Play

For years a controversy raged in the literary circles as to what is a short story. Main player of this gener kept his cool and instead of issuing thesis or anti-thesis wrote a short story so powerful that it put a lid on the controversy.

This is the longest of Dr. Bharati’s short stories – a kind of short novella. This starts with a day in the life of Munshi Ji’s long illness. Through him are revealed secrets about his family and the society around him. There is Munshiji. With him is Birja, a Brahmin who left her husband 15 years ago and started living with Munshiji, a Kayastha bachelar.

Birja’s mother Hardeyee sees god in Munshi ji. Birja’s eldest son Ragho Ram worships his step-father. Second son Hari Ram is a born thief – always ready to create problems for the family. There are many more characters in the life of Munshiji who share ups and downs of life with him.

Last house, a, fragile structure, at the end of a lane is the scene of action, Munshiji’s life is like this only. Towards the end he is also like the last house in the lane – closed and limited to one spot.

Playwright

Born in 1926 in Allahabad, Dharamvir Bharati was a renowned poet, author, playwright and an Editor of repute. He did his MA in Hindi from Allahabad University in 1946 and won the “Chintamani Ghosh Award” for securing highest marks in Hindi. He became the sub-editor for magazines ‘Abhyudaya’ and ‘Sangam’ during this period. Later, he completed his Ph.D. in 1954 and was appointed as a lecturer in Hindi at Allahabad University.

The 1950s decade was the most creative period in Bharati’s life when he wrote many novels, dramas, poems, essays, and a number of critical works. His notable works include, novels – ‘Gunahon ka Devta’, ‘ Suraj Ka Satwan Ghoda’, ‘Giyara sapno ka desh’ and ‘Prarambh se Samapan and poems – ‘Kanupriya’, ‘Thanda Loha’, ‘Saat Geet Varsh’, ‘Sapana Abhi Bhi’ and ‘Toota Pahiya’ and the most famous drama – ‘Andha  Yug’ that has been performed frequently till now. Bharati became the Chief Editor of the famous Hindi literary magazine ‘Dharamayug’ from 1960 to 1987.

Bharati was awarded the Padmashree for literature in 1972, the Sangeet Natak Akademi Award for Play writing in 1988 and many others include Bharat Bharati Samman, Vyasa Samman etc. He died in 1997.

Director

Devendra Raj Ankur, a post graduate in Hindi Literature from Delhi University and specialized in direction from National School of Drama, has directed plays with many professional and amateur troupes across the country. Founder member of ‘Sambhaav’ Group and pioneer of ‘Kahani Ka Rangmanch’, Shri Ankur has been participating in workshops across the country as a teacher, camp director and theatre director and has staged his productions in many cities of the country. Translation of many plays from English and other languages and writing on theater topics regularly in newspapers and magazines. More than seven of his books on theatre criticism were published. He received Tagore fellowship as well from Ministry of Culture. Prof. Ankur was the former director of National School of Drama. You have been honoured with the Sangeet Natak Akademi award for your special contribution in the field of theatre.

Director’D Note

It is a matter of great joy for me that the ‘Kahani Ka Theatre’ which I started with Rangmandal in 1975 with the presentation of ‘Teen Ekant’ with three stories by Nirmal Verma, is entering its fiftieth year. Again with the theatre. This time we are presenting Dharamveer Bharti’s familiar story ‘Band Gali Ka Aakhri Makaan’. Earlier also we had done this story with Rangamandal in 1996 but this time the presentation process is completely different.

Initially the story was read repeatedly with the actors. The video film of the previous presentation was also watched. The director of the school wanted that one version of the presentation should be brought as a legacy around the earlier presentation and the second version should be prepared completely different from it. For this, the actors were divided into two groups by lottery. Then which troupe would prepare which version – this was also decided by lottery. Often the audience is curious as to whether this is ‘story theatre’? The simple answer to this is that we do not make any changes in the form of the story, that is, we do not prepare a new script through its dramatic adaptation. The story in its original form turns into a theatrical experience on stage.

A few words about the journey from the original form of the story to the stage presentation. What you see on the stage today is due to the actors repeatedly creating, destroying, re-creating the stage version of the story and then destroying it again. It involves the process of doing, re-creating and then destroying it. As a director, my job has been to look at his creation and again inspire him to search for a new path. My role has largely been that of a catalyst. I am glad that these troupes left no stone unturned in meeting my expectations and are bringing two different performances on the stage in their own way.

Group

Established in 1964 with only 4 members, the Repertory Company is the regular performing department of the school. It was established with the twin objectives of establishing professional theatre on the one hand and continuing regular experimental work on the other.