Society as depicted in the Chaturbhani (study)
by Mridusmita Bharadwaj | 2022 | 64,215 words
This page relates ‘Caturbhani and Stage Performance’ of the study on the Chaturbhani: a collection of four Bhanas which represents a genre of dramatic performance peculiar to the ancient Indian tradition of theater and performing arts (i.e. Natya-Shastra). More specifically, this study examines the historical, literary, cultural, and satirical aspects of ancient Indian society as reflected in these four Sanskrit plays.
Go directly to: Footnotes.
Part 4 - Caturbhāṇī and Stage Performance
Among the four bhāṇas of the Caturbhāṇī, only one bhāṇa viz., Padmaprābhṛtaka bhāṇa written by Śūdraka is found to be performed. Piyal Bhattacharya has directed this bhāṇa following the techniques of Classical Indian theatre. Chidakash Kalalay has presented the Padmaprābhṛtaka bhāṇa several times under his guidance. The performances are immensely appreciated by the spectators.
[Figure 1: Theatre poster[1] ]
Figure 1 is the theatre poster of the performance of the Padmaprābhṛtaka bhāṇa. The bhāṇa was performed in Padatik Theatre, Kolkata on 26th May 2019 for the first time.
[Figure 2: Theatre poster[2] ]
Figure 2 is the theatre poster of Bhāṇotsava. Chidakash Kalalay presents Bhāṇotsava, the celebration of the meagre-modes of Indian drama. Bhāṇotsava was celebrated in Padatik Little Theatre II on 16th and 17th February 2020. On 16th February, Padmaprābhṛtaka bhāṇa was performed and on 17th February uparūpaka viz., bhāṇikā was performed.
[Figure 3: Theatre poster[3] ]
Figure 3 exhibits the theatre poster of Gathā Utsava. Gathā Utsava was a festival on dance, music and theatre, presented by Chidakash Kalalay and the Ministry of Culture from 17th February to 19th February 2021 at Padatik Little Theatre II, Kolkata. Along with other performances, two performances are based on Sanskrit dramas. On 17th February, Virahagathā based on Meghadūta was performed and on 18th February Padmānakagathā based on Padmaprābhṛtaka bhāṇa was performed.
[Figure 4: Decoration of the stage[4] ]
Figure 4 depicts the arrangement of the stage. At the centre of the stage, the creeper which has lotuses suggests the name of the drama Padmaprābhṛtaka. The cuckoo on the umbrella indicates the spring season as at the very outset of the bhāṇa, Sūtradhāra recites four verses on spring season describing the cooing of the cuckoo. The umbrella covered with cloth was brought from Manipur. The umbrella manifests exquisite lighting which provides excellent visuals.[5]
[Figure 5: Sayak Mitra as Sūtradhāra[6] ]
In figure 5, Sayak Mitra is playing the role of Sūtradhāra. Sayak Mitra, an expert artist plays all the roles of the bhāṇa following the canons prescribed for it. The works of Sanskrit dramaturgy prescribe that the roles of bhāṇa should be performed by a single actor.
[Figure 6: Sayak Mitra as Viṭa[7] ]
In figure 6, Sayak Mitra is playing the role of Viṭa. In this scene, Viṭa is explaining Karṇīputra Mūladeva’s sufferings due to the separation from his beloved to the nāṭya kutapa.
[Figure 7: Sayak Mitra as Viṭa[8] ]
In Figure 7, Sayak Mitra is playing the character of Viṭa. He is portrayed in the bhāṇa as an old man who has been suffering from the coldness of the winter season, therefore; in the performance, he wears a shawl. Moreover, the advent of the spring season and the ending of the cold winter season are also suggested by this kind of āhārya.
[Figure 8: Viṭa at the streets of the brothel[9] ]
Figure 8 exhibits Viṭa’s wander in the streets of the brothel. The actresses act as the prostitutes busy with different activities, whereas; the actors play the roles of clients.
[Figure 9: Sayak Mitra as grammarian Dattakalaśī[10] ]
In figure 8, Sayak Mitra is playing the character of grammarian Dattakalaśī.
This is the scene where Viṭa interacts with the grammarian and he describes the conflict between the grammarians of Pāṇinian School and Kātantra School, and he criticised the crudity of Kātantra grammarians.
[Figure 10: Sayak Mitra as Buddhist monk Saṃghilaka[11] ]
In figure 10, Sayak Mitra is playing the character of Saṃghilaka, a Buddhist monk. Viṭa mocks him for visiting the brothel. In this scene, Saṃghilaka is explaining to Viṭa that he visits the place of Saṃghadāsikā to elevate her spirit with the teachings of Buddha as Saṃghadāsikā feels dejected after her mother’s death.
[Figure 11: Sayak Mitra as Mṛdaṅgavāsulaka[12] ]
In figure 11, Sayak Mitra is playing the role of Mṛdaṃgavāsulaka who once played the role of Viṭa in obsolete dramas. In this scene, Mṛdaṃgavāsulaka and Viṭa sarcastically interacted with each other.
[Figure 12: Sayak Mitra as Devasenā[13] ]
In figure 11, Sayak Mitra is playing the role of Devasenā. In this scene, Viṭa meets the lovesick Devasenā in the garden. Viṭa tries to make her speak up about the reasons for her sickness, but she remains silent for a while. Viṭa understands Devasenā’s reasons for suffering and consoles her that Mūladeva also has been suffering the same pain due to the separation from her. At last, Devasenā’s servent Priyaṃvadikā arranges a plan for their reunion.
[Figure 13: Sayak Mitra as Viṭa talking to a courtesan[14] ]
In figure 13, Sayak Mitra plays the role of Viṭa talking to a courtesan named Vanarājikā. Vanarājikā is the daughter of courtesan Vasantavatī. This scene is when Viṭa meets her while she is coming from the temple of Kāmadeva accomplishing her daily worship.
[Figure 14: Nāṭya kutupa seated in semicircle position[15] ]
In figure 14, Viṭa is acting and nāṭya kutupa i.e., the orchestra is seated in a semicircle position along with their instruments. Nāṭya kutupa consists of both female and male actors who along with playing the instruments also acted necessarily. Theatre critic Prof. Kamlesh Datta Tripathi also remarks that the group of actors in Modern theatre are not only trained in recitation and music, but also in basic dance movements and acting. They are, therefore; capable of creating the environment and the situations to express the emotions of the characters.[16] It appears that the director applies the technique of appointing the actors and actresses artistically. For example, the actresses playing the roles of prostitutes giggle, sing and are engaged in activities of the prostitutes. It is important to note here that, while highlighting some important issues and ridiculing someone, the other actresses and actors also comply with Viṭa.
[Figure 15: Sayaka Mitra rehearsing with nāṭya kutupa[17] ]
In figure 15, Sayak Mitra is rehearsing with nāṭya kutupa along with all the musical instruments. Kutapa is seated according to the arrangement mentioned in the Nāṭyaśāstra. The Nāṭyaśāstra prescribes that kutapa i.e., the orchestra should be seated on the stage with their face to the east. The Orchestra should be placed between the two doors of the tiring room.[18]
[Figure 16: Symbolic presentation[19] ]
Figure 16 is a symbolic presentation exhibited to end the presentation of the Padmaprābhṛtaka bhāṇa.
As the Modern theatre aims at providing awareness to the spectators, director Piyal Bhattacharya tries to provide a social message at the end of the play through the symbolic presentation. This is completely an innovative idea of the scriptwriter. Each umbrella represents different rooms of a single house; the lights of these rooms are getting off one by one at the end of the play. It represents that at different times of the day, the sun rays light up the rooms of a house differently; the same way, the life also gets different paths with different ages. But it is not necessary to explore the life only through kāma and bhoga. The performance ends with the message that like the lotus petals encircle the core of the flower maintaining the equilibrium, it would be very nice if the society becomes systematic, equal and pure like the lotus. In delivering the social message director Piyal Bhattacharya uses the lotus creeper very artistically. Lotus has an important symbolic role in Jaina, Hindu and Buddhist iconography. The lotus symbolises the beauty and freshness of ever-renewing creation. It also denotes the eternal dharma, the basis on which existence unfolds. Moreover, lotus also signifies perfection and purity because; its flowers are borne high above the water while the roots remain in mud.[20]
[Figure 17: Piyal Bhattacharya with the crew of the Padmaprābhṛtaka bhāṇa[21] ]
In figure 17, Piyal Bhattacharya is third from the left in a standing position.
[Figure 18: Piyal Bhattacharya discussing with theatre critics[22] ]
In figure 18, director Piyal Bhattacharya is discussing important topics with the theatre critics invited as guests in Bhāṇotsava. On the left side, Piyal Bhattacharya is in a sitting position. First from the right side in sitting position is Ratan Thiyam, an Indian playwright, theatre director and awardee of Sangeet Natak Academi. Second from the right side in sitting position is renowned theatre critic Sunil Kothari.
Regarding the language of the bhāṇa, Piyal Bhattacharya adopted the unique feature of the multi-lingual presentation. The multi-language structure has been a unique feature in Sanskrit drama and it plays an important role in Classical Indian theatre. The use of multi-language such as Sanskrit, Prākṛta, Apabhraṃśa in Sanskrit dramas influences the Modern Indian dramas also. For example, in kūḍiyaṭṭam performance, Viduṣaka elaborates his Prākṛta dialogues in Malayalam.[23] Director Piyal Bhattacharya also admits that each language suggests the personality of the character. The script of the bhāṇa allows important sections of the narration to be articulated in vernacular languages. Therefore, he applies the mother tongue besides the Sanskrit language. For example, the Vaishnavite character speaks Brajabhāṣā, Buddhist monk speaks Pali. Besides, the Hindi and Bengali languages are also applied in the presentation for a better understanding of the play. Sayak Mitra the leading actor delivers different languages eloquently. He is proficient in exhibiting both bhāratī vṛtti and kaiśikī vṛtti. Among the four bhāṇas of the Caturbhāṇī, Piyal Bhattacharya presented only one bhāṇa named Padmaprābhṛtaka. For the presentation, the bhāṇa requires almost one hour twenty minutes.
Regarding the performance of the Padmaprābhṛtaka bhāṇa, noted Indian drama critic Sunil Kothari who was invited as a guest in the Bhāṇotsava remarks that Sayak Mitra, performing the role of Sūtradhāra, Viṭa and all other characters, carries the entire burden of the play on his ability to act, recite, wear expressions, wit and sarcasm and entertains the audience. Sayak is well versed in various languages and has written the script and also assisted in composing music. The visuals are stunning and despite the proximity of the sets and actors, it evokes the expected ambience. The light designed by Soumen Chakraborty is the highlight of the play. The costumes are designed by Piyal Bhattacharya and Moumita Shakhari. Most of the costumes are not stitched but wrapped around the body. The women have ornaments that are coloured with gold leaf shades. The teamwork of the organisation is praiseworthy.[24]
The closeness between contemporary Indian theatre and traditional theatre is important from the angle of obtaining its identity. This interaction establishes Indian theatre as an eternal source for discovering newer dramatic forms for experimentation and innovation. Through contemporary Indian theatre, folk, tribal and classical theatre forms could not only be preserved but also these forms would hold the possibility to grow.
Classical Indian theatre has been emerged to reflect the Indian society. An interaction between rich and vibrating classical tradition and the Modern Indian theatre would cultivate a powerful and meaningful Indian theatre. This could help in widening the range of Modern Indian theatre and offer suggestions to the playwrights in creating new forms. The strength derived from the classical Indian theatre will establish Modern Indian theatre all over the world with diversified forms and enormous potency.
Footnotes and references:
[1]:
Picture Credit: Chidakash Kalalay
[2]:
Picture Credit: Chidakash Kalalay
[3]:
Picture Credit: Chidakash Kalalay
[4]:
Picture Credit: Chidakash Kalalay
[5]:
[6]:
Picture Credit: Amarendra Nath Dutta
[7]:
Picture Credit: Amarendra Nath Dutta
[8]:
Picture Credit: Amarendra Nath Dutta
[9]:
Source: Google, Picture Credit: Amarendra Nath Dutta
[10]:
Picture Credit: Chidakash Kalalay
[11]:
Picture Credit: Amarendra Nath Dutta
[12]:
Picture Credit: Chidakash Kalalay
[13]:
Picture Credit: Chidakash Kalalay
[14]:
Picture Credit: Amarendra Nath Dutta
[15]:
Picture Credit: Chidakash Kalalay
[17]:
Picture Credit: Chidakash Kalalay
[18]:
[19]:
Picture Credit: Chidakash Kalalay
[20]:
Margaret Stutley, The Illustrated Dictionary of Hindu Iconography, p.90
[21]:
Source: https://www.instagram.com/p/BydQUPNADhj/?utm_medium=copy_link
[22]:
Picture Credit: Amarendra Nath Dutta
[23]:
Kamalesh Datta Tripathi, Sanskrit Theatre, Shri Ram Memorial Lectures VIII, p.18
[24]:
Sunil Kothari, Bhaanotsav: Reconstructing of Rupaka and Uparupaka, https://narthaki.com/info/gtsk/gtsk247.html