Natsamrat’s Theatrical Saga: A Celebration of Drama, Depth, and Delight

Delhi’s esteemed theatre group Natsamrat recently staged a grand theatrical festival at LTG Auditorium, Mandi House, New Delhi. Held on January 18, January 25-26, and February 1, 2025, the festival featured nine performances of seven different plays. This remarkable achievement showcased the group’s commitment to presenting diverse themes and its ability to offer audiences a rich and varied theatrical experience.

The festival opened on January 18 with plays infused with humor and satire. Anton Chekhov’s The Proposal brought laughter with its witty depiction of a marriage proposal entangled in disputes over land and dogs. Kallu Nai MBBS, a satirical take on domestic violence, used humor to highlight a serious social issue while engaging the audience with its sharp writing and compelling performances.

On January 25 and 26, the festival continued with a variety of plays exploring different themes. Meri Biwi Ki Shaadi depicted a man’s paranoia about his own death and his wife’s uncertain future, blending comedy with emotional depth. Kambakht Ishq sensitively portrayed loneliness and old age with a humorous touch. The following day saw a repeat performance of The Proposal, which once again delighted audiences. Chekhov Ka Sansar offered an insightful look into two of Chekhov’s stories, capturing his signature satire and deep understanding of human nature. The evening concluded with another staging of Kallu Nai MBBS, reinforcing its impact with a fresh yet equally engaging performance.

The festival culminated on February 1 with Kuch Tum Kaho Kuch Hum Kahein, a play that explored the complexities of relationships, made even more compelling by the stellar performances of Munmun and Vishwajeet. Kallu Nai MBBS was staged for the third time, proving its popularity and ability to captivate audiences with every rendition.

Each play was brought to life by an ensemble cast, including Vishwajit, Munmun, Shivangi, Aman Kumar, Vansh Rathore, Raman Kumar, Shammi, and Archana. Under the skilled direction of Shyam Kumar, the performances struck a fine balance between humor and depth, making each scene memorable. The sharp, thought-provoking dialogues kept the audience engaged, while the well-crafted set design and costumes added to the immersive experience.

Natsamrat’s theatre festival was not just a celebration of performance arts but also a reflection of the richness of Indian theatre. The event demonstrated the power of humor as a vehicle for social messaging and reinforced the boundless potential of the stage. Staging nine performances of seven different plays is a significant accomplishment, and Natsamrat executed it flawlessly. The festival left the audience with a deeper appreciation for theatre, making it an unforgettable experience.




बाबूजी

समीक्षा:

अनिल गोयल

समाज में हर व्यक्ति के चेहरे के दो चेहरे हुआ करते हैं – एक प्रत्यक्ष और दूसरा परोक्ष. प्रत्यक्ष चेहरा तो सबके सामने होता है, सबको नजर आता है. लेकिन परोक्ष चेहरा अनेक तहों के नीचे दबा रहता है. इस दूसरे चेहरे को देख पाना किसी अन्य व्यक्ति के लिये बहुत कठिन होता है, हालांकि इस चेहरे में ही हर मनुष्य की सच्चाई छिपी हुआ करती है… एक छली व्यक्ति का छल और कपट भी, और एक सच्चे व्यक्ति की सच्चाई भी! यह छुपी हुई सच्चाई होती है उसके श्रम और उसके प्रयासों की, उसकी उपलब्धियों के पीछे के पसीने और अनबहे आँसुओं की, उसकी वेदनाओं, उसकी कमजोरियों की, उसके सच्चे अतीत की! उसका व्यक्तित्व इसी सच्चाई के पीछे छिपा हुआ रहा करता है.
बहुधा, इस परोक्ष चेहरे की सच्चाई समाज को स्वीकार्य नहीं हुआ करती. भारतेन्दु हरिश्चन्द्र अपनी पत्नी के होते हुए भी एक दूसरी स्त्री मल्लिका के साथ रहने लगे थे, जो स्वयं भी कवयित्री थी और उनके मन को समझ पाती थी. कुछ वही कहानी मिथिलेश्वर की कहानी ‘बाबूजी’ के नायक लल्लन सिंह की भी है, जिन्हें गाँव के सब लोग आदर के साथ बाबूजी बुलाते हैं.
बाबू लल्लन सिंहप्रारम्भ से ही नौटंकी और संगीत में रुचि लेते हैं. नौटंकी के प्रति उनकी रुचि सनक की सीमा तक है. लेकिन उनका परिवार और गाँव के लोग नौटंकी को अच्छा नहीं मानते. लल्लन सिंह ने परिश्रम करके मकान बनाया, ब्याह किया, तीन बच्चे हुए. उन्हें लगता है कि उनकी पत्नी उनकी भावनाओं को समझते हुए उनका साथ देगी. लेकिन उनकी पत्नी को भी उनका गाना-बजाना कुछ जँचा नहीं. जब नौटंकी के कारण उनकी पत्नी भी उनसे दूर हो जाती है, तो वे अपना संसार अलग बना लेने को मजबूर हो जाते हैं… उनके अपने ही घर में दो घर हो जाते हैं, जहाँ एक ओर हैं बाबूजी और उनकी नौटंकी-मण्डली, और दूसरी ओर हैं उनके पत्नी और बच्चे. अपने ही घर में गृह-विहीन हो जाना क्या होता है, यह इस कहानी का बहुत ही मार्मिक पक्ष है… कहा जाता है कि एक व्यक्ति पूरे समाज से लड़ सकता है, लेकिन अपने परिवार से नहीं. वह अपने परोक्ष या आन्तरिक व्यक्तित्व को त्यागे, या अपने परिवार को, ऐसी त्रिशंकु दशा किसी भी व्यक्ति को तोड़ देने के लिए पर्याप्त होती है.
पूरी दुनिया में बाबू लल्लनसिंह की नौटंकी की धूम है, लेकिन अपने ही घर में लोग उन्हें हेय दृष्टि से देखते हैं, और समाज में भी उन्हें नीची नजर से ही देखा जाता है! फिर कुछ समय के बाद उनकी नौटंकी कम्पनी में एक नाचने वाली सुरसतिया उनके साथ सम्मिलित हो गई. लल्लन सिंह के सुरसतिया के साथ केवल व्यावसायिक सम्बन्ध थे, तो भी उनके घर वालों को उस ‘पतुरिया’ और नौटंकी-मण्डली के सदस्यों का उनके घर में आकर अभ्यास करना रुचा नहीं. उनके बड़े लड़के को, जो अब पढ़-लिख कर बड़ा हो गया था, यह सब कुछ समाज में अपने अपमान का कारण लगने लगा था… जिससे बाबूजी अपना घर भी छोड़ने को मजबूर कर दिये जाते हैं.
और यह किसी समय पर समाज में बड़ी सामान्य सी चीज रही है… विशेषकर उत्तर भारत में… जहाँ नाट्यशास्त्र से लेकर शास्त्रीय नृत्य और संगीत की हजारों वर्षों लम्बी परम्परा रही है; लेकिन वहाँ कोई व्यक्ति जैसे ही थोड़ा सा पढ़-लिख जाता है, तो तुरन्त वह तथाकथित ‘सम्भ्रान्त’ बन जाता है, और ‘नाच-गाना’ बहुत हेय दृष्टि से देखा जाने वाला कृत्य बन जाता है! बाबूजी का छोटा लड़का ही बाबूजी के प्रति, और नाच-गाने तथा संगीत के प्रति भी, थोड़ा संवेदनशील है! आज के फेसबुक रील्स के युग में उस समय को समझना थोड़ा कठिन भी हो सकता है!
और इस सबकी पराकाष्ठा तब आती है, जब संयोग उन्हें एक बार फिर अपने घर लौटा लाता है… उनकी बेटी के विवाह के अवसर पर लड़के के पिता बाबूजी की ही नौटंकी का कार्यक्रम करवाते हैं! कोई कला जब पतन की ओर को अग्रसर हो कर समाज से निष्कासित होती है, तो किस प्रकार से उस कला के साधकों का जीवन कष्टकारी हो जाता है, यह इस कहानी और नाटक से स्पष्ट नजर आता है. इसकी एक छवि फिल्म ‘तीसरी कसम’ में सबने देखी है. बाबू लल्लन सिंह की अपने जीवन को अपनी तरह से जीने की जिद के कारण उत्पन्न परिस्थितियों पर ही यह नाटक केन्द्रित है.
इस कहानी को नाटक के रूप में सबसे पहले सन 1994 में श्रीराम सैंटर, दिल्ली के लिए बी.वी. कारंथ के द्वारा तैयार किया गया था. राजेश सिंह ने रानावि रंगमंडल के लिये इस नाटक की प्रस्तुति तैयार करते समय उन्हीं धुनों को पुनर्जीवित किया. राजेश ने दो-तीन और लोकधुनों का प्रयोग करके कुछ नये गीतों का भी इस नाटक में समावेश किया है, जिनका संगीत-संयोजन भी राजेश ने ही किया है.
राजेश सिंह काफी समय से इस नाटक का मंचन करते चले आ रहे हैं. इस बार राष्ट्रीय नाट्य विद्यालय (रानावि) के रंगमण्डल के साठ वर्ष पूरे होने के उपलक्ष्य में आयोजित रंग षष्ठी समारोह में ‘बाबूजी’ की प्रस्तुति राजेश सिंह ने दी. वे इस समय पर रानावि रंगमण्डल (एन.एस.डी. रैपर्टरी) के प्रमुख भी हैं. कहानी का नाट्य रूपांतरण विभांशु वैभव ने किया है. नाटक में दीप-प्रज्वलन अवतार साहनी का रहा, जिसने कहीं भी दर्शकों की आँखों पर जोर डाले बिना नाटक की गम्भीरता को बनाये रखा. नलिनी आर. जोशी की परिधान-परिकल्पना सदैव की ही भांति बहुत कल्पनाशील रही. निधि मिश्रा की नृत्य-संकल्पना और सन्तोष कुमार ‘सैंडी’ के ध्वनि-संयोजन ने दर्शकों को एक बार फिर से एक सीमा तक नौटंकी के पुराने काल में पहुँचा दिया.
बाबूजी की भूमिका में राजेश का अभिनय बहुत ही नपा-तुला है… अनेकों बार नौटंकी के अतिरेकी प्रभाव से बाहर निकल कर, दिल को छू लेने वाले भावपूर्ण अभिनय में आ कर बाबूजी की बेबस वेदनाओं को प्रकट करने के क्षणों को राजेश ने भरपूर जिया है… वे बाबूजी के जीवन की भव्यता और संघर्ष, दोनों को ही मंच पर पूरी भावात्मकता के साथ जीने में सफल रहे. और अधिक महत्वपूर्ण बात यह, कि इन भावपूर्ण क्षणों में एक अभिनेता के रूप में मंच पर प्रायः वे अकेले ही खड़े रहे हैं… अभिनय में राजेश के साथ कौशल्या के रूप में शिल्पा भारती, बड़कू के रूप में मुजीबुर्रहमान और जगेसर के रूप में नवीन सिंह ठाकुर ने कुशल अभिनय किया. लेकिन सुरसती के रूप में पोत्शांगबाम रीता देवी और लच्छू के रूप में बिक्रम लेपचा सदैव की ही भांति इस नाटक में भी अपने अभिनय से दर्शकों को आश्चर्यचकित करने में सफल रहे!
पिछले बीस वर्षों में रानावि रंगमण्डल में जिस प्रकार के ‘अति-ऊर्जावान’ अभिनय की परम्परा पड़ गई है, वह रंगमंडल के नाटकों की गम्भीरता और भव्यता को कम करता है. बाहर के कुछ अन्य निर्देशकों के साथ बातचीत में भी यह बात उभर कर आई! इसमें किसी चरित्र के मनोभावों को प्रदर्शित कर पाना लगभग असम्भव सा ही हो गया है. क्या राजेश इस प्रवृत्ति से रंगमंडल को बाहर निकाल सकेंगे? यही रंगमंडल के प्रमुख के रूप में राजेश के लिए चुनौती है! इन अभिनेताओं को जो ‘एनर्जी’ या ‘ऊर्जा’ का सिद्धान्त सिखाया गया है, उसमें केवल ‘शारीरिक ऊर्जा’ का ही जिक्र होता है. एक अभिनेता को केवल शारीरिक ही नहीं, मानसिक, आन्तरिक और वैचारिक ऊर्जा भी चाहिये होती है. नाटक कोई सर्कस नहीं है, न ही आधुनिक नाटक नौटंकी है, जिसमें आठ घंटे तक मंच पर रहना होता है! आधुनिक नाटक में चरित्र के आन्तरिक मनोभावों को प्रकट करना ही तो प्रमुख काम होता है. लेकिन उस सारी ऊर्जा को केवल शारीरिक ऊर्जा में बदल कर, अभिनेताओं का मंच पर तेज गति से इधर से उधर भागना और कलाबाजियाँ खाना उनके काम को हास्यास्पद बना देता है. विशेषकर ‘बाबूजी’ जैसे गम्भीर, और अनेक स्थानों पर विषादपूर्ण नाटक में, जिसमें गहरे भावाभिनय की आवश्यकता है, नौटंकी के नाम पर कलाबाजियाँ खाना नाटक को विस्मरणीय बना देता है.
राजेश ने इसे नौटंकी शैली में प्रस्तुत करने का प्रयास किया है. लेकिन ब्रोशर में वे ‘नौटंकी’ शब्द का प्रयोग करने से अपने को बचा ले गये हैं. और यह उचित भी रहा. राजेश स्वयं तो नौटंकी की शैली को, उसके गायन को पकड़ पाते हैं… लेकिन वैसे और कलाकार अब रानावि रंगमण्डल में कितने हैं? हाँ, सुखद आश्चर्य हुआ बिक्रम लेपचा और रीता देवी को देख कर, जिन्होंने अपनी तमाम सीमाओं को लाँघ कर नौटंकी-शैली के गायन को पकड़ने का प्रयास किया है! राजेश ने भी कुछ संवाद नौटंकी-शैली में दे कर नौटंकी-प्रेमियों का मनोरंजन तो अवश्य किया, लेकिन दर्शकों की प्यास को राजेश अकेले नहीं बुझा सकते थे! नक्कारा-वादक जमील खान की मृत्यु के बाद इदरीस के बेटे अतीक की नक्कारे पर चोट जेठ की गर्मी के बाद के बरखा के चन्द छींटों की सी ही रही… सुन कर मन कुछ हर्षित तो हुआ, लेकिन प्यास तो बाकी रह ही गई!
नौटंकी के पुनरुद्धार या ‘रिवाइवल’ के बारे में बहुत बार चर्चा होती है. उस पर बहुत से प्रयोग भी समय-समय पर होते रहे हैं. लेकिन कोई साधन-सम्पन्न रंगमंडल ही नौटंकी पर कोई गम्भीर प्रयोग कर सकता है. रानावि रंगमंडल के पास उपलब्ध साधनों के साथ यदि नौटंकी पर कुछ नये प्रयोग किये जाएँ, तो हो सकता है कि कुछ अच्छे नौटंकी-आधारित नाटक भविष्य में देखने को मिल सकें. राजेश सिंह की वैयक्तिक पृष्ठभूमि, उनकी संगीत पर पकड़ और उनके गन्धर्व महाविद्यालय के प्रशिक्षण इत्यादि के आधार पर यदि हमें रानावि रंगमंडल में नौटंकी-आधारित कुछ मोहक प्रयोग देखने को मिलें, तो आश्चर्य न होगा!
दिल्ली के दर्शक गम्भीर नाटकों में प्रदर्शित मानवीय संवेदनाओं से दूर हो चुके हैं. बाबू लल्लन सिंह जब बहुत कष्टकारी स्थिति में हैं, गाँव वालों के द्वारा धिक्कारे जा रहे हैं, तो लोग हँसते हैं, तालियाँ बजाते हैं! साथ ही, हॉल में बैठे, कलाकारों के अपने ही साथियों के द्वारा अति-उत्साही तालियों का बजाना भी दर्शकों को समझ में आता है, और उनके रस में विघ्न डालता है. रंगमण्डल के प्रमुख को इस प्रकार के रस-विघ्न से अपने दर्शकों को बचाने का प्रयास करना चाहिये. सारी सीमाओं के होते हुए भी इस नाटक को इस स्वरूप में प्रस्तुत कर सकने के लिये राजेश सिंह को बधाई!




Natsamrat’s 6th Mumbai Theatre Festival Won the Hearts of the Audience

The “6th Mumbai Theatre Festival” organized by Natsamrat at the Creative Adda Auditorium in Versova, Mumbai staged many wonderful plays on 3rd, 11th & 12th January. These plays not only entertained the audience but also presented deep social and emotional issues effectively.

3rd January: ‘Nithalla’ and ‘Napunsak’ staged

On the first day of the festival, the play ‘Nithalla’ based on the story of Harishankar Parsai was staged. It was adapted by Kuldeep Kunal and directed and solo acted by Nagendra Kumar Sharma. This play was the story of an ideal ‘Nithalla’ who selflessly devotes his life for the betterment of the society. The play deeply impressed the audience by highlighting the conflict between selfishness and selflessness.

Nipunsak was then staged, written and directed by Manjul Bhardwaj. This play presents the life struggle and agony of eunuchs. The director brought this complex subject to life with his acting and sensitive presentation. Shivani’s music made the presentation more effective.

January 11: Presentation of ‘Darogaji Chori Ho Gayi’

On January 11, the play ‘Darogaji Chori Ho Gayi’ written by Jaivardhan and directed by Chandra Shekhar Sharma was staged. Presented by Mask Players Art Group, this play exposed the corruption prevailing in the government system and the deviant tendencies of the youth through humor and satire.

In this play, Nikhil Jha (Daroga and Detective), Ashish Sharma (Babu), Shipra Jain (Deepak), and Eva Dandona (Pooja) made the audience laugh with their impressive acting. The play tried to show how the youth running after a glamorous life take the path of crime. This presentation gave a social message along with humor.

12 January: ‘The Proposal’ and ‘Kuch Tum Kaho Kuch Hum Kahen’ staged

On the last day of the festival, Anton Chekhov’s famous play ‘The Proposal’ was staged. This comedy-satire play was based on family relations and property disputes. Vishwajeet, Munmun, Aman Kumar, and Raman Kumar made the audience laugh a lot with their excellent acting. The story showed funny arguments during a marriage proposal by a young man, which the audience applauded.

The second play ‘Kuch Tum Kaho Kuch Hum Kahen’ presented an emotional story. Vishwajeet and Munmun played the roles of Dr. Anand and Mansi in this play directed by Shyam Kumar. The play beautifully presented the themes of life’s struggle, human emotions and inspiration. The chemistry of both the actors moved the audience.

The contribution of the technical team in all the plays was commendable. Stage manager Sunil Rathore, music coordinator Aman, makeup experts Payal and Chhobi Saha, and Shyam Kumar in lighting design played an important role in bringing the plays closer to reality.

The audience appreciated all the plays. Nithalla and Napunsak touched upon sensitive issues deeply, while Darogaji Chori Ho Gayi gave a social message with humour. The Proposal and Kuch Tum Kaho Kuch Hum Kahen presented complex topics of life in a light-hearted manner.

The festival proved that theatre is not only a medium of entertainment, but it is also an effective medium to show the mirror to the society and inspire it to think deeply.




An Unforgettable Evening of Theatre by “Mask Players Art Group”

The “Mask Players Art Group” theatre group organised two plays on 21 December 2024 at the Blank Canvas Theatre of LTG, Delhi. The first presentation was “Dedh Inch Upar” which was invited and was performed by the theatre group Banjara of Haryana. In the play, a middle-aged hero is struggling with his memories in a bar against the backdrop of the Second World War. He loved his dead wife immensely but he himself hid from her that she was a part of a secret campaign against Nazism. This solo performance, entangled in many questions and answers like the untimely death of his wife, the helplessness of not being able to save her, the reasons for her death and betrayal, presents many truths of life before the audience. Senior artist Vijay Bhatotia brought this story of Nirmal Verma to life on stage with his direction and acting and kept the audience captivated till the end.

The second play “Daroga ji Chori Ho Gayi” was performed by the organizing team which was written by Jaivardhan and directed by Chandra Shekhar Sharma. The good acting of the actors in the play made the audience laugh a lot. People were rolling with laughter at the witty dialogues. On one hand, the play draws attention to the corruption of government officials, on the other hand, it shows the increasing tendency of the youth to do things like theft and robbery along with studies to live a dazzling life. They do not even think about how much hardship their parents go through for them. The message of the play was meaningful. In the play, the role of Babu was played by Ashish Sharma, the role of Deepak was played by Shipra Jain, the role of Fattelal and the role of the inspector was played by Nikhil Jha and Mamta Rani as a female constable received applause from the audience. In the backstage, Jatin Shaurya did the lighting, Manoj did the music direction and makeup, Sarita Rana did the costumes and Rakesh Sharma and Sangeeta Suyal did the set and props.




An Enriching Discussion on Indian Folk Theatre Tradition at Sanskar Bharati’s Monthly Symposium

The monthly seminar organized at Sanskar Bharti’s central office ‘Kala Sankul’ in New Delhi proved to be a memorable occasion for art and culture lovers. In this year’s event, renowned theatre artist and Sangeet Natak Academy Award winner Shri Lokendra Trivedi presented his views on the topic “Our rich theatre-music tradition woven in folk theatre and its use in the present times”.

The programe began with lighting of lamps and the motto song of Sanskar Bharti. On this occasion, along with the team of Sanskar Bharti, many senior litterateurs, theatre artists and artists of the city were present. Prominent guests included former Secretary of Hindi Academy, Delhi, Hari Suman Bisht, senior theatre artist J.P. Singh, Nisha Trivedi, renowned Chhau Guru Sapan Acharya, Suresh Shetty, Vashisht Upadhyay, Bhupesh Joshi and many other eminent names.

Lokendra Trivedi’s lecture organized in the monthly seminar of Sanskar Bharati was an excellent effort to highlight the depth of Indian folk theatre tradition and its rich cultural heritage. Trivedi discussed his topic “Our rich theatre-music tradition woven in folk theatre and its use in present times” in a very simple, effective and factual manner.

His lecture style not only brought forth the features of folk theatre like Nautanki, Yakshagana, Bhavai, Tamasha, but also explained the relevance of these genres in the perspective of the new age. He stressed the need to preserve these ancient genres in the technological age and explained how connecting the new generation to them is the need of the hour.

The most notable part of the programme was that he raised the issue of making the collection of folk theatre available to the general public at the government and non-government level. This suggestion can be an important step towards preserving the Indian cultural heritage and taking it to new heights.

The Q&A session in the seminar made the dialogue between the audience and the lecturer more effective. The management, conduct and participation of the program show that Sanskar Bharti is not only a pioneer in the promotion of Indian art and culture, but is also active in connecting it with the new generation.

The seminar was conducted very effectively by Garima Rani. The contribution of “Kala Sankul” arrangements in-charge Mr. Digvijay Pandey, coordinator of the dance music seminar Shruti Sinha, co-convenor Vishwadeep, guide senior theatre artist Shyam Kumar and Raj Upadhyay was especially commendable in the success of the program. Apart from this, Harshit, Brajesh, Vijendra, Satyam and Shivam also played an important role in making the event successful.

In the end, the theatre seminar coordinator Mr. Kuldeep Sharma presented the vote of thanks. This event proved to be inspirational and informative for Indian folk art and theatre lovers. Such initiatives will definitely help in preserving and enriching our cultural heritage.




Natsamrat Delights Delhi Audiences with Laughter-Filled Performances

Play Scene

Delhi based Natsamrat again came up with its plays which were full of laughter and four plays which were loved by the audience.

Two plays were staged on 16th November. At 3:00 PM Anton Chekhov’s famous story “The Proposal” was staged. The Proposal is the story of a young man who proposes marriage to his neighbour’s unmarried daughter. The story turns worse when the three of them start arguing over whose property it is and whose dog is better. At 4:15 PM the same evening, the play “Kallu Barber MBBS” written by Moliere was staged in which a barber is always drunk and beats his wife. The barber’s wife promises herself that she will teach her husband a lesson. During this time she meets two servants who are looking for a doctor to cure their master’s daughter’s muteness. The barber’s wife tells him that there is such a doctor here, but he does not consider himself a doctor until he is beaten up properly. Both the servants beat up the barber and force him to become a doctor and take him to their master. Later on, the play takes a very interesting turn.

On 17th November, two plays were staged. At 3 pm, the play “Haye Mera Dil” written by Ranbir Singh, which is the story of a delusional patient who believes that he is going to die and is worried about what will happen to his wife after him, she is very innocent, she will not be able to take care of herself, so he wants to get his wife married again. And later on, the play takes a different turn. At 4:15 pm the same evening, the play “Kambakht Ishq” written by Satya Prakash, which is the story of two old people who have fallen ill due to loneliness and when they meet each other, they understand that they need a support, so that they can share their loneliness.

All the four plays were directed by Shyam Kumar. Among the actors Vishwajeet, Munmun, Shivangi, Arvind Shandilya, Aman Kumar, Vansh Rathore, Raman Kumar and Shammi played their roles brilliantly. Stage managers Sunil Rathore and Suraj Singh, stage manager assistants Himanshu and Nisha, makeup Payal, costume assistants Rohit Prasad and Rekha Devi, music director Vansh Rathore. The play was staged at LTG auditorium Mandi House New Delhi.




A Masterful Comedy of Deception: *Gorakhdhanda* Delights Audiences with Humor and Insight

On November 10, the Mask Players Art Group brought to life Jayvardhan’s comedy play Gorakhdhanda at Gurugram’s Rang Parivartan Auditorium, delighting audiences with laughter and charm under the skilled direction of Chandrashekhar Sharma.

The storyline of Gorakhdhanda is a clever, layered satire on deception and morality, following the antics of a crafty property dealer and his equally sly servant. The two exploit a unique business model—illegally renting out government houses. Enlisting the help of a resourceful actor friend, they devise numerous ways to extract extra money from unsuspecting tenants. They pose as fake police officers, manufacture absurd emergencies, and even cut off tenants’ cable wires, all to manipulate and swindle money out of them.

However, their clever games reach a turning point when they encounter a new tenant, Geeta, a quick-witted woman who begins to see through their schemes. Unlike previous tenants, Geeta decides to fight back, taking matters into her own hands. Her pushback throws the scheming trio into a spiral of missteps, confusion, and unintended consequences. This leads to a brilliantly funny climax, where each character is forced to confront the absurdity of their deception, making for a deeply engaging and humorous plot twist.

Chandrashekhar Sharma’s direction is seamless, reflecting both his understanding of the play’s humor and his ability to highlight social commentary without losing the comedic essence. Sharma managed to balance the farcical elements of the story with a simplicity that made the scenes relatable and accessible. His careful pacing kept the audience engaged, and he ensured that every punchline landed. The transitions between scenes were smooth, and the intricate dynamics between characters were allowed to unfold naturally, making for a cohesive performance that held the audience’s attention from start to finish.

The cast of Gorakhdhanda shone on stage, each actor embracing their character with authenticity and energy. Ashish Sharma, Nikhil Jha, Eva Dandona, Pushkar Sagar, Ashutosh Srivastava, Jatin, and Mayank Sharma added rich layers to the play with their roles, enhancing the comedic timing and providing moments of slapstick that were both skillful and hilarious.

Together, the ensemble cast displayed a natural chemistry, enhancing each other’s performances and creating a lively atmosphere on stage. Their nuanced expressions, quick timing, and humorous dialogues conveyed not only the humor but also the subtle social critique embedded in the play.

Behind the scenes, a dedicated technical team brought the world of Gorakhdhanda to life with admirable precision. Sarita Rana, Manoj, Rakesh Sharma, Sangeeta Suyal, and Mamta Rani were instrumental in handling the set changes, props, and lighting that supported the narrative. Their efforts ensured that each scene flowed effortlessly, with no disruptions, adding polish to the production. The set design was simple but effective, allowing the audience to focus on the characters while still providing the necessary realism for the setting. Lighting and sound cues were timely, which helped to heighten the comedic moments and emphasized the shifts in tone as the story progressed.

For those who missed the Gurugram performance, there’s good news—the play will be staged again on November 16 at Blank Canvas Studio, Mandi House, New Delhi, promising another evening of laughter and insight.




Kala Sankul’s Seminar Unites India’s Diverse Folk Traditions

A monthly art seminar was organized on 27 October 2024 at the ‘Kala Sankul’ of Sanskar Bharti, Delhi, in which a unique confluence of India’s cultural diversity and unity was seen. Padmashree Ramdayal Sharma ji, who is a reputed Nautanki artist and guru, was present as a special guest in this program.

The program started with the lighting of the lamp where Sanskar Bharti’s Rashtriya Sangathan Mantri Abhijeet Gokhale, Ashok Tiwari, Digvijay Singh, Padmashree Ramdayal Sharma, Shyam Kumar, Raj Upadhyay, Deputy Registrar O.P. Sagar, Shruti Sinha were present.

The program started with captivating presentations of various folk dances, in which Manya Narang, Divya Kumari, Lavanya Sinha, Avya Tiwari and Katha Vachika Ruhi Jaiswal, under the leadership of Ms. Sneha Mukherjee, presented the folk dances of Rajasthan and Haryana in a very lively form. After this, Ms. Prabha Dubey’s group Rashmi Singh, Pooja Tripathi, Vaishnavi, Akshit Pratap Singh, Durga Bashakh, Jyoti Sharma, Gargi Savaria, Nitya Bansal, Bhavya Bansal and Megha Jain mesmerized the audience by presenting a unique amalgamation of Garba, Dandiya and Bengal’s Dhunuchi dance.

Padma Shri Ramdayal Sharma Ji in his speech highlighted the antiquity of Nautanki and its Indianness. He told that Nautanki is basically an expression of religious and Indian consciousness, and maintaining its purity is the need of the hour. Initially, Nautanki art was known as Swang and Bhagat.

In earlier times, there was no stage art without Indian consciousness. If the sufferings faced by King Harishchandra for the truth are shown through art, then the new generation will have Indian consciousness.

The program was conducted by Garima Rani Ji, while the vote of thanks was presented by Shruti Sinha Ji. This seminar emerged as a symbol of Indian culture, folk art and national unity, in which art teachers, researchers and art lovers participated in large numbers. Raj Upadhyay, Shyam Kumar, Pradeep Pathak, Raman Kumar, Aanchal Kumari, Tarushi, Anjali Kumari, Sakshi Sharma, Saurabh Kumar, Harshit Kumar, Raman Kumar, Brajesh Vishwakarma, Satyam Kumar along with the manager of the Kala Sankul Digvijay Pandey, Mrityunjay Kumar, Sushant contributed to making the program successful.




Natsamrat Delights Audiences with a Blend of Comedy, Drama, and Social Messages

Delhi based Natsamrat once again brought comedy filled plays for the audience. Plays written by Anton Chekhov, Moliere and Satya Prakash were staged under the direction of Shyam Kumar. On 2nd and 5th October such plays were staged in LTG Auditorium (Blank Canvas), Mandi House, New Delhi in which the director also tried to give a message to the society through his plays and that message touched the hearts of the audience.

On 2nd October two plays were staged. The first play “The Proposal” written by Anton Chekhov was staged. This is the story of a young man who proposes marriage to his neighbour’s unmarried daughter. The story gets worse when the three of them start arguing about whose property it is and whose dog is better.

The play “Kallu Nai MBBS” written by Moliere was staged. The audience gathered in large numbers for the presentation of the play. The audience applauded every dialogue. All the characters played their roles well.
The gist of the play is that a barber is always drunk and beats his wife. The barber’s wife promises herself that she will teach her husband a lesson. Meanwhile, she meets a servant who is looking for a doctor to treat their master’s daughter’s dumbness. The barber’s wife tells him that there is such a doctor here, but he does not consider himself a doctor until he is beaten up properly. The servant beat the barber and force him to become a doctor and take him to his master. Later on, the play takes a very good turn.

On 5 October, again “The Proposal” play was staged along with “Kambakht Ishq” written by Satya Prakash. In today’s time, life has become so busy that children do not have time for their parents, due to which their parents start falling ill. Especially when someone’s mother is alone and someone’s father is alone. The story of the play Kambakht Ishq touched the hearts of the audience along with laughter because somewhere probably everyone was finding themselves in the same place which was being shown in the play.

Artists Vishwajeet, Munmun, Arvind Shandilya, Sudhir Khanna, Aman Kumar, Soumya Yadav, Shivangi and Raman Kumar played their roles very well. Stage Managers Sunil Rathore and Suraj Singh, Set Managers Naushad and Rohit Prasad, Make-up artist Payal and Rajrani, Costume assistants Chhobi Saha and Rekha Devi, Music Operated by Vansh Rathore and light design by Natsamrat’s director Shyam Kumar.




Indian Perspective and Challenges in Modern Theater Writing: Seminar held at Kala Sankul

29 September, New Delhi – In order to promote art and literature, the monthly theatre seminar organised by Sanskar Bharti, Delhi was organised at ‘Kala Sankul’. The main theme of this seminar was ‘Indian perspective and challenges in modern theatre writing’. Director of National School of Drama (NSD) Chittaranjan Tripathi and senior theatre critic Anil Goyal were present as keynote speakers.

In his speech, Chittaranjan Tripathi expressed deep concern over the current state of Indian theatre institutions and writing. He said that in today’s time there is a huge shortage of writing material, which does not present the society and Indian perspective in the right way. He stressed that the study of Indian epics like Mahabharata is very important to understand the art, culture and history of India. According to Tripathi, today’s youth is interested in theatre, but it is very important to write keeping Indianness at the centre.

He also discussed the tradition of folk theatre and said, “When we understand the folk, we will be able to make theatre better too.” Explaining the importance of folk theatre, he said that it is a genre that is born and survives among the common people, which develops by keeping their life and behaviour at the centre.

Drama critic Anil Goyal also expressed his views on the Indian theatre tradition and criticised the wrong portrayal of history by some theatre writers of the past decades. He described the lack of young theatre writers as the biggest challenge of the present times. Goyal said, “The theatre world has always felt the lack of good writers. The film world may have got better writers, but this lack can be clearly seen in the theatre field.”

It was also discussed in the seminar that in the desire for political correctness, difficult and complex issues did not find a place in plays. Referring to the writings based on the wars of 1962 and 1971, he said that films were made on these historical events, but effective plays were not written.

The program was inaugurated by National Organization Minister of Sanskar Bharati Abhijit Gokhale, Director of National School of Drama (NSD) Chittaranjan Tripathi, Senior Critic Anil Goyal, Kuldeep Sharma. Ashok Tiwari, Digvijay Singh, Registrar of NSD P.K. Mohanty and Deputy Registrar O.P. Sagar were present.

The presence of many Senior Theatre Director’s like Mr. Ramdayal Sharma, Avtar Sahni, J.P. Singh, Rohit Tripathi, Chandrakanta Tripathi, Shyam Kumar, Raj Upadhyay, Bhupesh Joshi and Vashisht Upadhyay made the program special. The successful organization of the program was a proof of the dedication of all the members of Sanskar Bharati.

This seminar proved to be an important platform for Indian theatre, where serious discussions were held on the current challenges of playwriting from the Indian perspective. Emphasizing the relevance of epics like Mahabharata, Tripathi told the need for playwrights to focus on Indian context. Anil Goyal, on the other hand, openly expressed his concerns on the lack of young writers and absence of serious subjects.

Overall, this symposium provides a great opportunity to rethink about the direction and challenges of writing in Indian theatre, which can provide inspiration and direction to upcoming writers.