In recent months we have seen a number of dramatic works on the life and teachings of Mahatma Gandhi by eminent theatre directors as a tribute to Bapu’s 150th birth anniversary. This past week discerning theatregoers have seen yet another production titled “Pehla Satyagrahi” presented by the Repertory Company of National School of Drama at Sammukh auditorium. It radiated with the brilliance of director's ingenuity and spirited performances by actors bringing to the fore inspiring facts about the life of Mahatma Gandhi and his deep commitment to truth and non-violence.
Prof. Suresh Sharma
Directed by Prof. Suresh Sharma, repertory chief and director in-charge of the NSD, whose forte is acting but in recent years he has displayed his grasp over directorial craft, with emphasis on stage compositions transforming them into poetic imagery. Other aspect of his art is the imaginative use of multimedia to heighten the realism. This enhances the dramatic impact of the action that unfolds downstage. The creative collaboration between the director, his cast and music composer create a theatrical artistry that is emotionally enriching and morally uplifting.
Written by Ravindra Tripathy, a multi-faceted creative writer, who has tried to give the narrative a non-linear format by opening the play with “Raghupati Raghav Raja Ram” prayer with two narrators – Mahadev Desai and Pyare Lal, associates of Gandhi. Mahadev is known as Gandhi’s personal secretary – unfolding Gandhi's journey from a lawyer in South Africa facing most humiliating and insulting treatment at the hand of the British colonial regime. To resist the inhuman treatment of the white rulers, he initiated peaceful disobedience movement. The playwright introduces to us Gandhi's contemporary who were influenced by Gandhi's way of resistance to oppression and were associated with him. Through this interaction, the production paints a vivid picture of Gandhi and his gradual transformation into Satyagrahi or seeker of truth.
What makes Tripathy's script distinctis that he has projected common men and little known associates of Gandhi as dramatis personae. His dialogues are simple and conversational that establish rapport between the leader and the followers. Gandhi is seen mostly in action with his associates drawn from different social strata who live in his Ashram following severe discipline and universal brotherhood.
The inhabitants have to maintain high level of hygiene and have to clean lavatory themselves. Kasturba is aksed to do the same. Untouchability in Indian society was an anathema to him and considered it a plague in society. The playwright has highlighted this thematic element with great force when a Dalit couple arrives in the Ashram and admitted to it. The upper caste Hindu inhabitants of the Ashram refuse to drink water touched by the Dalit couple which enraged Gandhi who declared in a firm voice that all those who practise untouchability have no place in the Ashram. The moral force of Gandhi was so strong that everybody accepted the Dalit couple as equal.
The scene, where Kasturba is critically ill and Susheela Ben desperately tries to give an injection to her but cannot because Gandhi refuses to give her the permission as he believes in naturopathy, is moving. Eventually Kasturba dies. Gandhi mourns her death, lost in painful nostalgia about more than 60 years of married life, where she always followed in his footsteps, bearing the hardships of the wife of a true faqir.
Discipline is key
Gandhi led a highly disciplined life and followed strict rules in his day-to-day life and considered fast an act of purification of soul. The production illustrates this phenomenon in a scene set to bloody communal riots-torn Naokhali on the eve of the Partition.
He forced Manu Ben, a young lady, to go to a place in the dark night where she has forgotten a stone in their previous halt to bring it. She goes in the face of great risk to her life and brings the stone back.
One of the most heart-rending scene is one where Gandhi goes to Champaran to alleviate the hardships of tenant farmers forced to cultivate indigo and are reduced to abysmal poverty by the colonial rulers. We watch three women looking out from a window. At the instance of Kasturba, they tell her the terrifying truth that these three women are wearing just one sari and hence they cannot come out. Gandhi is shocked and resolves to wear scanty clothes. It deeply touches emotional chord with the audience to watch human misery perpetrated by alien rulers.
However, there is a jarring note created by the attempt to introduce Pirandello technique of interrupting action on the stage. Some actors go up on the stage from the auditorium, raising questions about the relevance of Gandhi's concept of Hindi Swaraj. It interrupts the rhythm of action and tends to be imposed upon the narrative. Moreover, the focus is on Gandhi's action as a Satyagrahi manifested through his commitment to truth and non-violence.
Memorable portrait
Music score by Kajal Gosh, veteran stage music expert, not only evokes the right mood for the action but creates delicate imagery to create the right ambience. In the Naokhali scene, the lyrics are set to a tune from Baul music. Similarly, the song rendered while action unfolds in the Champaran scene is based on folk music of Bihar. Rabindranath Tagore’s celebrated song “Ekla Chalo” metaphorically reveals Gandhi's constant experiments with truth and Ahimsa. The play ends with Ramdhun prayer.
Shanawaz Khan as Gandhi, initiating resistant movement in nascent form in South Africa, acts admirably. Raju Roy is superbly cast in the role of Gandhi, the tallest leader of Indian Independence movement and a prophet of peace and non-violence, a perpetual seeker of truth. He creates a memorable portrait of Mahatma Gandhi, the Bapu of the nation.
