samaroh organised by Sahitya Kala Parishad, Delhi, is a significant step to discover fresh talent in the field of Hindi playwriting. Over the years, this annual festival has been evoking tremendous response from theatre lovers as well as from young playwrights to see the award-winning plays selected through an All-India competition organised by the Parishad. Through this competition, started in 1982, some plays like “Taj Mahal Ka Tender” and “Court Martial” were discovered and ever since these are being frequently seen on the stage.
The festival opened with “Dilli Jo Ek Shahar Tha” written by Danish Iqbal, who has distinguished himself in many creative fields like theatre, film, television and script writing. Directed by Bharti Sharma, a graduate from National School of Drama and well known for her sensitive stage direction and acting, the play deals with the ignominious defeat of Nasir-ud-Din Muhammad Shah at the hands of Nadir Shah followed by the massacre of the people of Delhi and indiscriminate plunder of the royal treasury. As the play unfolds the rise and fall of Muhammad Shah, its focus centres on the treachery of subedars and military chieftains and court intrigues that are responsible for the defeat of the emperor. In contrast, Noor, an accomplished courtesan who loves the emperor for his humane qualities and patronage for art and culture, displays rare courage and unshakable loyalty for the defeated emperor. In her confrontation with the conqueror she inflicts moral defeat on him and refuses to surrender to the lust of the brutal invader.
A properly constructed dramatic piece, the dialogue, especially in the scene that shows the confrontation between Noor and Nadir Shah, is at its dramatic best. Deep Kumar as Nadir Shah is brilliantly cast. As soon as he enters the scene the production acquires dramatic momentum. Bharti Sharma as Noor gives a convincing performance. As Noor she faces Nadir Shah with dignity and courage. Mohit Tripathi's Nasir-ud-Din Muhammad Shah is alcoholic but he retains his sanity, common sense and appreciation of the arts.
Mere puppet
Prize-winning play “Kahan Mera Ujiyara” by Nairanjana Shrivastav, a young playwright, poetess and feature writer, is directed by Surendra Sharma, a seasoned director and founder of Rang Saptak. Against the backdrop of ancient Egypt, the pathetic story of an Egyptian Queen is revealed. She is a mere puppet in the hands of her ministers and priests who force her to marry her own son. Unable to face her formidable enemies she along with her slave-turned-husband, commits suicide. The play opens inside a pyramid with the dead king surrounded by slaves who indulge in polemics on the morality of their impending death and with them court secrets will also bury. The play changes direction and its dramatic conflict becomes weak. The conflict appears to be resolved abruptly.
The best part of the production is its imaginatively designed set which could be transformed into various locales – the inner part of the pyramid, the place where rituals are performed and the chamber of the queen. The production conveys its message that women in all ages whether a queen of a housewife are exploited by a male dominated society.
The festival ended with the staging of Meera Kant's “Uttar Prashn” under the direction of eminent director Satish Anand. Presented mainly through the female point of view, it indicts men including Lord Krishna, for their anti-women world outlook. In recent years, Meera has emerged as a sensitive dramatist who explores various themes within the framework of a dramatic structure.
The milieu and characters are drawn from the Mahabharat and through these characters the contemporary struggle of women to get themselves empowered is conveyed logically. Satish's production is neat, well-rehearsed, evoking period atmosphere and brings the characters alive.
Ashish Sharma as Krishna impresses the audience with his stage presence, style of delivery and movements. Saptpani as queen Yashomati gives a powerful performance. Her queen is bold, intelligent and farsighted and is able to frustrate the evil designs of her courtiers and priest to dethrone her.
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