The First War of Independence was the collective manifestation of Indian people’s militant revolt against British colonialism which was a source of inspiration of the oppressed masses of Asia to struggle for their emancipation. Naturally, the First Indian War of Independence (1857-1859) inspired historians, writers, poets, folk singers to re-create an inspiring and living picture of the great saga.
In the recent past we have seen a few theatrical productions on this theme which were a kind of documentary projecting prominent dramatis personae of this rebellion with sketchily drawn characters. Recently, we have the opportunity to watch “1857 – Turrebaz Khan” presented by Qadir Ali Baig Theatre Foundation, Hyderabad at India Habitat Centre, which deserves to be considered as a milestone in contemporary Indian theatre. The sacrifice of a common Indian, his commitment, his passion, his unshakable faith in his struggle and his courage to die for the honour of his country is shown with dramatic force.
The production also highlights a very vital issue, the issue to project our unsung heroes which still survive in folk songs but historians and creative persons have done little to perpetuate the memory of these heroes. The production exposes the Indian running dogs of British and their collaborators. The theatrical artistry is marked by intricacy, economy and realism resonating with an undercurrent that reveal antagonistic forces at work.
Writer, director and actor Mohammad Ali is a talented creative person who is enriching the legacy of his father Qadir Ali Baig (1938-1984), the doyen of contemporary Indian theatre, who has produced artistic and socially relevant plays. Qadir Ali Baig Theatre Foundation was set up in Hyderabad in 2005 as a tribute to him which is being chaired by his wife Begum Razia Beg and led by his son Mohammad Ali Baig.
An advertising and documentary filmmaker, Mohammad’s plays have featured abroad evoking rave reviews. “1857: Turrebaz Khan” was premiered at the Edinburgh Festival Fringe and in London in August. Its Indian premiere in Delhi was an artistically satisfying experience.
Set in a jungle, the play unfolds with the confrontation between two characters — Turrebaz Khan, a revolutionary fighter in the First Indian War of Independence from a humble family background and Qurban Ali, the captor of the revolutionary soldier. Qurban Ali comes from a privileged class and is a lackey of Nizam and British. These two characters have diabolically conflicting motives. Dialogues are economically written, chiselled expressively enough to convey the political, social and economic landscape of the time in which the action is set. The prisoner is tied with a rope to a chair, his interrogator sits on another chair at some distance. The interrogator gradually becomes defensive and his prisoner more and more aggressive, logical and irrefutable in his arguments. Gradually, the captor becomes apologetic, asking him to submit mercy appeal. In an irreverent tone, the prisoner retorts why this mercy? “Once I was in the Haveli of my uncle, I humiliated you for attempting to pluck mangoes from the orchard. This continues to prick my conscience.” He frees his prisoner. With the alacrity of a guerilla, the prisoner ties his captor with the same rope and escapes in the darkness of the night. We hear deafening gun shots off stage.
To this remarkably realistic piece is incorporated fantasy world of a woman who plays two drums. The sounds of the beats are shrill. Bemoaning, she says, “Why does my drum sound different because I am a woman? The fair…rather the weaker gender! Phew! Born to suffer or rather, made to bear, to be patient to be born, then to beats different.…” In contrast, follows the beats of drum played by an image of man. These images are set upstage behind a transparent screen. It imparts the production a metaphorical meaning that all oppressed people need a powerful resolve to inflict defeat on the oppressor.
One of the highlights of the production is evoking of the social ambience of a forest with camp office to act as a torture cell. The imaginative lighting, the off-stage sounds of forest birds, the music composed by Pandit Mallikarjun Mansur and Mohammad Ali Baig form the part of the artistic whole of the production. The two lanterns casting their dim lights impart an aura of magic and reflect period colour. Mohammad Ali Baig as prisoner and Vijay Prasad as Qurban Ali, the captor, give riveting performances. Noor Baig beating drums behind the screen echoes the agonised world of an enslaved humanity desperate for liberation.
