Abhimanyu: The Legend of a Tragic War Hero / Manohar Khushalani

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Abhimanyu. the play

 

Abhimanyu, is perhaps a unique character in Mahabharata whose death brings you inspiration. Pandit Radheshyam Katahvachak’s Veer Abhimanyu, a play engulfed in deceit, treachery, misuse of power, and politics Directed by Hema Singh with NSD’s second year students had all the elements of a professional show, despite the fact that Hema intended it to be a teaching production. Interesting thing was that for a martial play the female students were playing the roles of male soldiers. At no point did one feel that the roles should have been played by males. The performance of female actors was as aggressive and bold as was required. Guru Salam Biswajit Singh’s Martial art training was so thorough that girls could match up to boys in the fight scenes. Also, there was rich use of elements such as dance, songs, Martial arts like Kallari and use of percussion and wind instruments (like nagara and dhol) to indicate the war hysteria. As the director explained, the main objective was to teach Parsi style theatre, therefore it was imperative to expose the students to all elements of it, including the melodramatic speech patterns which are so much a part of this theatre. The real challenge was to to work in this style which has a concept of dramatic action and is different from contemporary theatre.  The couplets and lyrical dialogues written in typical Parsi style required an understanding of rhyme, pitches, natgiri, gestures, postures, language and poetry. The source of Hema’s inspiration was B.M. Shah, who made her realise that the Farsi theatre is an unusual blend of classical Sanskrit theatre, folk theater and Victorian theatre. She has gone on to become a foremost proponent of this form of theatre.

 

The production, thus, tried to create a bridge between contemporary realistic theatre and the traditional Parsi Theatre, reinterpreting it in such a way that audience could relate to it as a modern production.

 

Farsi as Parsi theatre is also called, had a great historical relevance because of its contribution to the freedom struggle. The playwrights created feelings of patriotism, love, renunciation, and kindness in public by writing double meaning dialogues which only the natives understood. It raised voice against imperial rule. At that time, many Indian mythical, historical, courageous characters that fought against injustice, were featured in Parsi theatre so that self—respect and fearlessness increases in public. ‘Veer Abhimauyu’ is one such epic character,  whom the playwright, Pandit Radheshyam, brought to life. Legend has it that Abhimanyu was the re-incarnation of a son of the Moon-God- Chandra. When Chandra was asked to let his son incarnate himself on earth, he made a pact that his son will only remain on earth for 16 years, as he could not bear to be separated from him any longer than that. Abhimanyu was the most loved of all sons of the Pandavas, so much so that Draupadi was said to love him more than her own sons. Draupadi once said that if the Pandavas are not willing to wage war, then her sons led by Abhimanyu will attack and get justice for her and avenge her humiliation. Abhimanyu was trained in all types of warfare by Lord Krishna and Balrama themselves, and later by Pradyumna (Sri Krishna’s son). Abhimanyu learnt the art of breaking into the Chakravyuha when he was in Subhadra’s womb. It was then Arjuna was narrating the art of breaking into Chakravyuha to Subhadra. But he did not know how to destroy the formation once he was inside, as Subhadra fell asleep while listening to the story and (Abhimanyu in her womb) could learn only half of the technique. This is the reason why he was only able to enter and break but not come out of the Chakravyuha

That was the tragedy of Abhimanyu. The matchless youth who won immortality by his shining heroism in the great Mahabharatha war. Pitted, against the mightiest of the mighty in the enemies’ ranks, this warrior, barely sixteen, became the sheet-anchor of the Pandavas. The veterans ranged against him had to overcome him only by unfair means.

 

The production was ably supported by a competent team of theatre professionals. Souti Chakraborty’s lighting highlighted the dramatic elements with a blend of light and shadeow intermixed with mood lighting. Somesh PBs training of the martial Art of Kalaripayattu and Kajal Ghosh’s Co-Music Design deserve mention. In the design department Kriti V. Sharma’s costumes Vishala Mahale’s set gave value to the production. Kudos also to Hema’s blocking of the play which created the illusion of a giant battle field. It was indeed a memorable and meaningful evening laced with spirited performances of all the actors.

 

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Manohar Khushalani

Prof. Manohar Khushalani is Currently a Visiting Faculty at Indraprastha Institute of Information Technology, Delhi. The courses he teaches are: Animation & Graphics, Non-Linear Editing for Film and Radio and Theatre Appreciation.  He has won Excellence in Teaching awards for all the courses he has taught at IIITD Based on a Belief that Culture and Environment are the two keys to global sustainability , Manohar Khushalani has launched two portals: A Portal on Environment and Water called One Vorld at url: www.onevorld.org and two Ezines on Culture called Stage Buzz at url: www.stagebuzz.in & www.stagebuzz.info He has taught extensively in varied subjects such as Dam Safety, Instrumentation, CAD, IT, Animation, Theatre, Newspaper Editing. He has conducted Courses on Environment Management, Water Shed Development, Team Building and Personality Development. He is an Expert Member of Prasar Bharti’s Committee for Grading & Short listing Films for Telecast on all channels of Doordarshan.  He is a Radio Anchor for All India Radio and has moderated several programs for the Rajdhani Channel He is a well-known Theatre Actor/Director and Critic, has been involved in theatre since 1977. He has worked as an actor in over 50 plays with almost every leading director/Actor in the Country including Badal Sircar, Feisal Alkazi, Amal Allana, M.K. Raina, Anuradha Kapoor, Maya Rao, Manohar Singh, Prasanna, Rati Bartholomew and Sushmita Mukherji. He has been active in the social sector as a street theatre activist. As a member of Workshop Theatre, Theatre Union and Prayog, Khushalani has participated in street plays taking up major social issues such as dowry, bride burning, Sati, banned medicinal drugs and communalism. Dario Fo’s Accidental Death of an Anarchist and Can’t Pay Won’t Pay, both directed by him, received rave notices from critics and audiences alike. Other plays directed by him include Badal Sircar’s, Sagina Mahato and Boris Vian’s Empire Builders for Ruchika Theatre Group. Khushalani has also acted in a few films such as Sudhir Mishra's Hazaron Khwaishen Aisi , Shoojit Sircar’s Madras Café and Pradeep Krishan's Annie Gives Those Ones. He is an Animator & Graphics Designer and has directed a number of documentaries. He also held a number of Honorary positions and was President of North India Films Association, He was the Chairman of  Jury for UGC CEC Educational Films Competition and has been on their Preview Committee since last many years. He was on the preview committee of Door Darshan Channel 3, was a visiting Professor at National School of Drama, New Delhi, and Film & Television Institute of India, Pune, AJKMCRR, Jamia Milia Islamia and Professor in Media at FICT, Delhi  He has judged a large number of Drama Competitions and conducted a number of Theatre / Management Games Workshops with Institutions such as AIIMS, NTPC, CWPRS, NWA, Karve Nari Prakshishan Sansthan, FICT, IIT, MAMC, Gargi College, KNC, Tagore International School and Vivekananda School. He is a Theatre Critic for IIC Diary, has also been a Columnist with Midday and Pioneer Daily and wrote Column's Called Culture Cocktail and Footlights Respectively. He was also the Guest Editor for an issue on Folk Theatre of ICCR Journal Horizons. He has written for Times of Indian, Hindustan Times, Blitz, Hard News, Hindu Business Line, Theatre India & Art Times. He has designed dams and hydraulic structures for the Government. He is a programmer and has developed Engineering design software in Fortran. He is a co-author of Irrigation Practice & Design (Vol 1 to5 - 1500 pages) published by Oxford & IBH and sponsored by National Book Trust. He has been a Director, Environment and Sociology, at the National Water Academy, Khadakwasla and Director, Environment Management Directorate, Central Water Commission and Member Secretary, National Environmental Monitoring Committee for River Valley Projects. He was also Director of Instrumentation Directorate in the Dam Safety Organisation. He was Chief General Manager and Head of Water Resources at Scott Wilson and is an accredited consultant with numerous other organizations He is a Delhi Public School, BITS Pilani, IIT Delhi and FTI Pune Alumini. He was also the President of BITS Pilani Alumni Association, Pune.

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