The epic Mahabharat is deeply ingrained into the consciousness of the Indian people. We have seen great contemporary theatrical works like “Andha Yug” by Dharamvir Bharati and Ratan Thiyam’s “Chakravyuh”. Now we have seen a new version of episodes from the epic in new style known as Jogiyar Mahabharat which was presented by the Swayambhu repertory at Abhimanch this past week, revealing the story through an array of musical instruments, modulated voices of singers with great range. The narrative with various twists and turns and the exuberance of energy of singers captivated the audience. The narrative moves with intensity, maintaining momentum till it reaches to the climax.
On the surface, it appears to appeal to those not aware of the form of “Panduan Ke Kadde” of the Meo community of Mewat and Manganiyar tradition that the presentation is merely an evening of musical compositions. But slowly and slowly the deeper layers of the production unfolds, illustrating the fact that it is a dramatic composition unfolding in a lyrical manner. The conductor not only indicates rhythm to the orchestra members but he joins instrumentalists with his small instrument. As conductor, Devu Khan Manganiyar exudes immense energy while participating in jugalbandi. His back remains mostly towards the audience. Only once he confronts the audience, playing his instrument. In his music there is such a force that the audience joins him by clapping. This is how he breaks the fourth wall, establishing highly vibrant rapport with the audience. In fact, the jugalbandi is frequently used to highlight the war scenario between the warriors of the Mahabharat which thrilled the audience. Music with its great range, singers and narrators convey the story in a way that evokes curiosity and excitement.
The tone is set by highlighting the role fate plays in the destiny of man and society. Then we hear about Lord Shiva followed by the rivalry between Kunti and Gandhari about the elephant. Then we hear about a number of episodes like Pandavas escape from the wax palace, the death of Kitchaka at the hands of powerful Bhima. The singers reveal about the Pandavas agyatvas-living incognito not to be recognised by anyone. Finally, the singers communicate how Abhimanyu is killed by the warriors of the Kauravas by resorting to deception. The singers tell us that it is not Abhimanyu who dies but Krishna himself dies.
The production is the result of director Dinesh Yadav’s research in the field of musical narrative of “Panduan Ke Kadde”, practised by Meo community. He was also fascinated by Manganiya music tradition. The production under review is the result of blending these different musical traditions to create a new musical theatre.
Blending music
Director Dinesh displays ingenuity in designing his production. He has explored the vertical space by creating blocks with different heights, providing different space for instrumentalists. This innovative approach is in tune with the fluid and rhythmic character of music. The highest space allotted to two drummers who jointly play a huge drum has about 15 feet high. The acting space is almost empty with the conductor standing upstage. The main centre of attention is the vertically structured spaces for singers and instrumentalists. There is neither dance nor dramatic enactment. Music is the soul of the production.
The director has discovered very rich musical traditions of two communities which continue to thrive despite the change in the social and economic structures of society. These forms have immense relevance for contemporary theatre. Director Dinesh’s forte is music. One hopes that he will continue his exploration to create a rich varied theatre music the way B.V. Karanth, Mohan Upreti, Habib Tanvir and Panchanan Pathak evolved a new theatre music to reflect contemporary sensibility.
Earlier, Swayambhu repertory presented Bodhayan’s “Bhagwadjjukam” in Hindi at Sammukh auditorium under the direction of Dinesh Yadav who has tried to use musical drums and dance sequences. The experiment diluted the element of farce that is created by lampooning a Buddhist monk and his half-witted disciple.
The biggest source of farce is the transfiguration of souls between the monk and Basant Sena, the courtesan, which makes Basant Sena to behave like the monk and the monk acts like the courtesan. Their strange behaviour makes us laugh. To produce a work of prahasan, farce, the director should have made his production slick with fast tempo.
