|
Bharata's Natyasastra is the most significant
work on Indian Dance and Drama. Besides everything
about compositions, production, and enjoyment of ancient
drama, a wealth of information on types of drama, dress,
stage equipment, production and music is also dealt in
detail.
 The origin of Indian theatre can be linked with the tale that the fifth
Veda;
Natya originated as per the desire of Brahma to entertain gods. This may not be true but it is certain that he origin of Indian drama is closely related to the ancient religious rituals and seasonal festivities in one manner or the other. In ancient times the Indian thinking was largely towards searching the truth and depicting the same rather than depend on realism and
materialism. It could help in depicting wide varieties of
characters and incidents as well as finer emotions.
The most renowned and talented dramatists of the ancient era are
Ashwaghosha, Bhasa, Shudraka, Kalidasa,
Harsha, Bhavabhuti, Vishakhadatta, Bhattanarayana,
Murari and Rajeskhara who enriched Indian Theatre with their works like
Madhyam vyaayoda, Urubhuangam, Karnabharan,
Mrichakatikam, Abhigyana Shakuntalam, Malavikagnimitram,
Uttar Ramacharitam, Mudrarakshassa, Bhagavadajjukam, Mattavilasa etc.
Historically, the rich style of old classical theatre patronized by the State and the
popular style of the theatre supported by the people at large
got amalgamated and transformed into various local styles in the medieval period due to various socio-political and cultural reasons. By the middle of the 19th century the
prominent surviving local styles were Jatra in Bengal,
Tamasha in Maharashtra, Bhavai in Gujarat,
Nautanki in Uttar Pradesh, Maach in Madhya Pradesh,
Khayal in Rajastan, Naqul in Punjab, Yakshagana
in Karnataka and Koodiyattam in Kerala.
The beginning of the modern Indian theatre can be traced to 1765, when a Russian dramatist staged a play. But the real beginning was in 1831, when
Prasanna Kumar Thakur established Hindu
Rangamanch at Clacutta and staged Wilson's English translation of
Bhavabhuti's Sanskrit drama Uttar Ramacharitam.
Social dramas of
Girish chanda Ghosh, historical dramas of D.L.
Roy and artistic dramas of Rabindranath Tagore continued to reach up to the stage of realistic dramas during the period of the worst ever famines of Bengal and the Second World War. This was the beginning of the parallel theatre.
Navanna of Bijon Bhattacharya written in the background of famine rocked the whole Indian theatre. It was directed by
Shambhu Mitra whose group Bachuroopi enriched Bengali theatre for
a long time.
Closely following the trends of Bengali theatre, theatres of
Marathi, Kannada, Gujarathi, Oriya and
Hindi were also developing. Vishnu Das Bhave was a pioneer in Marathi who wrote and staged
Sita Swayambar in 1843. His first Hindi drama, Raja
Gopichanda, became very famous and it resulted in the formation of many professional groups such as
Kirloskar Nataka Mandali of Anna Sahib Kirloskar.
Vijai Tendukar gave a new dimension to he Indian theatre. He transformed Marathi theatre with his controversial but very effective plays.
In the middle of the 19th century Indian Theatre
was equally influenced by the western literature and the feelings of nationalism and pride in the glorious past of the country. In 1852-53, the famous
Parasi Theatre started in Bombay which influenced
the whole country in no time. On the other hand the amateur theatre also developed with the works of
Bharatendu Harishchandra.
Indian theatre and drama got a new footing, when
Kendriya Sangeet Natak Academy was started in January, 1953. Institutions
like Anamika in Calcutta (1955). Theatre Unit in Bombay (1954) and
Three Arts club (1948), Little Theatre Group (1948),
Delhi Arts Theatre (1951), Independence
Theatre (1959) also played a great role in establishing
the modern Indian Theatre. State Academies were also set up in most of the states in 1950s. However, the most important development was the starting of
National School of Drama at New Delhi.
In 1960s, by suitable mixing of various styles and techniques from Sanskrit, Medieval folk and western theatre,
the modern Indian Theatre was given a new, versatile and broader approach at every level of
creativity. This made it more realistic, meaningful and lively. Slowly many writers broke the barriers of regional languages and produced
many good works at national level. Badal Sarkar,
Vijai Tendulkar, Adya Rangacharya, Girish Karnad,
Mohan Rakesh and Dhaaramveer Bharati are the few among them.
Recently Dishantat group of Om Shivapuri and Abhiyan of Rajinder Nath have staged many notable dramas which will be
remembered for long. By staging
Agra Bazar, Guinea Pig etc. Naya
Theatre of Habeeb Tanveer has created a new theatrical
style and earned a fame at international level. Equally
notable is the significant contribution of regional
language theaters. The Marathi, Gujarathi, Kannada,
Tamil and Malayalam among others have evolved separate
theatre styles rooted in local tales and resources. |
