Conclusion

Puppetry is one of the oldest folk drama of Assam.The present study deals with the art of puppetry and In this research work ‘Puppetry and Traditional Theatre’,discussion have been done on various issues related to puppetry of Assam,specially the problems facing by the art of puppetry. In the introduction part of this research work, aims and objectives, methods of study and source of data have discussed in detailed. Puppetry is a very important and ancient form of folk drama. From the extensive field visit I have come to know that as a folk performing art;puppetry has unique presentation style.The manipulation of puppets are not very easy task.It requires special qualities of puppeteer. Puppetry is an effective medium of communication. In spite of its umnique place in Assamese culture and society,the present condition of puppetry is not satisfactory.

The name of the first chapter of this thesis is ‘Folk Drama Origin And Development’. The first chapter is devoted to the origin and development of Folk drama.Folk dramas are spontaneous creativity of folk people.This creativity is the result of circumstances. Best kind of such form of traditional theatre is Kamrupia Dhulia.In Kamrupia Dhulia, the performers throw dialogue very skillfully according to the situation,without having any text.In Folk dramas,sorrow,joy,frustration,hatred and love are potrayed beautifully.Folk dramas are predominantly secular. Folk dramas are not based on any established aesthetic principles. The main aim of Folk drama is to entertain people.Clown is use in every form of Folk drama.Using of mask and locally available materials for make up is one of the important features of Folk drama. Scholars have devided Folk drama into three categories.They are classified according to content and form of the play. Attempt has been made to give an account of the features of folk drama.

The second chapter is Puppetry As A Folk Drama. Puppetry has been trying to establish as a Folk drama in the second chapter. Different features of folk drama are distinct in puppetry.Attempt has been made to discussed the features of puppetry that established it as a folk drama. Features of Folk drama reflects in style of presentation of puppetry, costume of puppets and puppeteers, stage, lighting system, use of clown, music and so on. In the second part of the chapter, a conceptual idea of puppet tradition with its types prevalent in different corner of the world has been discussed.It is seen that, puppet performance of different countries have some common features.Scholars opined that puppetry migrated from India to other South Asian countries. The similarities distinct in manner of presentation and themes of puppetry indicates that India is the birth place of puppetry and later migrated to those countries. Indian epics are fevourite themes for the puppeteers of South Asian countries.Chapters of the Ramayana are widely used by puppeteers of Indonesia, Thailand, Malayasia, and Cambodia and so on. In Europian and Western countries, also puppetry is a popular performing art. culture.

The third chapter is‘Legend-Theme Related to Puppetry’.In this chapter source of themes of puppetry and legends related to puppet theatre etc.are discussed. Themes are considerd as soul of puppetry. Themes are mainly drawn from epics, Puranas, and legends prevalent in particular place. Puppeteers now use social themes to attract audience.The recent change in puppetry can feel by observing the new themes. There are various legends about the birth of puppetry.It is observed according to all of the Legends,creator of puppetry is God.Thus, in India,puppetry is considerd as devine creation.

The name of fourth chapter is ‘Puppetry in Assam’.In this chapter,a theoretical approach on history and present status of puppetry tradition of Assam is made. Puppetry tradition in satras as well as outside of satras has been discussed with description of making process of different puppets, music used in puppetry and different categories of songs. Brief discussion on folk instruments, techniques of dialogue writing for puppetry,qualities of puppeteer has been discussed in this chapter.

The stage of puppetry is very simple. As puppetry is a folk drama with puppet actors,therefore the stage for puppet is different from that of play performed by real actors.In this chapter an attempt has been made to discussed the stage of puppetry,manners and techniques of puppet manipulation and functions of different members of puppet troupe. The success of a puppetshow depends on puppeteer’s ability of smooth manipulation of puppet.Every performing art need training to continue their performance in a right way.Necessity of training to performers have discussed in the last part of this chapter.

Folk beliefs are important part of folklore. Folk beliefs are related to every folk performing arts.Puppetry is not exception. Folk society of different corner of the world use puppetry due to their folk beliefs related to puppetry. Folk beliefs have important place in agricultural society. Folk societies organize puppet show for well being of their crops. In some places, woman without child worships God in wish of child by using puppets. Here in this chapter,discussion have made on folk belief of different parts of the world with examples from Assam along with some other states of India.

In the fifth chapter, a comperative study of puppets of Assam and puppets of different corners of India is trying to bring into light. India is called the birth place of puppetry.But it is not known, from when and how puppetry make its place in almost every part of the country.Due to regional difference there are some dissimialriteis in making process,presentation techniques of puppetry.

Assam is endowed with different folk drama. Bhaona, Kamrupia Dhulia, Kushangan Bharigan, Ojapali, Khulia Bhaona have very important place in Assamese and culture and society. Manner of presentation, themes of these folk dramas are discussed in the sixth chapter of this research work.

In the second part of this chapter, relation of puppetry with Kamrupia dhulia, Kushan gan, Bharigan, Khulia Bhaona and Ojapali have discussed.It is seen that there are many similarities regarding the features of these folk dramas.

In the seventh chapter have three parts.In the first part,discussion about active puppet troupes as well as non-active puppet troupes have done.The past glory of puppetry of Assam has lost. Present day, there are only eighteen registered puppet troupes in Assam under All Assam Puppet Theatre. However, some unregistered puppet groups are performing very well.Life style of many traditional puppeteer is in very poor condition. Despite this dark period of puppetry, many new groups have formed in Assam.

In the second part of the chapter,causes of declining of puppetry and life style of puppeteer are tried to describe.Aggression of new form of entertainments have threatening our folk dramas.Peoples negligence is another reason of declining popularity of puppetry.Poor life style of puppeteer and their activites are also discussed.

Puppetry has great contribution towards society.In the last part of the six chapter,a discussion about functions and role of puppetry from folklore perspectives have done.Puppetry has been serving our society since time immemorial.Puppetry has influenced our society in different way.Puppetry has a glorious past in in the history of Indian culture. Once upon a time puppetry was an indispensable part of social life of Assam. Despite the contribution towards society, Puppetry has lost its previous glory.Due to the introduction of new form of entertainment such as television, cinema and so on, traditional puppetry lost its previous glory. In 1982, there were almost 35 traditional puppet troupes. Now only 19 active puppet troupes are there Assam.Particularly in upper Assam,it is a dying art. However,some enthuastic people of new generation are trying to revive this art form. These contemporary puppet troupes are trying to add new taste to puppetry by introducing new themes,new techniques to grab attention of audience.

The traditional performing arts are very valuable assets for a culture as well as for society. From my field visit and interaction with different folk artist,I realized that lack of money is one of the serious problems for them.To compete with other new forms of entertainment and for the survival of the folk artists,economic support is essencial.If the local government patronize the bearer of the folk arts,then they will able to boldly face the threats coming from the new medium of entertainments. Awareness of people is very important for the life of puppetry as well as other traditional folk theatres of Assam.