Bihar Art Theatre stages the play 'Kanchanrang' on 29.11.2017 in Patna ('कांचनरंग' का मंचन पटना में 29.11.2017 को सम्पन्न)

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Where sensitivity hinges on money
पैसों पर टिकी संवेदनशीलता
A  drama review in English and हिन्दी by  Hemant Das 'Him'

(हिन्दी में कथा सार अंग्रेजी टेक्स्ट के नीचे पढ़िये.)

Money is the only defining factor of human behaviour nowadays. . People nowadays just toggle between humanity and inhumanity as  per the availability of money in other person's hand. This message was  made vividly clear by the play 'Kanchanrang' directed by Arun Kumar Sinha and written by Shambhu Mitra & Amit Maitra.

A domestic help is treated very badly by their masters. Though the moment it is revealed that his lottery ticket is going to win the prize, all persons including the house owner, his wife, daughter and grown up children all begin to adore him and shower their affections in innumerable ways. And when it is known that the prize 's news was just  a hoax, the teenager servant is beaten and insulted. Giving a new turn to the situation the newspaper publishes the news that the earlier announcement was made erroneously and the true winner of the lottery is this. This number tallies with the servant's ticket and again all persons turn themselves very affectionate and respectful towards the servant. The teenager servant is bemused on this frequent toggling over the pro to anti-sensitiveness. and leaves the house.

The character of the servant symbolised the common man of today's society and all other characters represents the different components of the society. It is starkly obvious that behaviour of the society and relations nowadays is just a mathematical function of money in the hand of a subject. 

The comedy drama was directed by Arun Kumar Sinha.  He is marvelous actor as well. The set design truly presented a scene of middle class home with the curtain, sofa and wall all in different colours showing neither matching nor contrast. The servant presented best acting of an innocent, helpless but a mindful person. The goons like main renter also presented his unique and dashing piece of acting and got good help of his helper friend. Mother was able to show true concern about the marriage of her daughter and showed the typical behaviour of insensitivity towards the domestic help. All the other actors also did justice with their respective characters. Lightings, make up and costumes were up to the mark. The pace of play need to be enhanced for which more Still, the presentation was a huge success of the drama team. 
[हिंदी सार: नौकर के साथ सभी दुर्व्यवहार करते हैैं लेकिन उसके लॉट्री टिकट पर इनाम मिलने की जानकारी होने पर उस का मान होने लगता है यहाँ तक कि मालिक अपनी बेटी से उसकी शादी करने को  सोचता है. फिर जैसे ही पता चलता है कि इनाम का समाचार गलत था तो फिर दुर्व्यवहार  शुरू हो जाता है. फिर भूल सुधार के साथ नौकर के नम्बर को ही इनामी नबर घोषित किया जाता है डेढ़ लाख की राशि के लिए और पुन: परिवारवालों का रुख उसके प्रति कोमल हो जाता है. नौकर यह सब देख कर खीज जाता है और कहता है कि वह अपने इनाम की राशि किसी को नहीं देगा और घर छोड़कर चला जाता है.]

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Review by - Hemant Das 'Him'

Photograph  by- Hemant 'Him'

Email- hemantdas_2001@yahoo.com

Nirman Kala Manch staged 'Dharati Aba' on 26.11.2017 in Patna (हिंदी लिंक के साथ)

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The making of a God - Birsa's  'Ulgulaan- a arevolultion' 

(हिन्दी में नाटक की रिपोर्ट यहाँ पढ़िये-   https://dramapagesbiharidhamaka.blogspot.in/2017/11/26112017_28.html

"Yes, I am a god!" the utterance of Birsa Munda may create a megalomaniac picture in your vision for a while which would prove a fallacy once you watch the play. This dramatic piece written by Hrishikesh Sulabh staged on 26.11.2017 in Premchand Rangshala was one of the most significant creation of a perfectionist theatre virtuoso Sanjay Upadhyay and his Nirman Kala Manch.

A revolution is effected only by addressing the grassroots level problems by critical stimulation of grassroots level people. Frequencies of leader and masses must match for the successful formation of a revolution. This very fact was the reason behind Birsa conceding to his identity as a god as projected by his followers. The innocent tribal gained critical courage for the revolution against exploitation with a notion that there is a god to save them from any of the biggest crises on the earth. Birsa was a highly sagacious man having very long vision. His 'ulgulaan' (revolution) was targeted to 'diku' (foreinors). But his meaning of 'diku' did not confine itself only to British people, in fact it included all the exploitative classes of non-tribal money-lenders, selfish contractors, unscrupulous businessmen and the corrupt officials who were in tandem for executing the orders of tribal's displacement from their natural habitat.

The writer has mainly concentrated on descriptive style of expression. All the tenets of Birsa were narrated beautifully by the main character and in full detail. Though in an attempt to present an exhaustive ideology of Birsa the human aspect of his life has been sacrificed. Still, the mother (Sharda Singh) of Birsa comes forth in full passion of motherhood. She is not happy at all like  Birsa's father as she feels the pinch of missing her son in an aura of a god for the masses. Sulabh has been generous enough to give her enough dialogues to turn this otherwise historically prosaic play into a vivacious life- sketch of Birsa.

Sanjay Upadhyay is a perfectionist who would not allow even a smidgen of aberration in the body of drama presentation. The whole drama was a rich display of tribal dance, music, set design, attires and aboriginal life-style. The actors were so well in the delivery of dialogues especially the British polish officer, Birsa's mother and father, Birsa, the main girl character etc. All other actors were also perfect in their own steed and it is not their fault if the story did not require much of their dialogues.  The persons who lived the characters were Suman Kr, Pappu Thakur, Adil Rashid, Sharda Singh, Rubi Khatun, Satya Prakash, Uttam Kr, Krishna Kr, Abhishek Anand, Vinita Singh, Kr Uday Singh, Jay Kumar Bharti, Brijesh Sharma, Rishikesh Jha, Swaram Upadhyay, Purushottam Kr, Aditya and Shiva Kundan. 

Sanjay Upadhyay had contributed a real flavour of folk musical compositions and Vijendra kr Tak provided impressive lightings. From backstage Md. Jony was on harmonium, Rajesh Ranjan on dholak, Vanfool Nayak on mandar and Md. Noor on flute. Mountains was brought on the set by Prabodh Vishwakarma and make up was by Jitendra Kr Jitu.

This play was presented as a part of four days drama festival styled as Rang-e-Sanjay oragnised by Divine Social Development Organisation, Patna and dedicated to iconic theatre artist Snjay Upadhyay. 

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Review by - Hemant Das 'Him'

Photographer - Hemant 'Him'

Send your response by email to - hemantdas_2001@yahoo.com