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बिहार, भारत की कला, संस्कृति और साहित्य.......Art, Culture and Literature of Bihar, India ..... E-mail: editorbejodindia@yahoo.com / अपनी सामग्री को ब्लॉग से डाउनलोड कर सुरक्षित कर लें.

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Tuesday, 28 November 2017

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. 
Review by - Hemant Das 'Him'
Photographer - Hemant 'Him'
Send your response by email to - hemantdas_2001@yahoo.com

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