‘Ashad Ka Ek Din” written by Mohan Rakesh is a modern classic which has been translated into most of the Indian languages and frequently performed by leading theatre practitioners as well as by amateur groups. Its taut structure, incisive and beautifully chiselled dialogue pregnant with deeper meaning raised the Hindi dramatic scene to a higher artistic level. Most of the productions of the play seen on the Delhi stage follow almost the same pattern evolved by E. Alkazi who directed it for National School of Drama in 1962.
Delhi theatre audiences got an opportunity to see an ingenious directorial treatment of the production of “Ashad Ka Ek Din” presented by Circle Theatre Company at Muktadhara recently. The production gives an insight into a classic written in 1958, exploring various layers of love and its reality. This interpretation is revealed through visual metaphors and subtle use of music. The director has remained faithful to the original script heightening the beauty of the dialogue with visual imagery.
Associated with Indian People’s Theatre Association when he was in Kolkata, Bapi Bose is a bold theatre activist and his theatre is known as political theatre. Having studied at IITA Kolkata, National School of Drama and NIDA Sydney, Australia, his memorable productions include “Nati Binodini”, “Delli Chalo”, “Sanyasi Ki Talwar” and “Caesar Ke Aakhree Saat Din”, with some of them featuring at Bharat Rang Mahotsav and Bharatendu Natya Mahotsav organised by Sahitya Kala Parishad, Delhi. As an innovator, he often uses large puppets and multi-media elements and a variety of off-stage music and poetry to create an artistry rich in complex combination of ideas, music, rhythm and colours. In almost all his productions one discerns an undercurrent of protest against an oppressive and unjust socio-political system. His artistic credo tends to have been influenced by the political theatre of Utpal Dutt. In “Ashad Ka Ek Din” all these elements are manifested.
“Ashad Ka Ek Din” deals with various aspects of human life. On the surface it depicts love between Mallika, a highly sensitive mountain girl and Kalidas, a poet, who is inspired by high mountains, the clouds and the incessant rain. Mallika’s whole life is dedicated to Kalidas, becoming a source of inspiration, wishing him to be the greatest poet. On the other level, the play explores the conflict between state patronage and the creative freedom of the artist. There is another layer to the narrative: if a creative person is uprooted from his socio-cultural and natural ambience, he gradually loses his sensibility, fertile imagination and poetic vision to recreate a new world, a world more richer and more vibrant than the drab day-to-day reality of life. These various layers are intricately woven into the dominant theme of love.
As the play unfolds, it creates scenes, some are thrilling, some evoke pathos and some bitterness. One of the ingenious directorial approach is reflected in the use of off-stage lyrics drawn from Hindi films to enhance the emotional impact on the audience. “Albela Sajan Aayo Re”, which is used as signature tune, offers an ironic comment on the ephemeral character of love.
Director Bapi has used the colour red. Downstage on the edge are placed thick layer of red roses. Mallika has wrapped around books written by Kalidas in red cloth — these epics he wrote while he was in Ujjaini and Mallika bought them from traders coming from Ujjaini. The red colour symoblises Mallika’s self-effacing love for Kalidas. A dream sequence in which Mallika visualizes Kalidas in the company of beautiful courtesan exudes a touch of expressionism.
The denouement scene deserves special mention. In Rakesh’s version a defeated, fatigued and demoralized Kalidas comes back to Mallika after a long time. He earnestly wishes to start life anew in his beloved village with Mallika. At this momentous moment, he hears the cry of a baby, interrupting the conversation between old lovers meeting after long separation. Mallika says this is her present. Kalidas leaves her and goes out. Mallika remains crestfallen. The baby cries once again. Mallika’s past is dead and her future is dark. We hear loud thuds on the door and rough voice of Vilom. In Bapi's production Mallika comes out of her home with her baby as soon as Kalidas leaves, stepping over the red roses in anger, breaking the image of male and female dancers in elegant pose, symbolising to glory of love. She comes out of the stage in the auditorium with her baby followed by several Mallikas determined to create a new life a collective resolve of single mothers to assert feminine dignity. Rakesh’s Mallika finally wins liberty in the production of Bapi.
Padamshree as Mallika performs with consummate artistry. She creates a sustained poignant image of her character. Her Mallika undergoes a transformation when she meets suddenly Kalidas and he abruptly leaves her after hearing the cries of her baby. Her image is no longer poignant but an image of a determined woman in search of new meaning in life. Flora Bose as Ambika, the worried and sick mother of Mallika, Nitin Gupta as Kalidas, Subhash Chander Tyagi as Matul, Shuddho Banerjee as Nikshep act admirably. Digamber Prasad in the challenging role of Vilom, the alter ego of Kalidas, exposes Kalidas’ opportunism, his skin-deep feelings of love for Mallika and his weak will to face challenges in life.
