The gratifying aspect of Rang, a festival of Indian arts, including plays, organised by the Films and Theatre Society in different venues in Delhi, is the enthusiastic participation of young amateur artistes both as organisers and performers. This was very much in evidence in the two plays presented by the group as a part of its nine-day festival. A chartered accountant by profession, Atul Satya Koushik, president of the group, has been able to inspire the members to produce weekend theatre. Passionately committed to arts, he writes and directs most of the plays produced by the group.
“Arjun Ka Beta” was the opening play of the festival, presented at the LTG auditorium this past week. It depicts Abhimanyu’s most heroic and fiercest battle to penetrate the Chakravyuh formation of the Kauravas. Unable to overcome him individually, the exalted Kaurava warriors collectively and in a perfidious manner succeed in killing Abhimanyu, the son of Arjuna and Subhadra.
The death of the great hero causes intense anguish, and a burning desire to avenge his death by throwing to the winds the codes of war. The Pandava camp is all shell-shocked. Arjuna is away engaged in a deadly battle, unaware of the death of his son at the hands of the Kauravas.
A heartbroken Yudhishthira goes to Bhishma, seeking advice how to break the news to Arjuna. There is a long sequence showing the conversation between these two dramatis personae, reflecting the philosophy and eternal implication of the Chakravyuh.
This is a verse play written and directed by Atul Satya Koushik. In fact we have seen several productions of Abhimanyu’s exceptional heroism fighting the great Kauravas fighters like Drona, Ashwatthama, Kripa and Karna who attacked him simultaneously. The most outstanding production is by Ratan Thiyam. Remarkable for its highly stylised format and stunning visuals and its anti-war message with universal application, Thiyam’s production has been acclaimed as a modern Indian classic. There is no point in comparing the production of an amateur with that of a master. However Koushik’s production seeks to interpret the Chakravyuh in a different manner which is an original idea. By selecting a stylised format, he has been able to impart harmony and dramatic intensity to his production. The bamboo staves symbolise deadly weapons like swords, bow and arrow and mace in an innovative manner. This kind of experiment with bamboo staves was earlier done by Balwant Thakur of Jammu and Kashmir with great effect. Bansi Kaul has also been using bamboo staves often in his productions.
To Koushik, the Chakravyuh symbolises man’s dilemma and his entrapment caused by social conditions. The philosophical undertone is revealed through the character of Krishna who declares that though he is God, he too is a victim of the Chakravyuh formed by his social conditions, and there is no escape from it.
Koushik’s use of offstage music was loud and the rendition of the bhajan “Hare Krishna” weakened the profound philosophical impact of the denouement. Sahil Chhabra as Abhimanyu gives a powerful performance. Nishtha Paliwal in the cameo role of Shubhadra impresses the audience.
Short story adapted
Adapted by Koushik from his short story, “Jamuna” was the second play featured at the festival. The action moves around a family based in Lahore, struggling to keep its members united against the back drop of social and political turmoil and the repression of the freedom movement culminating in partition of the country. There are several streams in the narrative: we hear young people’s fight against the British imperialism with arms. We watch the suffering of a nautch girl and her love for a freedom fighter. We also watch a pretentious teacher who poses as an intellectual and his mute student who is a parasite. There is a scene of vehement opposition by conservative elements of the Hindu society and their hypocrisy. The play also tries to deal with problems of persons physically and mentally challenged and the callous attitude of the society towards them. It also presents a stereotyped villain.
Despite melodramatic and contrived situations, the production offers some poignant moments that make for engrossing viewing. The lyrics written by the director are set to a score that acquires emotive power. There are dance sequences at some places that enliven the show.
Shakti Singh as Jamuna portrays her character with sensitivity and deep feeling. Her Jamuna tries her best to maintain her joint family but she is too weak to confront the formidable forces that disintegrate not only her family but the whole country. Isha Uppal as the sister of three brothers imparts to her portrait both gusto and touching pathos. Tarun Dang in the role of a physically and mentally challenged young man gives a convincing performance.
