This year’s Graduate Show organised by National School of Drama on its campus promises that its graduates are keenly aware of contemporary stark reality of Indian society as well as their own potential to reflect and interpret this reality in theatrical terms. The productions range from abstract to well-made plays that have the power to grip the attention of the audience. In most of these productions seen by this writer there is a bold attempt to experiment to evolve a technique that is radically different from the conventional approach to play production. The show came to an end with the staging of “Gam Sereng” on the open lawn of NSD this past week. Designed, directed and written by Saurav Poddar, the play is a bold attempt to present the violent conflict between Maoists and security forces in Chhattisgarh.
The young director-writer has subtly and intelligently placed violence in its socio-political context and examines its root cause and raises a critical question why it is being waged. The production captures the bloody conflict between security forces and Maoists with dramatic intensity. The narrative is not elaborate. There are vivid images of Maoist insurgents and the defenders of the system. Both these antagonistically opposite forces argue their case with logic, citing wide ranging data in support of their arguments. There are arguments that illustrate the capitulation of Indian Government before the United States of America and the exploitation of tribal people and their natural wealth. A man with a jhola-bag-sling on his shoulder is forcibly taken away in a car. Though no name is given to the character, it is suggestive enough to know that the person is Kobad Gandhi. The conversation between two high ranking officers during the course of badminton match with stand by attendants to provide them necessary comforts show the exploitative character of a class society. The interrogation of man with jhola illustrates the fundamentally opposite world view of the security forces and insurgents.
The director-writer has designed his production with remarkable ingenuity. The entire open space available to him is explored both horizontally and vertically. The music, the sound and the judicious use of tribal folk elements are all harmonised into an artistic whole. The cast exudes vitality, intensity and agility.
Vishala Ramachandra Mahale’s “Dot Dash Dream Delusion” is an experimental theatrical piece to reflect complexity of psychic landscape through images, sounds and light effects. The acting style could be described as non-realistic with emphasis on movements reflecting intense turmoil of character’s inner-self. In fact, the play has no beginning, no middle and no climax. Its aim is to focus on the psyche of a girl with a traumatic past. Through the interactions of various characters, a nightmarish atmosphere is evoked with characters haunted by threatening shadows of the past.
Significance of Vishala’s production lies in creating an innovative stage to have a closer view of the action. The audience occupies seats on the three sides. Upstage a huge screen is stalled in facing the audience which projects abstract images. It is a kind of a shadowy world to reflect a traumatised state of mind. The performers appear on the stage in different styles in a variety of costumes. Sometimes, they appear with masks and when they are without masks their facial expressions are distorted and are in emotionally heightened state. Performers’ movements are accompanied by sound and light effects. The abstract images on the screen reflect the fear of constant persecution.
In contrast, “India 65YRS: Kuchh To Karo Yaaron” has a narrative which is moving, hilarious, satirical and designed meaningfully. Since the theme is drawn from real life situations with their inherent incongruities, the audience identifies with some of the characters.
Directed by Amanpreet Kaur and written by Pali Bhupinder, well known Punjabi playwright, it is translated into Hindi by Ram Ji Bali. It is a family comedy which exposes the idiosyncrasies of the members of the family which consists of two sons and their wives, an unmarried son, a close relative and a domestic help. They are raising a hue and cry about the urgency of the treatment of the head of the family who is said to be in a critical condition. They vie with one another to show their concerns for the ailing old man but nobody is ready to go to his room, let alone bring medicine for him and call a doctor. Their main motive is to have a lion’s share from the property of the old man. The only one, who is sincere and honest to serve the ailing man, is the domestic help. The main source of comedy is the pretentious behaviour of the sons and daughters-in-law. The comedy has a surprise ending that shocks the claimants to the property. The director has brought alive, common occurrences in the family with bright comic flavour.
The members of the cast display fine sense of timing and a style of dialogue delivery that evokes laughter loud and long.
