Kevadia Plays

Director & Writer : P S Chari
Group : Triveni Vadodara, Gujrat
Language : Gujarati
Duration : 90 minutes without an interval

Play

This ninety minutes performance ONCE MORE- DESI GUJARATI OPERA showcases the musical legacy and the charm of the Gujarati Theatre, cherishing the memories of the legends who have captivated the audience. The musical presentation by the artistes of Triveni Vadodara presents hilarious and famous Theatre songs from 14th Century till the latest 21st century.

The musical journey portrays performance of Sixteen songs from the oldest folk music traditions, ranging from the ‘Dindavanu’ of Bhavai to songs from Juni Rang Bhoomi to humorous songs and Qawwalis of Parsi Theatre up to the modern compositions of contemporary Theatre. It includes the theatrical musical pieces from highly acknowledged Legendry Gujarati plays and the compositions of great theatre maestros. This harmonized performance of songs, music and dance is an insight into the rich musical heritage, which will enchant & mesmerize the audience.

Director’s Note

Once More-Desi Gujarati Opera is a collage of various Gujarati Theatre music forms and folk music traditions in a performance capturing the essence and era through enactment of popular vintage characters & costumes.

Musical Theatre in Gujarati language dates back to 15th century. During the medieval times, the BHAVAI theatre flowered as an artistic expression against the prejudice of social norms. With time, the Bhavai form started absorbing the hues of local dialects, costumes, song & dance to acquire a distinct Gujarati flavour that now forms a skyline of Gujarati Theatre.

The audience will witness the colourful history and diversity of various forms of Theatre-music showcasing Bhavai, Juni Gujarati Rang Bhoomi, Parsi Theatre, Bohra Community songs and Modern Gujarati Theatre, through the voices of theatre artistes and singers, composed in a single symphonic medley.  The presentation includes musical pieces from highly acknowledged legendry Gujarati plays and the compositions of great theatre maestros like Asait Thakar, Chimanbhai Nayak, Raghunath Brahmbhatt, Manasvi Prantijwala, Adi Marzban, Sitanshu Yashashchandra, Saumya Joshi, Raju Barot, Nimesh Desai, Kabir Thakore, Manoj Shah and others. The harmonized enactment of Humorous songs, music & dance is created to enchant & mesmerize the audience.

Director & Writer

An Ex. Member, Gujarat Sangeet Natak Academy and Script Scrutiny Board Gujarat Sangeet Natak Academy, and a performing artiste, Director and Educator, P.S.Chari has been an integral part of performing arts since 1985. He has directed multiple plays including Rabindranath Tagore’s ‘DaakGhar’(Bharat Rang Mohatsav -15), ‘Gopal Ane Sayaji’, (Bharat Rang Mohatsav -16) Garje Girnari Billi, (International Children’s Theatre Festival Jashn-E-Bachpan 2019),  Karn No Vesh at the (Red Apple International Theatre Festival Sri Lanka December 2020), and Once More-Desi Gujarati Opera at (Rang Sangam Natya Samorah by Sangeet Natak Academy New Delhi). He has visited USA and Canada in May 1998, as a team member for Rotary Exchange International Program, and has  been invited by Bharatiya Vidya Bhavan International London to conduct Theater Workshop and launch new Theater production. PS Chari has won many an accolade, including Gaurav Puraskar conferred in September 2007, by Gujarat Sangeet Natak Academy.

Group

Founded in 1960, Triveni has been a theatre group performing & delving into traditional, as well as experimental theatre. Triveni’s landmark productions directed by Prof Markand Bhatt like Dhara Gurjari, Shetal Ne Kanthe, Ho Holika,  Sikandar Saaani, have regaled the audience and left a whole generation enraptured.

Triveni has been invited to major National & International Theater Festivals, like Bharat Rang Mohatsav, Sangeet Natak Akademi Festival Delhi, West Zone Cultural festival, Gujarat Sangeet Natak Akademy Festival and other notable Theater Festivals. Triveni has staged its productions in United States, Canada and Britain on invitations. Triveni continues its journey of presenting diverse, experimental and meaningful theatre explorations with benedictions of well-wishers and dedicated artist.

Director : Smt. Sima Mukhopadhyay
Playwright : Mohit Chattopadhyaya
Group : Rangroop, Kolkata
Language : Bengali
Duration : 110 Mns.

Play

The play describes the transformation of Nalini, of a freedom fighter’s widow, from a hapless mother to an empowered woman. In her dire straits, Nalini found a mentor in her late husband’s disciple, Hashi di, who had actively participated in the Quit India Movement of 1942. Though Nalini had lost touch with Hashi di, she emulated her courage and strength. Nalini acknowledges Hashi di as her role model. Decades later they meet each other and learn Nalini’s granddaughter is about to marry Hashidi’s grandson. Nalini and Hashi di, two long lost friends, celebrate the meeting through reminiscences of the struggle for independence. History helped Nalini embark on a journey within for independence. She now earns a living and lives life with a dignified identity without becoming a burden on anyone. On the 75^th year of Independence let us also highlight the saga of an individual’s battle for emancipation.

Director’s Note

As a lady director, I have explored a variety of subjects. In 2010, the 42^nd year of Rangroop, I chose “Mayer Mato” as the theme was challenging. The play is about two elderly ladies, a widowed mother Nalini and Hashi di, a former freedom fighter, who meet each other after decades. They celebrate the reunion by reminiscing about their involvement in the Quit India Movement of 1942. The play reveals how their life was shaped by India’s struggle for freedom. Financial independence is important for the emancipation and empowerment of women but “freedom and independence” mean a lot more. It’s much about a woman’s journey within to develop an identity strong enough to accept the vicissitudes of life as well as develop a sense of dignity so as not to become a burden on anyone. The process unnerves the value system of so-called “modern” and “well established” family members.

Director

Born on 5^th December, 1959 Sima Mukhopadhyay completed her Master’s degree in Drama (Acting) from Rabindra Bharati University, Jorasanko, Kolkata and conquer the top position in the university. She also has received Senior Fellowship from H.R.D. New Delhi, in the year 2002. Smt Sima Mukhopadhyay received Ritwik Ghatak Smriti Puraskar as the best actress for her performance in ‘Clown’ in 1985. She was awarded the best actress by Pashchim Banga Natya Academy, for her performance in ‘Bikalpa’ & ‘Balidan’ in 1992. ‘Dishari Puraskar’ is also one of her major achievements as an actress. Smt. Sima Mukhopadhyay was crowned ‘Dishari Puraskar’ & ‘Ritwik Ghatak Smriti Puraskar’ for ‘Panu Santi Cheyechhilo’ in 2000 as the best playwright.

Smt. Sima Mukhopadhyay received ‘Kalakar Award’ as the best director, in 2000-2001 for ‘Aaborto’. She has received ‘Jeevan Kriti Samman’ award by Anya Theatre, a theatre group of national repute. Smt. Sima Mukhopadhyay received Anukul Natya Samman 2019 from Rupkata (Prayagraj)

Playwright

Mohit Chattopadhyaya (1 June 1934 – 12 April 2012) was a Bengali Indian playwright, screenwriter, dramatist and poet. He was a leading figure in modern Indian drama. Mohit Chottopadhya died on 12 April 2012. He had been suffering from cancer.

Mohit Chattopadhyaya was born in the town of Barisal, now in Bangladesh. In the library he stumbled upon Six Characters in Search of an Author by Luigi Pirandello, his first contact with an absurd play. He finished his Matriculation examination in 1950 and joined City College, Kolkata. He became close friend with Sunil Gongopadhyay, Shibshambhu Pal, Soumitra Chatterjee, Sandipan Chattopadhyay, Shakti Chattopadhay.

He is also the Executive Member of Paschimbanga Natya Academy. The recipient of scores of awards and felicitations, Mohit Chattopadhyay received the Sangeet Natak Academy Award in 1991. Among other awards he is the recipient of Girish Award, West Bengal State Award, BFJA Award, Nandikaar Award.

Group

RANGROOP has emerged to be one of the most potent and formidable theatre groups in Kolkata in recent times, especially in the last 20 years. Incepted in 1969, under the directorship of Lt Sri Goutam Mukherjee and later under the directorship of Smt sima Mukhopadhyay, RANGROOP has explored almost every genre of theatre. Never compromising with the quality of production RANGROOP has been mesmerizing with its performance in almost all sects of viewers resulting in a prolific increase in popularity and respect amongst the viewers and critics. RANGROOP belongs to one of the majorly active groups in Kolkata with a high number of shows each year, new production each year, activities like theatre workshops and seminars in schools and in-house and thus having one of the most extravagant numbers of whole-time theatre workers. RANGROOP is an assembly of scholars from the University Drama Department (the Director herself), teachers and professors, doctors, psychologists, painters, musician and thus creating continuously an aura of excellence around its productions.

The background:

Indian civilization was already a few thousand years old. Had already seen a few great wars and written most of the great scriptures, produced great thinkers in diverse streams of knowledge such as socio-politics, religion and science. New organized religions had already started taking roots in the culture of Indian race. Old beliefs had already started becoming dogmas. And people were having their first brush with the western conquests…

The 320 years before the Christian era or thereabouts, the fabric of Indian race had disintegrated a little. The first democracy in the present day central India, to save which lord Krishna had devoted first half of his life, had already eroded. The great kingdoms of northwestern India such as Kuru-Panchal, or southwestern Soparak and Sthaneshwer had either vanished dwindled in importance. Small or midsized kingdoms were being ruled by shortsighted, greedy and pompous tyrants, who were absolutely oblivious to the threat the western invaders posed. They were engaged in there past time, greed, jealousy, promiscuity, superstition or egotism.

The first sovereign of known Indian history was groomed in this era. CHANDRAGUPT MAURYA was coroneted on the throne of Magadha, one of, arguably the only, big kingdom in or about 329 BC. He and his grandson SAMRAT ASHOK brought the land under their regime bigger than the modern-day India.

The legend has it that this revolution started by a Brahmin named CHANAKYA. Chanakya was the son of revolutionary leader of Magadha saint CHANAKA of KUTAL clan. He had escaped to Takshashila, the epicenter of Indian academics from the time immortal. He had studied at the Takshashila University, befriended the future king of the region, later started teaching in the same university, and rose up to the post of chancellor: all the while waiting for the chance: for the right time to start a revolution. And the revolution that would yield long term results this time.

Some time during middle of the 4th century before Christian era there were few revolutionary groups struggling to liberate Magadha from the reign of an outsider, the clan of Bindusaar and Ajatshatru of Ang region. The most prominent of them were Katyayanacharya Rakshash and Shaktaar. Shaktaar had become successful and established the short-lived kingdom of SHISHUNAAG, a northeastern dynasty that would become greatest dynasty for nearly three centuries in the first part of the Middle ages and the strongest defender of Hinduism; but that would be in the future.

Shishunaag was an outsider too and the group of Rakshash kept on struggling. The regime changed within few years. Shishunaag was decapitated. The power was usurped by MAHAPADMA NANDA, the founder of Nanda dynasty. He ruled fairly under the guidance and control of Rakshash for few years but his sons became uncontrollable. The eldest Nanda was HIRANYAGUPTA who came to throne after his father’s demise. His eight brothers took up all the important positions in the administration and security. Hiranyagupta was called DHANANANDA by his subjects because of his insatiable greed.

Mahapadma Nanda had begotten a son by his strategic marriage to the princess of nomads called Moor clan. This son was the youngest and most despised by all nine elder brothers. Probably because Mahapadma Nanda’s relation with Moor clan had made these nomads uncontrollable. Daughter of Moor was never considered as a legitimate queen of Nandas and alluded as the MURA DAASI (house cleaner Mura). Her son, the tenth of Nandas was called DAASISUT and MAURYA instead of Nanda. He was the great Samraat Chandragupt Maurya. It is believed that Mahapadma Nanda kept Chandragupt with the Moors when he was a child for he feared for Chandragupt’s life. This is where Chanakya had first seen Chandragupt and had become impressed the intelligence and leadership quality of this child. However, another story is more plausible considering the age of Chanakya at the time of Chandragupt’s conquest.

This story is narrated in the play written By Mihir Bhuta titled CHANAKYA which states that Chandragupta was an ex-student of Taxila University where Chanakya had seen his potential as a warrior and an administrator. This play is the dramatized version of pre Christian ear history of India. A small glimpse of the first rays of the rising sun of Indian nation and nationality. This story is of and about the finalstep in the long journey of the Aryan clan from nomadic barbarians to the proud nationals of Indian subcontinent.

Alexander the great came to northwestern front of India in year 320 BC. Most of the Indian rulers either surrendered or perished fighting Alexander. Chanakya was heading the Takshashila university at the time but had established a secrete organization to keep close watch on the world politics. He knew the threat Alexander posed to Indian subcontinent. He had realized that the fragmented Indian strength was not capable of fighting the Greeks. He had the vision to bring India under sovereignty of a benevolent king, collect the fragmented fragile populace of Indian subcontinent, and convert it in to a formidable force. The story is structured so that it begins with Chanakya’s dream and ends with its fulfillment.

The high points of the story are as follows.

Chanakya advises the King of Purushpoor that he should send prostitutes and spies on special commission to infiltrate the Greek army and thus ignite a revolt so that Alexander would have to return to Greece. Thus he foils Alexandrian conquest which otherwise would have subjugated India for a long time. The History of India would have been different than.

Chanakya knows that the Greek would come back in a few years to annex this land. he formulates a secrete plan to amalgamate most of the major kingdoms of the subcontinent within that period and make this united Bharatvarsh a formidable force before the Greeks return. As part of his grand plan he sends few of his disciples to the mountain kingdom of Himavat, present day’s Nepal to become priests there. He him self travels to Magadh, the eastern most kingdom. On rout he studies the political scenario of the land. He gets to know in Magadh that Dhananand has pronounced death sentence for his youngest step brother Chandragupta. Chanakya manages to siphon Chandragupta away with the aid of his disciples. This is where he takes his famous oath to destroy the evil ways of Dhananand and his entire clan.

He along with Chandragupta and his disciples take refuge with the nomads called Riksh. He encourages Chandragupta to make warriors out of these hunters and with that army Chandragupta conquers two neighboring kingdoms of Kashi and Kosal.

Now is the time for Chandragupta to enter into treaties as a king, with Major kingdoms to fight against Magadh. As per the traditions of those days no legitimate king would enter into any kind of treaty with a rebel unless that person is coroneted by the main priest of an important religious center such as Minakshi, Somnath, Jaggannath or Pashupatinath. But Chanakya had envisaged this problem and worked out the solution. This was the reason he had sent his disciples to Nepal to become priests in the temple of Pashupatinath. The king of Himavat named Parvatak has no other recourse but to expect Chandragupta as a legit king. Once Parvatak enters in the treaty with Chandragupta seven other feudatories follow. Though Parvatak has his own secrete agenda but Chanakya knows about that. Chanakya suddenly dissolves the nomad army under the pretext that Aryan army would not like fight along side the nomads. Unknown to Himavat Chanakya has asked his nomad army to go and settle down in and around the mountain kingdom and await instructions.

Chandragupta defeats his step brother with the help of his allies and the master strategist Chanakya. The chief minister Rakshash rebels and Chanakya knows that Chandragupta would not be able to keep his kingdom unless Rakshash is on his side. Rakshash can not be allowed to rebel nor he can be killed. Rakshash’s heart has to be changed. on top of this, immediately after the victory over Magadh and before Chandragupta’s army gets any chance to recuperate, Parvatak declares war against Chandragupta. Rakshash is on his side too. But unknown to Parvatak, Chanakya had been ready for this eventuality long back. Chandragupta’s Nomad army starts raiding Himavat. Parvatak realizes that he will have to lift the siege and go back to Himavat. Chanakya’s invitation for fresh treaty comes as good news so that he will be able to win his war here in Magadh and still go back to Himavat. Little does he know that Chanakya is going to kill him.

As a last stroke of genius Chanakya converts Rakshash, the rebel chief minister of Dhananand for a formidable foe in to a great friend and the chief minister of Magadh under Chandragupta too.

Characters:

Chanakya’s intelligence is considered the greatest after more than two thousand years. That is due to his success in carving out a unified nation and bringing prosperity to India single handedly. And the success of his revolution had arguably the longest life of all Indian revolutions. Chanakya was scholar of practically all the traditional disciplines of knowledge; but his heart was in politics and economics. He firmly believed that mono-centric rule and correct economical growth only would be able to bring happiness to the much-exploited masses of this war torn land. His work was similar to that of lord Krishna, though at war was between Aryan and non-Aryan in the time of Krishna. Chanakya’s cunning was in his ability to see farther in time than anybody could see. He designed his future moves well in advance and went further by taking actions that would bare advantageous fruits when the time was ripe for making those moves. He probably had a great insight in to the human psychology and could accurately predict the behaviors of people.

Chanakya had cool fortitude and unhurried confidence. Although the chronology of events suggests that he had been able to make Chandragupt the sovereign within short span of five years after Alexander left Indian soil, his demeanor seldom showed any kind of anxiety. He was ruthless when need arose. His kindness was a force rather then a weakness. He believed that the end justified the means. He him self lived a ascetic and stern life and pursued his goal, at first making Chandragupt the king and later completing his treaty on economics, with no thought for personal comfort or happiness.

His character shows the trait of so many great leaders that the combination of all these make him the foremost among them. He had the purity of Rama, foresight of Krishna, comprehension of Pluto, politics of Aristotle, ruthlessness of Mao, kindness of Nelson Mandela, selflessness of Gandhi, passion of Pushyamitra, magnanimity of King Arthur, wit and charisma of Churchill and so on and so forth. Chanakya was truly the hero of all heroes. Katyayana Rakshash was the most influential individual in the Magadha empire; for two reasons 1) Rakshash had devoted his life for the uplifting of Magadha subjects. He had struggled to overthrow Pramadshatru and then fought against Shaktaar to overthrow Shishunaag. Thus, he had saved Magadhee people from being ruled by outsiders and established the rule of a Magadhee king Mahapadma Nanda. 2) He was the greatest scholar in the two most important and new disciplines of knowledge viz. Architecture and Metals. His SHULBHASUTRAS were the authority on these sciences for a very long time. Magadha had the reserves of newly found and most useful metal called iron, and Rakshash was among few who knew everything about this metal.

Katyayana was popular as Rakshash because he was as feared as revered by the Magadhee. He had fierce intelligence and determined disposition. He never laughed. His sense of justice did not know pardon. People believed that his body grew with his temper, which was probably not the fact but was the truth in essence. He never feared speaking his mind. He was hard to his core and his rock solid seriousness never melted. These were the reasons for Chanakya’s decision to retain Rakshash as the chief minister of Chandragupt. Rakshash had only two shortcomings, his unyielding ego and his unwavering devotion to the Nanda clan. However, Chanakya’s purity of intention ultimately won him over. Chandragupt was most unfit to be the king of even a small kingdom, leave aside the great empire. He was a great warrior but too emotional to fulfill the demands of being the emperor. Had it not been for Chanakya he would rather have lived and died for his love for Sumoha. In the later part of his life he accepted Jainism and renounced the world. He died as a Jain monk near SRAVAN BELGOLA.

Sumoha was younger sister of Ambhi who had fallen in love with Chandragupt while Chandragupt was studying at Takshashila. They had planed to get married and live happily ever after, but the fate had different design for her. Hiranyagupta asked for her hand in marriage, just to annoy Chandragupt. Ambhi could not afford to displease such a powerful king as the Magadha monarch. Sumoha’s dream of marrying her beloved was shattered. She had become a bitter woman. Her only desire was to kill her husband and marry Chandragupt.

Chanakya loved this younger sister of his old friend Ambhi like his own sister, but decided to sacrifice her for the benefit of the entire Aryavart. This how Sumoha’s life ended. Katika was the representative of non-Aryan aboriginal nomads whom Chanakya had trained in the ways of Aryans and employed in the war against Magadha. Katika was the classical poison-maid or ‘VISHAKANYA’ whose resentment towards the oppressors was her poison and her knowledge about snakes helped her poison the enemies.

Parvatak was the greedy king of probably present day Nepal whom Chanakya had fooled into helping Chandragupt in war against Hiranyagupta and ultimately killed.

Puru popularly known as Porus was more of a wrestler and less of a king. He is immortalized in history for his meeting with Alexander as a captive. Alexander had asked him how he would like to be treated and he had proudly answered that he should be treated as a king would treat another king. The hidden reason behind this incident, if it were true, must have been that Puru had, as per the advice of Chanakya, created such unrest in the already tired army of Alexander that Alexander had to go back to Greece without entering Indian subcontinent any further.

Playwright and Director : Shekhar Dattatray Naik
Group : Shekhar Nayeek Productions
Language : Hindi
Duration : 120min and 20 min break

Play

‘Aapki Amri’ is an effort to showcase the short-lived 28 years of the life of Amrita Sher-Gil by the way of her paintings and the letters she wrote to her parents and friends. An important figure in the art history of India, Amrita Sher-Gil was born on 30 January 1913 in Budapest, Hungary, to Umrao Singh Sher-Gil Majithia, and Marie Antoniette Gottesmann. At a very young age, Amrita began to explore the canvas. Her art was inspired by the social stories and fairy tales of the Green Brothers and Hans Andersons. Being inspired by the legendary art of Paris, while on the way to India, she moved to Paris in 1929 to educate herself in the field of Arts. After returning to India she had extensively studied Ajanta paintings, Rajput, Kangra, Basholi, Moghul Miniature Paintings. She got inspired by these works and introduced a totally different idiom in her art eventually to become a great contribution towards Indian modern art. In this two-act play of 120 mins, the performers are explaining the life and times of Amrita Sher-Gil through the dramatization of the letters along with the audio-visuals.

Director’s Note

In this play, I have tried to present the short life of the young painter Amrita Sher Gill, her pre-independence thoughts and the social situation of that time. Being a painter myself made her think more of me. One of the things I find so courageous about a woman at that time was that she was so outspoken. I want to convey her picture and her personality through this play to today’s young generation. Amrita’s thoughts on homosexuality at that time can be bold even today. I think the artist should express himself through his works in social and political matters.

Playwright and Director

An actor, director, painter, playwright, film director Shekhar Dattatray Naik was born on 20 may 1969 at Pune, Maharashtra. He received his professional GD (Govt. Degree) art (Fine Art). Apart from being a professional painter, Shekhar developed a vast interest in performing arts, especially in theatre. An artiste from the field of fine arts, who had solo painting exhibition at Pune 1994 and a well acclaimed group show at Mumbay 1996 and many more, later turned to be a multi disciplinary artiste. He directed Hindi plays like Aashadh ka ek din, Apki Amri, Shodh Meerecha, Guru Geeta alongwith the Marathis like Tujhi Aamri, Bhajan, Gosht, Ghar, Chuk Bhul Dyavi Ghyavi, Kokaru, Bus Stop etc. He did art direction for Nat Samrat and Jugad. He has a few ad films also to his credit and directed Marathi full length feature films like Urus, Sadguru Jangli Maharaj, Jay Shankar, Mhais.

Group

Shekhar Nayeek Productions is a group trying to do something new in different ways. The artistes in the group are all from Maharashtra with whom the group has been participating in various drama competitions in Maharashtra for the last several years. It includes artistes from all walks of life such as painters, sculptors, teachers, musicians, set designers, actors. The group has some incredible Theatre pfoduction to its credit. Tujhi Amri is a Marathi drama based on Amrita Sher Gill. ‘Guru Geeta’ is an experiment based on Guru Dutt and Geeta Dutt. Shodh Meerecha is an experiment on Saint Mirabai.  Shekhar intends to do his experiments in front of as many artistes and humorous audiences as possible.

The next play will be based on Baburao Painter, a famous painter, director and sculptor from Maharashtra.