On 27th April 2025, at the Sammukh Auditorium of the National School of Drama, Delhi, the theatrical evening under the “Katharang” program—organized by Mailorang (Maithili Lok Rang), Delhi—featured Sambhav’s evocative presentation “Unke Hisse Ka Prem evam Gareeb Nawaz”. The performance offered an experience that touched audiences at their very core.

The direction was helmed by senior theatre practitioner Prof. Devendra Raj Ankur, whose theatrical finesse was evident in every scene and every emotion of the presentation.

The first story viewed love from an unusual yet striking perspective—where inanimate objects, rather than humans, become witnesses. Set in an office, the hidden layers of a boss’s romantic entanglements are brought to life through the voices of his desk, chair, diary, mirror, and pen. While the concept sounds extraordinary, it was executed on stage with remarkable ease and believability. These lifeless symbols transformed into living characters before the audience’s eyes, each one addressing the viewers—sometimes with sarcasm, at other times with compassion. The director’s choice to turn objects into “characters” was a daring experiment in theatre, and it proved to be a wholly rewarding one.

The second story depicted a contemporary conflict within society, rendered in a simple yet powerful form. The struggle between Vishwamohan—who returns from America to start a BPO—and Riyaz, who opens a modest “Gareeb Nawaz Chicken Shop” next door, is not merely a business rivalry. It becomes a clash of two worldviews. Beneath its humor and wit, the story makes a poignant commentary: in the blind race for development, how many truths are trampled, and how many “Gareeb Nawaz” figures are pushed to the margins?

On stage, Nidhi Mishra, Gauri Dewal, Rachita Verma, Amitabh Srivastava, Amit Saxena, Harikesh Maurya, Sahaj Harjai, and Prakash Jha brought their characters to life with such intensity and nuance that each scene appeared to unfold right before the audience’s eyes. Their performances added soul to the characters, going beyond mere dialogues. Behind the scenes, too, a dedicated creative team worked tirelessly.

Music selection was curated by Rajesh Singh, and technical operation during the performance managed by Unish Yadav and Sahaj Harjai, whose acoustic execution ensured precise alignment of sound with the emotional tone and rhythm of each scene.

Lighting was sensitively designed by Raghav Prakash Mishra, whose balance of light and shadow added both visual clarity and thematic depth. Every aspect of stage design, management, and visual aesthetics reflected a mature professional sensibility and deep theatrical insight, elevating the performance to a level of artistic completeness.

It would not be an exaggeration to say that this presentation offered more than just two stories—it offered two distinct philosophies of life. One, where love remains forever incomplete; and the other, where in the name of “success,” human relationships and grounded realities are blurred. Prof. Devendra Raj Ankur’s endeavor reaffirmed that theatre does not end at the stage—it becomes an extension of our consciousness.

Sambhav’s performance reminded us that when acting, direction, and thought move in unison, theatre becomes more than performance—it becomes a dialogue that resonates deeply within the viewer, long after the lights have dimmed.

The monthly symposium began with a heartfelt tribute to the innocent civilians martyred in the recent terrorist attack in Pahalgam. All present members observed two minutes of silence, expressing their emotions in an unspeakable way. The entire atmosphere seemed to be immersed in a silent prayer.

On the auspicious occasion of the lighting of the lamp, all distinguished guests performed the lamp lighting ceremony, illuminating the stage.

Following this, a melodious stream of music began. The soulful singing by Mr. Vijay Rawal and Mr. Veer Mani Trivedi touched the hearts of everyone present. Their mastery of voice filled the atmosphere with unseen compassion and hope.

The main attraction of the symposium was the analytical discussion on the theatrical presentation ‘Arey Gadbadi Ho Gayi’, inspired by the Sanskrit play ‘Bhagavadjukkam’ by Bodhayan, directed by Raj Upadhyay, and performed by Navras Group.

In this discussion, the depth of the story, authenticity of the acting, the liveliness of the stage arrangement, and the artistic features of the entire presentation were examined in detail. Critics appreciated the dedication and effort of the Navras Group artists, stating that the presentation not only entertained but also sparked deep contemplation.

The Navras Group artists were deeply moved after hearing such a heartfelt and in-depth review of their performance. They expressed that such analytical discussions inspired them to further deepen their theatrical practice. They also expressed their gratitude to Sanskar Bharti for providing such a valuable platform.

To elevate the dignity of the event, the presence of several distinguished guests was noteworthy. Dr. Prashant Upadhyay, Delhi Province Minister, Senior NSD theater artist Mr. Pradeep Mohanty, Mrs. Shashi Prabha Tiwari, educationist Dr. Ruchika, and Mr. Manish Jha honored the event with their esteemed presence.

The success of the program was greatly aided by the contributions of Delhi Province’s stage art coordinator Mr. Raj Upadhyay, senior theater artist Shyam Kumar, Shraboni Saha, Garima Rani, Vishwadeep, Sneha Mukherjee, Raman Kumar, Saurav Tripathi, Pradeep Pathak, Mrityunjay, Brijesh, Shivam, Sushank, and Sakshi.

The event was skillfully and warmly conducted by Bharti Dag, and Mrs. Shruti Sinha concluded the art-filled evening with a heartfelt vote of thanks.

Delhi’s renowned theatre group “Natsamrat” once again mesmerized audiences with the 22nd Natsamrat Theatre Festival. This grand theatrical event brought together a collection of eight remarkable plays, each offering a unique blend of humor, drama, and thought-provoking narratives. With powerful performances and engaging storytelling, the festival successfully captured the essence of theatre, leaving a lasting impression on spectators.

The festival commenced on March 15 at 6:15 PM with Anton Chekhov’s “The Proposal.” This classic farce, filled with witty dialogue and situational humor, kept the audience engaged. The actors skillfully portrayed the irony of a marriage proposal turning into a heated argument over land and a pet dog. Their impeccable timing and expressive performances made the play a delightful experience. Following this, at 7:30 PM, the satirical play “Kallu Nai MBBS” took the stage. This play blended comedy with social critique, addressing themes of domestic violence and gender dynamics. The protagonist, a drunken barber, finds himself in a bizarre situation where he must endure beatings to prove his worth as a doctor. The fast-paced narrative and lively performances ensured continuous laughter while subtly conveying a deeper message.

On March 16, the audience witnessed “Chekhov Ka Sansar,” a dramatization of two of Chekhov’s iconic stories. The play beautifully combined humor and profound emotions, bringing out the essence of human relationships and social contradictions. The nuanced portrayal of characters and their inner conflicts made it an enriching theatrical experience. Later that evening, at 7:30 PM, “Kambakht Ishq” explored the theme of companionship in old age. The story of two elderly individuals navigating loneliness and seeking emotional support struck a chord with the audience. The actors delivered heartfelt performances, making the play both touching and thought-provoking.

The festival continued on March 22 with “Kuch Tum Kaho Kuch Hum Kahein” by Ashish Kotwal. The narrative revolved around an elderly doctor and a lively woman, Mansi, whose contrasting worlds collide unexpectedly. The interplay of their personalities created a compelling and engaging storyline. At 4:15 PM the same day, “Meri Biwi Ki Shaadi” by Ranbir Singh entertained audiences with its hilarious premise. The protagonist, a hypochondriac, believes he is nearing death and becomes obsessed with planning his wife’s future after his demise. His anxious attempts to arrange her remarriage lead to an unexpected twist, making the play both humorous and insightful.

On March 29 at 3:00 PM, the thought-provoking drama “Aadhi Raat Ke Baad” by Dr. Shankar Shesh was staged. The story followed a thief who, instead of stealing, breaks into a judge’s house to confess a crime he witnessed—a powerful businessman’s involvement in a journalist’s murder. Afraid for his life, he seeks imprisonment as his only refuge. The intense dialogues between the thief and the judge exposed the flaws in the judicial system, leaving a lasting impact on the audience. The festival concluded with “Kaisa Hai Yeh Paisa” by Shyam Kumar at 4:15 PM. This emotional drama explored the complexities of family relationships and material greed. A devoted father, who spent his life caring for his children, is neglected in his old age. However, when the children discover he is about to receive a large fortune, their attitude takes a drastic turn. The play’s gripping narrative and emotional depth made it a memorable finale to the festival.

The festival’s success was driven by the stellar performances of actors Vishwajeet, Munmun, Shivangi, Aman Kumar, Raman Kumar, Dhananjay, Ansh Rathore, and Rajan K. Bhatheja. Their dynamic portrayals brought depth and realism to each character, making every play a remarkable experience. Behind the scenes, Sunil Rathore and Suraj Singh managed stage operations efficiently, assisted by Himanshu and Nisha. Raj Rani’s makeup artistry enhanced the visual appeal of the characters, while Rohit Prasad and Rekha Devi contributed to costume design. Vansh Rathore handled the musical arrangements, enriching the dramatic atmosphere. Under the expert direction of Shyam Kumar, each play maintained a unique artistic essence. Hosted at LTG Auditorium, Mandi House, the festival witnessed enthusiastic participation, with audiences applauding every performance. The overwhelming response reaffirmed the timeless charm of theatre and the vital role of groups like Natsamrat in preserving and promoting this rich cultural tradition.

The prestigious Delhi-based theatre group Natsamrat mesmerized audiences with a diverse range of plays at the 22nd Natsamrat Theatre Festival. Held on March 15 and 16, the festival showcased four plays, each offering a unique theatrical experience. From comedy and satire to deep human emotions, the performances left a lasting impression on theatre enthusiasts.

The festival opened with “The Proposal”, a play by Anton Chekhov that brilliantly captured his signature satirical style. The story revolved around a young man proposing marriage to his neighbor’s unmarried daughter, but instead of a romantic conversation, a hilarious argument over land and a pet dog ensued. The humor was not just in the dialogues but also in the absurdity of the situation and the characters’ temperaments, keeping the audience thoroughly entertained.

Next came “Kallu Nai MBBS”, a play that delivered a blend of humor and social commentary. The story followed a drunken barber who regularly abused his wife, only to be outwitted by her cleverness. Meanwhile, two servants searching for a doctor to treat their master’s mute daughter were tricked into believing that the barber was a doctor—but only after receiving a sound beating. The fast-paced narrative, physical comedy, and sharp dialogues made this play a crowd favorite.

On March 16, “Chekhov Ka Sansar” brought two of Anton Chekhov’s most celebrated stories to life. This performance not only delivered humor but also highlighted the depth of Chekhov’s storytelling, capturing the irony and struggles of human existence. The interplay of light-hearted comedy with underlying social commentary made this an engaging production.

The final play, “Kambakht Ishq”, struck a chord with the audience by portraying the loneliness of two elderly individuals who find solace in each other’s company. The play beautifully explored the importance of companionship in old age, making it a deeply emotional experience. The actors’ nuanced performances and heartfelt dialogues ensured that the message resonated with the audience.

Directed by Shyam Kumar, all four productions were masterfully staged, bringing out the essence of each story while maintaining their distinct theatrical styles. The performances by Vishwajeet, Munmun, Shivangi, Aman Kumar, Vansh Rathore, Raman Kumar, Dhananjay, Kaushal Chauhan, Ansh and Rajan K. Bhatheja were outstanding. Stage management was efficiently handled by Sunil Rathore and Suraj Singh, with Himanshu and Nisha assisting. Payal and Raj Rani managed makeup, while Rohit Prasad, Rekha Devi, and Manu Kumar Singh worked on costumes. Vansh Rathore’s contribution to music operation, played a significant role in enhancing the theatrical experience. The Natya Utsav was held at LTG Auditorium, Mandi House, New Delhi.

Overall, the 22nd Natsamrat Theatre Festival was a resounding success, offering a delightful mix of humor, satire, and emotional depth. Each play had a unique appeal, ensuring that the audience left with unforgettable memories of this vibrant theatrical celebration.

Vagish K. Jha

Orbituary by Neelesh Deepak

मन बहुत दुखी है। शब्द नहीं है मेरे पास। मन बहुत भारी लग रहा है। मेरे गुरु, बड़े भाई और दिल्ली में अभिभावक Vagish K Jha नहीं रहे। आपका अचानक चले जाना मन को कचोट रहा है। पिछले महीने घंटों आपसे बातचीत करके आया हूँ, और आज सुबह आपके निधन की सूचना, स्तब्ध कर गया।

आपका जाना मेरे लिए
व्यक्तिगत क्षति है। जब भी मैं मन की विचलन से भ्रमित होता था तो आपको फोन करता या आपके घर आकर आपसे दिशा निर्देश लेता रहता।

आपसे मैं संस्कृतिकर्म, शिक्षा, इतिहास, रंगमंच और लोक कला पर घंटो बहस करता रहता था। इन तमाम मुद्दों पर आपकी समझ विरल थी।

गुरुदेव सादर प्रणाम👏👏
आज मैं जहाँ भी हूँ आपकी ही वजह से हूँ।

लगभग 25 सालों से आपके सानिध्य में काम करता रहा हूँ। आपके ही नाटक ‘बिजुलिया भौजी’ से सार्थक नाट्य जगत में पदार्पण किया था। तबसे आपके साथ सानिध्य का सौभाग्य प्राप्त होता रहा है। आज आप नहीं है। दुःखी का पारावार नहीं है।

यही जीवन है, ओह😢गुरुदेव

Memorial service Saturday

Brief Biodata
Vagish K Jha held a Master degree in Philosophy and Masters in History from J.N.U, New Delhi. In the field of communication, he had ventured into journalism, theatre, television and has also written articles in national dailies and magazines

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.

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!

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.

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.

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.