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Theatre
Forms
TRADITIONAL
THEATRE FORMS OF INDIA
Living
traditions occupy a prominent
place in the Indian social
system. Any living tradition
has a natural flow. There can
be no doubt about the fact
that traditional art forms
reflect the ideals of the society,
its determination to survive,
its ethos, emotions, fellow-feelings,
and so on. Drama in itself
is a complete form of arts.
It includes in its framework
acting, dialogue, poetry, music,
etc.
In
community living, the art of singing
has its own importance. In all the traditional
theatre-forms, songs and the art of singing
have an important role to play. Traditional
music of the theatre is an expression
of the feelings of the community. |
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Traditionally
the language of ordinary people has an element
of creativity, though not based on classical
or grammatical roots. This kind of creativity
is spontaneous, emerging from the circumstances.
When there is intensity of emotions, there
is a natural kind of rhythm in the expressions.
It is this natural rhythm from which emerges
the traditional theatre-form. In this art
form, sorrow, joy, frustration, hatred and
love have their role and place. |
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In
different regions of India, there are religious
festivals, fairs, gatherings, ritual offerings,
prayers, almost throughout the year. During
these occasions, traditional theatre forms
are presented. They reflect the common
man’s
social attitudes and perceptions. In this
social portrayal, there is also the individual’s
role which is given due importance. |
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Traditional
theatre forms incorporate not only the
common man’s interests but there
is also a classical element in them. This
classical
facet, however, takes on regional, local
and folk coloring. It is possible, that
those associated with the classical world
of Sanskrit
drama, went to the neighbouring regions
after its decline and intermingled with
the local
theatre forms. This kind of synthesis,
give-and-take must have taken place on
various levels such
as written, verbal, classical, contemporary,
national and local. |
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In
traditional theatre forms there are special
styles of dance portraying the entry on to
the stage or platform, narrative and descriptive
roles. The best example of descriptive acting
is the Bidapat naach. In this traditional
theatre form, emphasis is not on beauty but
on acting itself and narrative and descriptive
skills. Dance as a narrative art is the base
of theatre form which can be seen in the
traditional theatre form of Bhavai of Gujarat.
In this form, quick or slow foot movement
is a means of narration. The art of making
the entry by dancing has been perfected in
the traditional Kashmiri theatre form, Bhand
Jashn. The way each character walks and enters
the platform, identifies him. In Koodiyaattam
and Ankia Naat, the entry by dancing itself
is complicated and artistic. In the forms,
the tempo and basic posture and gesture identifies
the role of the character. |
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| In
traditional theatre, age-old forms, customs
and the desire to improvise are intermingled.
It is usually when the significant themes
are enacted, that the acting restricts itself
to traditional norms, not deviating from
it. But, every time the theme inches towards
the contemporary, the actors improvise as
far as dialogue delivery is concerned. |
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In
traditional theatre forms there
are certain conventions of presentations
depending upon and changing according
to the form and size of the stage
or the platform and other available
situations. There is no formal
setup governing the entry or exit
of the actors. Depending on the
situation or context, the actors
enter into the stage and enact
their role without being formally
introduced. After a particular
event or incident is over, all
the artists make an exit, or all
of them sit down on the sides of
the stage or near the backdrop, conveying
the change of a scene
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In
traditional theatre forms, there is no
such thing as episodes. There is always
continuity in its theme, structure and
presentation. There is also a scope for
improvisation and incorporation of new
references leading to subtle extension
in the story-line. There is direct and
intimate communication between the actors
and the audience. |
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Traditional
theatre forms have definitely been influenced
by industrial civilization, industrialization,
and urbanization. The socio-cultural aspects
of these influences should be carefully
studied. There was a time when Kanpur became
the centre of the traditional theatre Nautanki.
Artists, dancers and singers produced plays
based on local heroes, their popularity
and traditional love stories. Thus, a local
theatre form acquired significance in the
field of entertainment. |
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Traditional
theatre forms have a common distinguishing
feature that is the element of simplicity.
What is the underlying force of traditional
theatre forms that has enabled it to survive
and maintain its simplicity? The fact remains,
that it is the immediate, direct, realistic
and rhythmic relationship that the spectators
are able to develop with the artists of
traditional theatre forms which is generally
not experienced in other art forms. It
is reflected in the applaud by the spectators
by means of clapping their hands. |
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Secondly
the development of traditional theatre
forms is based on such local and regional
peculiarities which are not bound and
restricted by social and economic divisions,
limitations,
etc. Tradional art forms have influenced
classical art forms and vice-versa. It
is an eternal journey in the sphere of ‘culture’. |
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In
traditional theatre forms, characters keep
changing their place on the stage to be
more impressive and to give the situation
a greater significance. This technique
also reduces the chance of boredom through
repetition and stillness. Dialogues delivery
is usually carried out in a high pitch.
This helps the actors in reaching out to
a larger audience. The artists always add
something or the other to the original
dialogue on their own. The changes brought
through improvisations, make the spectators
ecstatic. Also, it establishes a direct
relationship between the artists and the
spectators. The clown also plays a similar
role. While being humorous, he also touches
upon the socio-economic, political issues
and situations with lot of satire. There
are different methods too, in the way the
clown makes his appearance. If the king,
in traditional theatre forms, decides on
a step not beneficial for the people at
large, the clown appears and takes the
side of the common man. He makes the audience
laugh and at the same time discloses the
anti-people attitude of the king.
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| DIFFERENT
FORMS OF TRADITIONAL THEATRE |
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Bhand
Pather, the traditional
theatre form of Kashmir,
is a unique combination of
dance, music and acting.
Satire, wit and parody are
preferred for inducing laughter.
In this theatre form, music
is provided with surnai,
nagaara and dhol. Since the
actors of Bhand Pather are
mainly from the farming community,
the impact of their way of
living, ideals and sensitivity
is discernible.
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Originally
the theatre form Swang,
was mainly music-based. Gradually,
prose too, played its role in the
dialogues. The softness of emotions,
accomplishment of rasa alongwith
the development of character can
be seen in this theatre form. The
two important styles of Swang are
from Rohtak and Haathras. In the
style belonging to Rohtak, the
language used is Haryanvi (Bangru)
and in Haathras, it is Brajbhasha. |
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Nautanki is
usually associated with Uttar Pradesh.
The most popular centres of this
traditional theatre form are Kanpur,
Lucknow and Haathras. The meters
used in the verses are: Doha, Chaubola,
Chhappai, Behar-e-tabeel. There was
a time when only men acted in Nautanki
but nowadays, women have also started
taking part in the performances.
Among those remembered with reverence
is Gulab Bai of Kanpur. She gave
a new dimension to this old theatre
form. |
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Raasleela is
based exclusively on Lord Krishna
legends; it is believed that Nand
Das wrote the initial plays based
on the life of Krishna. In this theatre
form the dialogues in prose combined
beautifully with songs and scenes
from Krishna's pranks. |
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Bhavai is
the traditional theatre form of Gujarat.
The centers of this form are Kutch
and Kathiawar. The instruments used
in Bhavai are: bhungal, tabla, flute,
pakhaawaj, rabaab, sarangi, manjeera,
etc. In Bhavai, there is a rare synthesis
of devotional and romantic sentiments. |
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Fairs
in honour of gods, or religious rituals
and ceremonies have within their
framework musical plays are known
as Jatra. This form
was born and nurtured in Bengal.
Krishna Jatra became popular due
to Chaitanya's influence. Later,
however, worldly love stories too,
found a place in Jatra. The earlier
form of Jatra has been musical. Dialogues
were added at later stage. The actors
themselves describe the change of
scene, the place of action, etc. |
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Maach is
the traditional theatre form of Madhya
Pradesh. The term Maach is used for
the stage itself as also for the
play. In this theatre form songs
are given prominence in between the
dialogues. The term for dialogue
in this form is bol and rhyme in
narration is termed vanag. The tunes
of this theatre form are known as
rangat. |
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Bhaona is
a presentation of the Ankia Naat
of Assam. In Bhaona cultural glimpses
of Assam, Bengal Orissa, Mathura
and Brindavan can be seen. The Sutradhaar,
or narrator begins the story, first
in Sanskrit and then in either Brajboli
or Assamese. |
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Tamaasha is
a traditional folk theatre form
of Maharashtra. It has evolved
from the folk forms such as Gondhal,
Jagran and Kirtan. Unlike other
theatre forms, in Tamaasha the
female actress is the chief exponent
of dance movements in the play.
She is known as Murki. Classical
music, footwork at lightning-speed,
and vivid gestures make it possible
to portray all the emotions through
dance. |
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Dashavatar is
the most developed theatre form
of the Konkan and Goa regions.
The performers personify the
ten incarnations of Lord Vishnu-the
god of preservation and creativity.
The ten incarnations are Matsya
(fish), Kurma (tortoise), Varaha
(boar), Narsimha (lion-man),
Vaman (dwarf), Parashuram, Rama,
Krishna (or Balram), Buddha and
Kalki. Apart from stylized make-up,
the Dashavatar performers wear
masks of wood and papier mache. |
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Krishnattam,
folk theatre of Kerala, came
into existence in the middle
of 17th century A.D. under the
patronage of King Manavada of
Calicut. Krishnattam is a cycle
of eight plays performed for
eight consecutive days. The plays
are Avataram, Kaliamandana, Rasa
krida, kamasavadha, Swayamvaram,
Bana Yudham, Vivida Vadham, and
Swargarohana. The episodes are
based on the theme of Lord Krishna
- his birth, childhood pranks
and various deeds depicting victory
of good over evil. |
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Mudiyettu,
traditional folk theatre form
of Kerala is celebrated in the
month of Vrischikam (November-December).
It is usually performed only
in the Kali temples of Kerala,
as an oblation to the Goddess.
It depicts the triumph of goddess
Bhadrakali over the asura Darika.
The seven characters in Mudiyettu-Shiva,
Narada, Darika, Danavendra, Bhadrakali,
Kooli and Koimbidar (Nandikeshvara)
are all heavily made-up. |
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Theyyam is
a traditional and extremely popular
folk theatre form of Kerala.
The word 'Theyyam' is derived
from the Sanskrit word 'Daivam'
meaning God. Hence it is called
God's dance. The tradition of
worshipping of spirits of ancestors,
folk heroes, and deities of various
diseases and ailments can be
traced back to ancient times
in South India. Theyyam is performed
by various castes to appease
and worship these spirits. One
of the distinguishing features
of Theyyam is the colourful costume
and awe-inspiring headgears (mudi)
nearly 5 to 6 feet high made
of arecanut splices, bamboos,
leaf sheaths of arecanut and
wooden planks and dyed into different
strong colours using turmeric,
wax and arac. |
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Koodiyaattam,
one of the oldest traditional theatre
forms of Kerala, is based on Sanskrit
theatre traditions. The characters
of this theatre form are: Chakyaar
or actor, Naambiyaar, the instrumentalists
and Naangyaar, those taking on
women's roles. The Sutradhar or
narrator and the Vidushak or jesters
are the protagonists. It is the
Vidushak alone who delivers the
dialogues. Emphasis on hand gestures
and eye movements makes this dance
and theatre form unique. |
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Yakshagaana,
traditional theatre form of Karnataka,
is based on mythological stories
and Puranas. The most popular episodes
are from the Mahabharata i.e. Draupadi
swayamvar, Subhadra vivah, Abhimanyu
vadh, Karna-Arjun yuddh and from
Ramayana i.e. Raajyaabhishek, Lav-kush
Yuddh, Baali-Sugreeva yuddha and
Panchavati. |
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Therukoothu,
the most popular form of folk
drama of Tamil Nadu, literally
means "street
play". It is mostly performed
at the time of annual temple
festivals of Mariamman (Rain
goddess) to
achieve rich harvest. At the
core of the extensive repertoire
of
Therukoothu there is a cycle
of eight plays based on the life
of
Draupadi. Kattiakaran, the Sutradhara
of the Therukoothu performance,
gives the gist of the play to
the audience and Komali entertains
the audience with his buffoonery. |
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The
traditional theatre forms of Swang, Nautanki,
Bhagat, etc. are usually similar. There
is often stylistic diversity, which strengthens
their identity. |
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Under
the aegis of Ministry
of Culture,
Government of India
15-A, Sector - 7, Pappankalan, Dwarka,
New Delhi - 110075 |
Centre for Cultural Resources and Training |
Telephone:(011)
25088638,
47151000
Fax: 91-11-25088637,
Gram: CENCULT
E-mail:- dg.ccrt@nic.in |
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