Tamasha Na Hua” returns to the Capital after being staged in various cities including 8th Theatre Olympics organised by the National School of Drama. A thought-provoking dramatic exploration of universal humanism as propounded by Rabindranath Tagore, the play was witnessed with rapt attention. However, at Bhopal, one member of the audience when drama was at the height of mounting conflict shouted, “Bhanu should be sent to Pakistan”. While the organisers took him away from the auditorium, the drama continued, unfolding its narrative. At the end of the show, the actors and the director received thunderous applause.
The play is written, designed and directed by Bhanu Bharti, the foremost director of the contemporary Indian theatre. The play was presented by Aaj Theatre Company at Shri Ram Centre in Delhi recently. Watching this production once again after five years gave one another opportunity to understand the deeper meanings of the play and its vital contemporary relevance.
NEW DELHI, (For The Hindu Archives): Theatre personality Bhanu Bharti in New Delhi. Photo: Shiv Kumar Pushpakar.
It is also an occasion to evaluate the innovatively complex and intricately conceptualised theatrical piece by the director in harmony with the content.
Bharti’s most landmark works reveal that he never repeats his formats and contents.
“Tamasha Na Hua” opens with performers rehearsing Rabindranath Tagore’s celebrated play “Muktdhara” which deals with the imperialistic designs of the king of Uttarakut who has constructed a huge dam on the hill top near the water stream that flows down the valley where the people of Shivtari live. And for them the water that flows down from the hill top is a lifeline. The king with the help of technology and expert engineers has constructed the dam to subjugate the people of the valley. This inhuman act on the part of the king is opposed by Dhananjay who teaches people to resist the inhuman act of the king and confronts the king with conviction, protesting against the construction of dam that attacks on environment and destroys man’s relationship with nature. The crown prince destroys this dam at the cost of his life.
Man-made disaster
As the performers are rehearsing the opening scene of celebration of construction of dam against the echoes of protest and lamentations, the director enters the rehearsal scene, expressing his unhappiness, exhorting them to act with conviction to interpret the essential humanity of Tagore that transcends narrow national boundaries. At this point, the actors become excited and debate on the relevance of Tagore and his play “Muktadhara” which was written in 1906, ensues. The reckless use of technology and its impact on society is discussed. They talk about the mushrooming of dams that are destroying environment resulting in the man-made disaster that we have watched in Uttarakhand, and now in Kerala. The issue of Farakka barrage and its effects on the agriculture and fisheries of Bangladesh is discussed with concern. Some performers refer to Baglihar dam on river Chenab harming the interests of the people of Pakistan. Some performers raised questions about the harm to be caused by the proposed dam on the river Brahmaputra by China. As the polemics become hot, the similarity between the philosophy of Gandhi and Tagore is analysed thread bare. One performer agitatedly criticised Gandhi for his strong recommendation to pay Pakistan a huge amount in the wake of the Partition of the country. Some actors justified Gandhi’s initiative to pay Pakistan the money due to her.
Apart from polemics about Gandhian philosophy and Tagore’s vision of universal humanity, the play highlights the need for a new theatre to reflect the present decadence, inhumanity and intolerance. One performer calls the traditional theatre Pangu theatre – the theatre of the crippled.
As the polemics remain inclusive, there is a pause that evokes a sense of suspense, the director addresses the audience: “In these circumstances the show could not be performed. Well, if you consider what you saw on the stage a show, you are welcome.”
The perceptively designed set and the lighting effect designed by veteran light designer R.K. Dhingra and the off-stage music by Govind Pandey create an ambience and mood that create magic on the stage, contributing to heighten the meaning of the play. In the backdrop, a surrealistic painting of a grotesque image symbolises of mechanisation and technology that are endangering natural environment, destroying the harmony between man and nature.
Most of the performers are highly trained and experienced who display rare voice control and theatrical elocution that contribute greatly to make a play with meaningful dialogue revealing the philosophical kernel of the play. Ravi Khanviker as director and Dhananjay, the rebel, gives excellent performance. Ravi is endowed with a booming and clear voice.
Nalini Joshi as an actor who defends Gandhian philosophy, Teekam Joshi as a performer with leftist leanings and Daksha Sharma as the lamenting mother and participant in the polemics captivate the audience with their consummate artistry.
