All in action

print   ·   T  T  

THEATRE Three plays staged by Shivashankara – 12 were staged in Mangalore

WittyA scene from Soole SayasiPhoto: H.S. Manjunath
WittyA scene from Soole SayasiPhoto: H.S. Manjunath

Dakshina Kannada unit of Akhila Bharata Sharana Sahitya Parishat organised a three-day festival of plays presented by Shivashankara-12, a repertory based in Sanehalli in Hosadurga taluka of Chitraduga district and promoted by Taralabalu Math. It presented three plays – Kallaro Balugallaro , directed by Chidambararao Jambe, Soole Sanyasi directed by Iqbal Ahmed, and Sadarame directed by N. Yathish Kollegal, last week in Mangalore. Kallaro Balugallaro stood out for its simple and smooth narrative highlighting the essence of philosophy of Basava, the 12{+t}{+h}Century reformer, and showed how Basava even risked ignominy by sheltering thief Marayya. All along, the play written by Vyas Deshpande questions attitudes of haves that give rise to the have-nots resorting to stealing a part of their wealth – often not acquired through means not so honourable.

In its extremity, the play did project owning wealth as a crime but one could not miss the overall thrust on the very essence of Vachana literature which is a rebel against casteism. Many of the vachanas rendered as part of the discourse of the play sought to drive home the point that casteism is meaningless and dangerous to the society.

Soole Sanyasi on its part was an attempt that came to question the dogmas promoted in the name of religion and hypocrisy of individuals. Adapted by K.V. Subbanna from the original Bhagavadajjukiyam , the play tried to juxtapose the modern day “Shiela Ki Jawani” generation with the yesteryear beliefs represented by a saint and his unwilling disciple – what with the God of Death Yama arriving on a motorcycle with the mask of buffalo attached to it.

Witty dialogues had audience burst with peels of laughter though key character, the disciple, could be perceived to be overacting.

The third play was a modern version of Sadarame (made popular by Gubbi Veeranna’s troupe); it was a dampener. While the play, set in the era of the king of certain Indravathi, lost seriousness when characters used English words (“Ee sentiment ella beda”). To add to it, you had a song with great many English words. Tighter narration could have probably helped.

A highlight was that most of the performers displayed good acting skills while the directors’ urge to do something different could not missed.




Recent Article in FRIDAY REVIEW

passion for actingGauhar KhanPhoto: Reuters

‘Want to run in a field, spreading my dupatta…’

After starting her career as a model, Gauhar Khan switched to Bollywood. She was seen in films like“Rocket Singh: Salesman of the Year” a... »