Bhisham Sahni became a household name when his novel “Tamas” was serialised by Doordarshan capturing communal frenzy, bloodshed of innocent people and the tide of refugees unleashed in the wake of the Partition of India. Apart from “Tamas”, Bhisham is immensely popular with theatre practitioners and theatre lovers. A versatile creative person he was associated with All India Progressive Writers Association and was the founder chairman of Sahmat. He has written four plays: “Hanush”, “Kabira Khada Bazaar Mein”, “Madhavi” and “Muavze”.
Bhisham Sahni’s greatest contribution to Hindi literature and dramaturgy is to deepen the progressive tradition of realism and interpret history to assert humanism. Beneath the easily accessible dialogue, his narrative reveals several layers, critical tone, exposing an oppressive social reality. Recently Weekend Theatre Workshop being initiated by Shri Ram Centre for Performing Arts presented Sahni’s “Hanush” at its auditorium which exposes the alliance between monarchy and church to destroy the flame of scientific enquiry. In the past, we have seen different versions of his plays by amateur as well as veteran directors like Rajinder Nath, M.K. Raina, Surendra Sharma and Arvind Gaur.
The production of “Hanush” under review is directed by Prof. Rama Yadav, holder of two-year diploma certification from SRC, is groomed into a fine stage artist by eminent stage director-playwright Bhanu Bharti. As a scholar, she has done in-depth study of the works of Sahni. Earlier, she has directed his “Kabira Khada Bazaar Mein”. She has recently returned from Budapest after representing India as Hindi Chair for two years under cultural exchange programme of Indian Council for Cultural Relations. Her innovative production resonates with the striking relevance of “Hanush” to our times when the right to dissent is under threat. The director has imparted deep insight into the production which radiates with the fine performances by cast.
“Hanush” is set in the medieval Europe. While on a visit to Prague, the Czech Republic, Sahni watched a clock mounted on the wall of Town Hall. He was told that the clock was invented by Jan Ruze also known as Hanush who was blinded on order of the ruling class to prevent him from making another clock. After hearing this tragic tale of an inventor, Sahni gave it a dramatic format with focus on the life and times of Hanush.
Bhisham Sahni
As the curtain goes up, we watch the ramshackle house of Hanush who is working hard to invent a clock. The family is steeped in abysmal poverty. Hanush is basically a locksmith and it is the only source of his livelihood. The brother of Hanush, a missionary, tells his wife Katya that the church has stopped giving monetary help to Hanush. A gloomy future awaits the family as Hanush has altogether stopped making locks. However, the merchant class comes forward to provide financial aid with the ulterior motive to market the clock when it is finally invented. Endowed with indefatigable will and tenacity to burn the midnight oil, Hanush finally succeeds in his dream project. The entire town is all agog and with it comes to the fore the bitter rivalry between the church and the merchants. The king agrees to inaugurate the function. The clock is installed on the tower of the municipality. Everybody is expecting that the king will be pleased with Hanush. The king asks him: “Will you be able to make more clocks now?” Trembling with fear, Hanush says, “Your Highness, I can make more clocks with more refinement in a short time because I know the mechanism.” The answer makes the merchant class excited, hoping to export these to neighbouring countries. The furious King declares, “Why more clocks? There should be only one clock to establish the superiority of my Kingdom,” raising his voice he continues, “Blind him to incapacitate him from making clocks in the future.” King's command stunned the people who have gathered to celebrate the historic event and shattered the hopes of merchants.
Visually impaired
Insulted and humiliated, blind Hanush is condemned to remain confined to his house but the clock becomes apple of the eyes of the people and a source of huge attraction for tourists. After two years it stopped working. Now the question is can the blind inventor repair it. The only person who knows the intricacy of its mechanism is Hanush’s assistant who has secretly escaped from the country to save his life and to make more clocks. The production captures effectively the anxieties, gloom and anguish caused by the clock which has stopped working and the state repression to force the blind Hanush to repair. Sustaining the tense emotional atmosphere, the climactic scene brings to the fore the philosophical kernel of the play — monarchy is an enemy of human spirit to explore scientific frontiers.
The scene is composed with the oppressed characters that move around the blind Hanush grappling with his tools with a futile attempt to repair the clock. There are no slogans, a fewer dialogue and the scene is dimly lit. We watch the slow movements of the performers holding mashaal in their hands symbolising humanity’s power to resist and march to progress and freedom from feudal forces that represent darkness.
Puneet Arora as Hanush paints the portrait of his character with deft strokes bringing to the fore the passion of a discoverer, his faith in his ultimate victory and the pain inflicted by a cruel ruler. Anushka Kukreja as Katya, wife of Hunush, is an image of a perpetually tormented wife who stands by him in the most adverse conditions and Gaurav Sharma as the heartless king, give riveting performances.
