AGARBATTI – THE SEXUAL INCINERATION ON STAGE – SO ARRESTING!

Sexually Explicit Content – Well, the phrase itself provokes many intelligent communities to either hide their face behind the four walls of the house or to protest against it in loud volumes. I must say, the opening scene of the play AGARBATTI -(Directed By: Swati Dubey Produced By: Samagam Rangmandal  Written by Ashish Pathak, the play has bagged four awards at Mahindra Excellence in Theater Awards META)is been so intelligently devised by the director that it resists both these reactions in the most convincing manner. The scene is brutal in its explicit provocation of sexual act openly but, in spite of the same, it forces admiration for the craftsmanship that works behind making such a sensuous implication bold and yet appreciable in its own right.

Women who are the major participants of this scene inviting and enacting sexual insinuations manage to extract the susceptibility that stimulates sexual urge and receptivity towards sexual matters in the feminine gender. The most significant part of the reality about women especially those in the conservative Indian rural areas (now I am not generalizing here though) who despite being apparently uninitiated in the matters of sex, as the world knows it, display their repressed sexual urge through such innuendos. Primarily, this sort of depiction on the proscenium in front of an apparently cultured urban audience accompanies the predicament of these women being stereotyped as flagrant on account of the evident unconcern about propriety. The consideration that the lack of urban literacy in these ladies may provoke them to comply with blatant projections of the kind they choose to engage into in such private gatherings exclusively for women may or may not be the conscious level of acceptance in the midst of the educated audience. The same being represented in a rural set up amidst village audience also may not offer a neat solution for the participants. This is because, the onslaught of orthodoxy may not give it a fair chance to explain the social reality that forces the play participants to opt for such depictions that escape revering societal taboos against phenomenon like sex.

Witnessing the scene, it seems the director makes a bold choice; the one that lets him the freedom to outdo inhibitions that often mar the essence of the play despite an interesting script. That sexual acts do often have the potential to be synonymous with brutality is the implication one explicitly gathers when one watches the sexual act being symbolically represented through the means of an enactment and gives a feel of the supposed theme (Now I need to watch the play to comment more on this) this play perhaps would be dealing with coercion the women often encounter with respect to overbearing masculine tendencies. It is this very intent that makes the apparent sexual content in the scene worth watching (particularly for those that know its content) as it emblematically proclaims the reason to justify its inception on the stage. It works as a foreboding of a gruesome massacre that is perhaps supposed to occur next. However, for someone (as I) who has no knowledge of the subject matter on which the play is based nor has access to the entire script of the play, this entire scene comes as a jolt for the manner and the extent to which a sexual intercourse is celebrated elevates curiosity to construe the reason that it has been done this way. Therefore, the scene appears relevant to those that know the reason and interests those that do not know the reason for the explicit proclamation of sex in the opening scene of this drama. This (I feel) makes it a justifiable attempt in spite of its radical nature and helps it survive the jeopardy of questions or objections that accompany a presentation of such an explicit kind. When you explicitly dramatize “let’s have sex” for the people, you are required to maintain a symbolic decorum which does not exclude the need to be barefaced. This paradox is a difficult challenge and to a great extent it has been managed very well by making women participants cover their visage (full/half) with veils that douse their brazen nature in spite of its openness- and it’s supposed to be so in conventional milieu(supposedly). Moreover, the mannerisms of theirs in terms of aping a sexual intercourse are well regulated in spite of the recklessness because every time you see the actor in disguise of a man attempting to assault, there is an obvious emphasis on the mode of representing it as a part of a dramatization than a realistic event. There is a dramatized attempt, extremely effective by the women to thwart him from the shameless act.

When you witness the entire dramatization, since it appears ‘dramatic’, it convinces that it is not ruthless in spite of obviously trying to show the ruthlessness that accompanies such acts which embody forceful subjugation of women. A well balanced attempt which certainly shows how tactfully a vigilant and responsible theatre practitioner can manage the repercussions that are invariably a part of such a portrayal which intends to upset many brand ambassadors of decency and propriety. Well, admitting the fact that sobriety is an essential responsibility to be observed in artistic endeavours, I also feel that the needful depiction of violence and sex may not be essentially curbed but rather could be exposed taking full advantage of the scope that theatre offers; to dramatize the dramatic content. I felt, this scene is a vital to  construe the relevance of histrionics that must be in close proximity with reality but not lose connect with the genre of “performance”. It is this distanced involvement of this scene with ‘realism’ that erases all issues pertaining to decorum instead of avoiding it entirely as a tabooed matter or criticizing its candour, watching it makes one rethink about the societal indifference towards certain realities that has ushered the need for art to penetrate into such explicit rebuttal of the so-called morality. As a result one cannot help but admire its intensity apart from anything else…therefore; the dramatized sexual havoc on stage appears so arresting!

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Sources:
Agarbatti: The Play – http://metawards.com/plays/agarbatti




Beyond transience – Soulful sufi rendition

An ethereal experience

Sufi singers are prolific artists illumining the possibility of uniting divine feelings with sublime love.

Vocalist Dhruv Sangari recreated the magical splendors of SUFIYANA culture with his vivacious serenity encompassing aesthetic beauty and reverential Indian ethics – magically interwoven.

For me, the program primarily effaced the Hindu Muslim divide as the singer so poetically inculcated the true feelings of divine invocation irrespective of class, caste distinction; a classic paradigm of the SUFIYANS who sing in praise of the lord. This ethereal composition he rendered ” chaap tilak” was not only one of the sweetest sufi chants of the eve but also indoctrinated me and my folks(parents) with the message of “ISHWAR ALLAH TERO NAAM”- Am sure it might have made the recipients rethink the concept of caste and class differences often acting as a hindrance in matters of spiritual escalation.

Sangari’s uniqueness lay in his profound explorations of the renditions he chose. Each musical composition preceded a explanation admirably detailed to entrench the specialty of the song chosen. This reflected the erudition of the artist; a mandate with regards to a performance that’s meant to be an IBADAT – A PRAYER to the almighty.

The open air theater of Darpana – NATRANI became the most adequate purveyor of the tools that assist such a presentation resounding the features of FOLK CULTURE. It was heartwarming to see people once again.having gathered in an open space ( independent of covid fears fortunately) to listen.and get one glimpse of the talented artist. It replicated the village folk artistic tradition very well; of course the audiences were English speaking urban elite with.modern.western.attires – a stark reality of the urban.India today) I must admit that the organizers were pretty particular in their choices of apparels – Mallika Sarabhaiji in her traditional Indian dress and her accompanied trio too dressed similarly well; obviously one does expect the consciousness from.someone as distinguished as them.

I got the privilege the second time to be at Natrani. The first time I went was some 10

Years back when I saw,Rajit Kapoor performing Girish Karnad’s monologue Flowers at the open air auditorium. It was an indelible experience and this one I had yesterday night revitalized my spirits and invigorated my soul to acknowledge the superiority of sufiyana art that’s no less than.a means to elevate our material consciousness towards the possibility of experiencing BRAHMANANDA – spiritual delight which crosses the boundaries of transient earthly living and becomes an eternally pleasurable ethereal experience. A heavenly feeling that Natyashastra speaks about so rightfully when it endorses natya as a blissful process meant for redeeming the world from.sins. As Sangri rendered CHAP TILAK.sab cheen li re mose naira milake – the feelings of respectful admiration arose in my heart for an artist who chose a sublime melody of SUFIYANA sangeet which gives us a moment of realization ” We love our lord too” not just worship him. Meerabai reverentially merged the feelings of adoration and invocation in her worship of Krishna. In the rendition I felt the same mood restored in me – self surrender to the lord I love and revere at the same time. Yes, it could be for someone close to us in fact anyone who we feel is inseparably in us – why only God? It was this intersection of divinity and earthly feeling of love that made the presentation so special, so heavenly.

I drank the elixir of sufiyana art sumptuously and though pressed for time wherein I couldn’t listen to more than two melodious songs, I acknowledge my heart grew fonder.

Overall, I loved the performance and the night was indeed memorable with fine white lamps shining in the midst of the open air auditorium giving it the feel of a traditional Indian setting with oil lamps and lanterns adorning the environment making it look no less than a paradise. Natrani is a must visit and I would recommend it to one and all.that desire to relish classic art.

Last but not the least, its discipline is praiseworthy and noteworthy. We reached a bit late, gates were shut. Nonetheless, I must recognize their waiving of the stringent rule for us and letting us enter which was indeed an insignia of an organization that is both adequately strict and endearingly loving.

Thank you Natrani for an unforgettable event that is sure to remain perpetually etched in my memory as an experience beyond the fleeting worldly domains of earthly concerns.

Review by –

Dr. Payal Trivedi

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Karna’s wife – The Outcaste’s Queen By Kavita Kane

An Overview

Dr. Payal Trivedi

There are events in life we feel we have the RIGHT to change and there are those that make us powerless, Kavita Kane’s novel Karna’s wife – The Outcast’s Queen brings both these facets of life into prominence. As a primary subject matter, the audacity of princess Uruvi to choose Karna, the son of the sutaputra, the charioteer over the royal prince Arjuna as a valiant reformation and comes to the readers as a pleasant surprise. Nonetheless, her powerlessness as a wife to change her husband’s course of improper action is more than evident as Uruvi sees Karna meet the dire consequences of being susceptible to his dutiful adherence towards Duryodhana and his inherent disagreement with the Pandavas.

Despite all her wishful thinking that her husband would come to terms with the truth of being misguided by vengeance towards the Pandavas Uruvi is unable to deviate Karna from the path of his own destruction. This brings us to the acknowledgement of a woman’s opinion being of secondary or negligible importance in a man’s life in spite of it being true. At the same time, Uruvi’s strong denial to be subservient to her man’s choice of being indulgent in his decision of supporting the wrong is a defiance of the conformist notions that subject a woman to blindly consent to her man’s beliefs. When she leaves Karna and opts for a reclusive life away from all the obligations of being a dutiful wife, we see this as the author’s appreciable effort towards dethroning the regular assumptions of modernity towards traditional figures as essentially submissive.

The ending of novel does evoke a sense of resignation towards fate and undoubtedly seems to be a conventional approach towards understanding life. Krishna becomes a clairvoyant messenger in informing Uruvi that she cannot change the predestined fate of her son and cannot escape the massacre of war by just evading the truth of her being a warrior’s wife and her son being the posterity of a royal clan – Angaraj. Nonetheless, this very conventional approach exposes the unspoken or often avoided truth of life as a preordained karmic cycle which is inescapable. While we know for the fact that individual reaps the fruit of one’s own karma, the same fact leads us to acknowledge the fated destiny in case of Karna that brought him to his helpless death end. It is Karna’s own choice that brings his downfall but that same choice was made not out of his own choice to be with the wrong doers. His unfortunate destiny of being Kunti’s illegitimate child was instrumental in shaping up the course of events in his life; an undeniable truth. Kane adopts a more subtle but an effective mode of unravelling the fact of life being a perplexing arena of the constant feud between fate and deeds. This universally pertinent message makes this novel interesting, appealing and even mysteriously absorbing in its own regard.




THE LOCKDOWN LOVER that LOCKS YOU DOWN!

Lockdown Lover

A CRITICAL REVIEW
By Dr. Payal Trivedi

Well, any theatre performance is meant to entertain is an understatement today because we have all come to terms with the fact that theatre is much more than simply a mode of refreshment. Investing our time and energy in beholding any performance ought to enable us enough food for thought not just by being didactic but by helping us realize our weaknesses, our flaws and misdemeanours that may have led us to falsely believe in the material notion of scepticism that seems to have crept in all our walks of life today. We tend to always engage in self doubt, of essentially questioning the obvious and of incessantly negating all possibilities of giving stability to our lives. All that today’s worldly compartments of propriety and impropriety have given us is a bizarre set of meaningless precepts. These we follow mechanically with the fear of being ostracized by the so called normal society or flout entirely as a means of blatant rebuttal against the stringent myopic framework that often surrounds rules made for whom we label the ‘Normal Man’. The category of the ‘normals’ includes those that bear the onus of proclaiming ‘acting’ according to the stipulated socio-cultural norms as a mark of sanity. This excludes any kind of aberration which may disturb the so called normal setting of a ‘settled home and family’ we humans often propagate as an insignia of ‘orderly mental health’. Unfortunately for us, anything anyone does different from having a perfectly settled home is conventionally considered unhealthy and the primary cause of mental illness.

Well, the message is simple and clear but is conveyed through an essentially ‘vague’ motivation towards choosing ‘absurd’ mode of theatrical performance that leads the motto of laying bare this extremely vital issue hay ways. First and foremost, the disorderly array of character shifting that we come across mars the charm of this rendition at its very onset. That stage cannot capture the nuances of facial expressions is a matter of common understanding and therefore, it is obvious that when the actor shifts from one character to another, the performance does not seem to deal efficiently with this change simply because it is not required prominently to showcase the difference. When there is an overbearing energy that tries to dominate or suppress the other and the explicit resistance of the other is being displayed with repressed tendencies, it obviously should impart a lesson of a ‘toxic relationship and its repercussions’ when in this performance it comes out as an ‘enforced torture’ upon the audience to make them forcefully assent to the ‘failure of values’. This failure is so anointed with the cumbersome obsession of anomaly that can be seen in the character using the ‘whip’ that acts as a paradigm of inexplicable violence that puzzles due to the lack of clarity. A more structured absurdism(If I am permitted to use this expression) would have made it intelligible rather than prolix one, the performance chooses to adopt the ‘heightened potency of absurdism’ that is needless and I feel is so overwhelming that it almost nullifies the importance of conveying at least, ‘some’ meaning.

I do feel that proportionate dose of the vaccine called ‘absurdism’ can boost our immunity but an overdose may completely lead to multiple organ failures and not being sarcastic at all as a viewer I definitely felt that is performance is beyond my level of comprehension. It is possible that this is ‘heightened intellectual apex that perhaps an ordinary theatre person as I may not be able to reach; definitely possible and I accept this with all humility!

A talented and popular theatre artist as Tathagata Chowdhury fails to cast a long lasting impression with his extraneous attempts to correlate absurd theatre with Indian bourgeois set up. This is simply because; the hypocrisy of today’s English speaking Indian families with ultra modern outlook ultimately boils down to having a settled home with children. This is not dual mindset I suppose but is an outcome of the age old Indian mentality of being culturally rooted to one’s customary adherence to tradition that seldom permits anomalous living. When Chowdhury tries to target the contemporary Indian society with its loopholes that disallow normalcy to them, he does not take into account the fact that the apparent aberration of tradition in India is equally a facade like its retention of its values is. That’s the reason that he cannot think beyond a ‘shattered morality’ tendency of the Indian modern class and is unsuccessful in his attempt to impress with his absolutely vague acting. In my opinion, it is a failed attempt of displaying absurdity ‘par excellence’ that gets ruined due to the pressure of creating an intellectual feast that often becomes tasteless when the ingredients are overused. We get a feel of being LOCKEDDOWN by absurdity of this lockdown lover who seems to have lost completely his senses in the motif of explaining the senselessness that prevails in our lives today; a fact that certainly cannot be denied but such bizarre engagement with the theme? I leave it to the viewers anyways.

Finally, I do acknowledge that drama is a means of self analysis that forbids insinuating anyone under any circumstance. This review is simply meant to give an unbiased outlook towards a performance and does not intend to dictate any opinion. Rest assured, it’s simply my personal perception folks!