The twentieth edition of Bharat Rang Mahotsav opened to a heartening response, with theatre enthusiasts sampling lesser-known regional productions alongside the topliners. The first week saw a line-up of women-centric plays, bringing powerful women protagonists from history and mythology. It also included a spectrum of socially-charged content revolving around issues of disability and discrimination.
Women take centre stage
Motley theatre presented the latest play from its series based on Urdu writer Ismat Chughtai’s work with selections from her autobiography and essays.
Directed by Naseeruddin Shah, Aurat! Aurat! Aurat!is performed by an all-women cast featuring Seema Pahwa, Jaya Virlley, Trishla Patel, Shruti Vyas, Prerna Chawla and Bhavna Pani. The play traces the life and times of fiery rebel writer Ismat Chughtai, who broke the glass ceiling of gender stereotypes in the 20th century. Her conversational and candid style of writing captures her courageous views in an era marked by patriarchal orthodoxy. The play is the third in the trilogy by Motley Theatre (following Ismat Apa Ke Naam and Manto- Ismat Haazir Hain) exploring the works of the controversial writer, remembered for her strong spirit, subtle sense of humour and radical feminist politics. Based on her writings between 1930 and 1950, the play interweaves incidents from her life with three landmark essays— Ek Shauhar Ki Khaatir, Aadhi Aurat Aadha Khwaab and Soney Ka Anda. Muted stagecraft puts the spotlight squarely on Chughtai’s words and powerful performances.
The actors interpret various stages of her life differently, playing with posture, mannerisms and voice modulation that bring forth the writer’s persona on stage in an engaging manner. The narrative glides seamlessly through the trajectory of her life—refusing to marry, travelling widely, being charged with ‘obscene writings’, and assimilates her ruminations through the extracts from essays. The play is hinged on monologues, revealing the inner world of the writer along with pointed insights into the conservative outer world she inhabited. Laced with her quintessential acerbic wit, outspoken attitude and profound reflections on life, the production pays a befitting tribute to this literary luminary of the last century. The Kannada play Paanchali Laasya Ranga revisited the Mahabharatawith a focus on Draupadi.
A common theme for theatre and dance, the challenge of representing Draupadi is to have something new or nuanced to say in the already existing vast performance repertoire. Director B Jayashree has attempted this through a blend of forms, bringing together classical dance (Bharatanatyam) and folk theatre. Penned by H S Venkatesha Murthy and featuring two performers (B Jayashree and Sathyanarayana Raju), the production merges Carnatic music and folk melodies with composition by D S Srivathsa. The dramaturgical innovation rests on this creative combination of the classical and folk idioms. It does not position the two forms in contrast, but sets them as complimentary frameworks. The themes of politics, feminism, strength, deceit and decision emerge as a conversation between classical and folk structures.
Challenging stigma
Another thematic thread that ran through the first week of the festival revolved around discussions on disability and stigma. Marathi play Ananyaa traverses the life of a girl-nextdoor with an ordinary life and dreams who undergoes an inspiring transformation after an accident that leaves her physically disabled. Written and directed by Pratap Phad, the script follows a predictable delineation in the first half, leaving the twists and turns for the concluding part. Elaborate sets and consistent musical score make the production almost cinematic in approach. The realistic performances are the highlight of the play. Rutuja Bagwe, as the protagonist Ananyaa, presents a versatile portrayal, through subtle glances, playful voice modulation and intense character work. Pramod Pawar, as the father, brings the emotionallycharged character to life while Vishal More, the brother, underplays the role convincingly. The scene transitions are marked by dramatic music or voiced narration. Though the plot does not keep one on the edge of the seat, it delves with sensitivity into the changing dynamics of relationships as Ananyaa comes to terms with her challenges as a person with disability.
The play carefully avoids lapsing into the melodramatic, and makes one think about the silence and stigma that shroud lives that are not deemed ‘normal’. Shifa…The Healing by playwright Tripurari Sharma explores another world of silence and social ostracisation –the lives of HIV positive people. A play within a play, it underscores the discrimination of three characters who attempt to share their stories with the audience, and often find themselves colliding with the apathy of people in real life. The direction by Teekam Joshi is a dramaturgical delight. With minimal scenography, the stage gets transformed rapidly into performance space, home, street, university, and more. The interaction between the three main characters, the intersections between their lives and the bond of empathy is depicted vividly and sensitively. The plot moves quickly along with the emotional evolution of each of the characters. Teekam Joshi as Sanjeev, brings out the shock, agitation and transformation of the character from a judgemental student to a driven social activist, with intensity. Nalini Joshi as Chhaya, presents a graceful portrayal as a pregnant woman, swamped by anxiety about the fate of her child. Shradha Vasudev plays the vivacious Barkha who transforms from being an indignant teenager to a forgiving woman. The music by late Ravi Nagar is aptly layered, varied and moving. The screen projections are mostly superfluous in the scheme of things and occasionally distracting. The play is devised to leave one disturbed, reflective and moved.
