The curtain is lowered in front of the stage. The audiences have occupied their seats in the auditorium. Before the light fades out, it focuses on the art work painted on fabrics of different colours elegantly placed on either side of the walls of the stage. There is a column on each side. A large facsimile of eagle placed in the centre of the top of the stage. All these art works are not used as an object of decoration but are motifs of Roman culture and political power. As the curtain goes up, a whole world of grandeur opens up before the audiences. In the centre stage on the steps plebeians have assembled, waiting excitedly to see the triumphant march of Julius Caesar. Two men appear from the upstage, reprimanding the waiting crowd to leave the place and attend their duties. Talking in an irreverent manner about Julius Caesar, they throw away garlands from the statuette of Caesar.
This is the visually stunning scene of William Shakespeare’s “Julius Caesar” presented by second-year students of National School of Drama this past week at Abhimanch. Translated into Hindi by Rakesh, the play is directed by Lucknow-based Prof. Raj Bisaria, a veteran theatre director, a scholar of English literature, honoured by Sangeet Natak Akademi for his contribution to enrich contemporary Indian theatre as a director.
Founder member of Theatre Arts workshop in 1960, he set up Bharatendu Natya Akademi in 1975, Lucknow. For his pioneering work in the field of theatrical art, striving to achieve artistic excellence, he was awarded Padma Shri in 1990. Over the years, he has directed 75 plays of different genres, each time evolving a different presentational style. In recent years, the discerning audience of Delhi has seen his many productions: some he did with NSD students and a few he directed for Bharatendu Akademi brought to Delhi.
Apart from his fascination for Bernard Shaw, Anton Chekhov and Shakespeare, he is admirer of Indian playwrights like Dharmvir Bharati and Badal Sircar. His productions are neat, precise and thoroughly rehearsed with special emphasis on diction. His latest production of “Julius Caesar” has all these elements but in this production he has given a great deal of attention to capture the period atmosphere. To reinforce the right ambience costumes designed by Anila Singh Khosla reflect period aesthetics. Sangeet Natak Akademi award winner, Kajal Ghosh, who composed music, reinforced the director’s vision. This is a unique production in the sense that there are two intervals. The curtain is dropped three times to change the heavy sets to enact the ensuing scenes. While the curtain is down the evocative off stage music ensures the flow of rhythm of the action, engaging the attention of the audience.
The opening sequence sets the tone of the play giving an idea of bloody and terrible forthcoming dramatic conflict. We watch Roman senators led by Marcus Brutus, conspiring against Julius Caesar and finally culminating in the murder of Caesar. Some of the scenes like the great assassination of Caesar at the hands of his conspirators, whom he considered his friend, exude a sense of terror. Stabbed by one senator after the other, Caesar goes to his most loved friend Marcus Brutus who too stabs him. Caesar falls down with these words, “Et tu, Brute?” All the killers of Caesar echo loudly, “Liberty! Freedom! Tyranny is dead” A civil war ensues. Conspirators’ revolt is crushed by a mighty force headed by Mark Antony and Octavices Caesar, adopted heir to Julius Caesar.
The play also suggests that during the time of Caesar, Plebeians were treated as mere puppets in the hands of those who have rhetoric power. Ignoring the advice of Cassius, Brutus spares the life of Mark Antony and permits him to deliver provocative speech in his funeral oration for Caesar which turns the table against conspirators. There are some tender and moving scenes between Brutush and his wife, who is kept in dark about the conspiracy hatched by senators to kill Caesar, is effectively enacted. Similarly, the scene set in the battlefield where war-weary Brutush with imminent defeat staring his face asks his servant Lucius to sing a song for him. He sings “Beet Gaee Zindagi Saari Meri, Ekeli Raat…” in a tender and touching tone, reinforcing the intensely alienated warrior with noble soul.
Another noteworthy aspect of the production is the heightening sense of disquiet evoked by soothsayers who have declared that the death of Caesar is imminent. His wife is terrified after dreaming a dreadful omen. Yet Caesar defies all these predictions.
Though Brutus leads conspirators, his mission is noble and for the larger interest of Rome and its democratic institution. He agrees to kill Caesar who is increasingly becoming dictatorial, arrogant and promoting personality cult. Mark Antony pays glowing tribute to Brutus near his body in the battle field, he says, “His life was gentle, and the elements so mixed in him, that Nature might stand up And say to all the world, ‘This was a man’.
The entire cast display remarkable sensitivity and vitality to portray their characters. Rana Santosh Kamal as Julius Caesar gives a brilliant performance. His gait, style of delivery, movements, intense inner motivation and facial expressions contribute to create a convincing portrait of Julius Caesar. Kaviraj Laique as Marcus Brutus and Vivek Kumar as Mark Antony impart subtle touches to their portrayals.
