On Monday evening at Kamani auditorium a jam-packed hall watched various facets of the life of three women belonging to different social strata and their environment that shaped their characters. The portraits projected on the stage were vibrantly alive, establishing lively rapport with the audience. It was an evening which witnessed kissa goi at its best.
The event was the staging of “Kambakhat Bilkul Aurat” by Motley, Mumbai at Bharat Rang Mahotsav under the direction of versatile cinema, stage actor and director Naseeruddin Shah. The set design, the acting and the direction all bear the stamp of mature artistry. The programme consisted of three stories by Ismat Chughtai, one of the greatest writers of India to give voice to women living in a society dominated by men. Inspired by Marx and Freud, her gender-focussed works are bold, epoch-making and riveting. In recent years her stories are increasingly becoming popular on the Delhi stage, especially with Kahani Ka Rang Manch becoming fashionable. Not long ago, her story “Lihaf” was presented by National School of Drama which evoked critical appreciation. These days one stage director is working on her autobiography to stage a full-length play on her work, life and time.
“Kambakhat Bilkul Aurat” has its own distinct directorial style. The stories are narrated by solo performers. In Kahani Ka Rang Manch different characters are enacted by different performers. Colourful fabrics are used with performers’ resorting to fast movements. This kind of approach emphasises more on external aspects of the story. In Naseer’s direction the attempt is to capture the soul of the stories with detail attention on the social backdrop. The solo performers occasionally step out from one character to play another one.
The evening is opened with “Amar Bel” presented by Manoj Pahwa. This is a poignant story of a beautiful, young and sensitive woman married to a man much older to her in age. The man is the pampered lone brother of five sisters. Soon after his first wife dies, the sisters become desperate to get him remarried. Finally, he marries a young and beautiful girl. Despite all care and use of medicines, the husband becomes weak and suffering from various old age diseases. In contrast, the young wife continues to blossom with youthful charm. The jealous and sick husband accuses his wife of infidelity and even disowns his two children from his young wife. Before he dies, he bequeaths his property to his sisters.
Titled “Nanhi Ki Naani”, the second story is presented by Seema Pahwa which revolves around an old, foolish, poor woman who pilfers. Her grand-daughter, a little girl, becomes victim of rape and as she grows up, she is sexually exploited and one day disappears never to come back. The old woman who unashamedly indulges in pilfering is known as Nanhi Ki Naani. Seema’s depiction of the old woman’s encounter with monkeys is both hilarious and poignant. Starvation, old age and sickness finally ended in the pathetic death of Naani. The way a human being ends life in utter penury and miseries is conveyed in mordantly ironic tone.
The concluding piece is “Do Haath” which featured Loveleen Misra. She brings to life the character of a bubbly Safai worker. Her son Ram Avtar leaves home to join his duties in the armed forces soon after his marriage. Initially shy, the young bride gradually displays her true colour. She is flirty and seductive. Men in the neighbourhood are desperate to attract her attention. A cousin of her husband comes to stay with his aunt. The young bride gives birth to a male child. Meanwhile, Ram Avtar arrives home. Contrary to neighbours’ speculation that he will punish his wife for her infidelity and disown the infant, he celebrates the birth of the child born out of wedlock with these words, “When the boy grows up, he will use two hands to work and will be an asset to me in my old age.”
The production is neat and slick. In the first story on a platform a bed is tastefully decorated to celebrate the nuptial by the old man. Aesthetically designed, a backdrop is created to capture the aristocracy of a Muslim family. The use of property is minimal. There is nothing superfluous. The focus is on actor’s body, their movements and style of dialogue delivery.
