Sunday 12 May 2024

"Housewife ni hu tu tu tu"- Gujarati play staged in Tejapal auditorium (Mumbai) on 05.5.2024

 Secure backseat for males

( हिंदी में समीक्षा के लिए -   यहाँ क्लिक करके क्रम सं. 48 देखिए )


Every man inevitably suffers from a disease called male chauvinism. He takes a woman's potentiality for granted. So there is a play titled "Housewife ni hu tu tu tu" for giving befitting reply to the megalomaniac mankind.

Shobha Divan had never thought to get her personality overhauled as it happens after her husband Devdat Divan is hospitalised and she is forced to take care of business. But there, she proves her mettle. Her business acumen surprises all the employees in his Company. When her husband comes back to the house after recuperation he finds his wife in a new avatar of businesswoman. As he is now capable to take care of his business he orders his wife to go back to kitchen. But a lioness who has tasted the  blood can not be reconciled. There is a big fight as who would be a suitable chairperson of the Company - the husband or the wife? Now they it is to be decided by the fact as who can win the majority shareholders. An ugly wrangle ensues. As this is a family business enterprise, shares of the Company are basically held by the husband, wife and children and an uncle. Here also the wife is set to win as majority shareholders are likely to be in her favour but then the husband Devdat plays a trick and a daughter votes in favour of her father. How Shobha emerges from this conundrum this should be seen in the theatre hall.

The scriptwriter Imtiyaz Patel has put a lot of witty dialogues which delights the audence. But the most stunning was the charism of acting by the main actor Ketaki Dave. Her mimicry of manly mannerism filled the life with unabated guffaws. Having said this I must state that the treatment of this play suffers from the eternal dilemma -whether it should be inclined to humour or dealing the subject with due seriousness. The director Kiran Bhatt has taken good deliverance of acting from ohter actors also namely Shailaja Shukla, Parag Shah, Jigish Vyas, Hina Velani and Hitesh Upadhyay.

...
Review by- Hemant Das 'Him'
Send your feedback to- hemantdas2001@gmail.com/ editorbejodindia@gmail.com
See the reviews of other plays- Click here

Monday 29 April 2024

पटना में लघु साहित्यिक गोष्ठी 23.4.2024 को संपन्न - संजय कु. कुंदन, शहंशाह आलम, हेमन्त 'हिम', विभारानी श्रीवास्तव, प्रतिभा वर्मा, युवा फैज की मौजूदगी

 दिल के गुलशन में सहमी हुई कली है क्या?



कुछ अति महत्वपूर्ण काम से मैं यानी ब्लॉगर हेमन्त 'हिम' हाल ही में बिहार गया था. कार्य सुखद रूप से संचालित करने के बाद 23.4.2024 को पटना में था. शीघ्रता में कुछ जाने-माने साहित्यकारों के इकट्ठा होने का सुखद संयोग बना. एक लघु साहित्यिक गोष्ठी फ़ूड मैनिया, रुकनपुरा  (पटना) में संपन्न हुई. कुछ कवियों ने कविताओं का पाठ किया और अन्य साहित्यकारों ने चर्चा में भाग लिया. सजग युवा फैज ने भी न सिर्फ ध्यानपूर्वक सुनने में रुचि दिखाई बल्कि फोटोग्राफी कर अपना बहुमूल्य योगदान भी किया. 

पढ़ी गई रचनाओं की कुछ पंक्तियाँ नीचे प्रस्तुत ई.

प्यार जितना  गहरा होता है आशिक उतना ही विनयशील, इसका  उदाहरण मंझे हुए शायर संजय कुमार कुंदन से बढ़कर मिलना पूरे हिन्दुस्तान में मुश्किल है. ये एहसास की उलझन को पूरी शिद्दत से रखने का माद्दा रखते हैं लेकिन हौले हौले. बड़ी से बड़ी चोट यूं कर जाते हैं जैसे कुछ किया ही नहीं. नीचे उनकी कुछ पंक्तियों की झलक देखिए -

कुछ भी ऐसा नहीं  कि बात करें
वो अब अपना नहीं कि बात करें
वो  भी  सुनता  नहीं  कहा  मेरा
मैं भी कहता नहीं कि बात करें
अब  ख़मोशी ही  बोलने है लगी
लब  कुशादा  नहीं  कि बात करें
एक  शीशा  था  ख़ुद में  टूट गया
फिर भी बिखरा नहीं कि बात करें
कुछ ज़माने से जुदा है "कुन्दन"
लेकिन इतना नहीं कि बात करें

कली का सहमना यानी यौवन के जुनूं का निष्ठुर सच्चाई से आगाह होना- ये अंदाज़े बयां की नज़ाक़त ही संजय कुमार कुंदन का हस्ताक्षर है-  
दिल के गुलशन में सहमी हुई कली है क्या
जुनूं के शह्र पे हमला-ए-आगही है क्या
उसी ने तंज़ किया है सितमज़रीफों पे 
सितम ने दर्स लिया जिससे वो वही है क्या
हर एक लम्हा जुदा ख़ुद से कर रहा ख़ुद को 
इसी अमल को कहा तुमने ज़िंदगी है क्या

शहंशाह आलम देश में हिन्दी के एक जाने-माने कवि हैं जिनकी धार कभी कुंद नहीं पड़ती. ये भूलकर भी छंदशास्त्र में प्रवेश नहीं करते हैं कारण इनकी नजर में समय का यथार्थ इतना कुरूप और बेतरतीब है कि उसमें गेयता को ढूढना एक क्रूर मजाक के सिवा कुछ और नहीं. जब सारे एहसास विच्छिन्न और विदीर्ण हो रहे हों तो मुलामियत किस बात की? हालांकि इन्होंने विशुद्ध प्रेम पर भी कोमल रचनाएं की हैं किन्तु इनका मुख्य स्वर सामयिक काव्यकर्म का निर्वहन है. उनकी कुछ पंक्तिया इस प्रकार थीं - 

शहंशाह आलम की कविताएँ मेहनतकशों के पक्ष को, वंचितों के पक्ष को और हाशिए पर धकेल दिए गए लोगों के पक्ष को जितने जोरदार तरीके से रखती हैं वह श्लाघ्य है. वे नारी अस्तित्व के सभी आयामों पर भी लिखते आए हैं. और जब नारीत्व और मेहनातकशी दोनों एक साथ हों तो कहना ही क्या! प्रकृति उनकी कविताओं में सिर्फ पृष्ठ भूमि हेतु नहीं रहती बल्कि स्वयं एक किरदार बन जाती है. ये पंक्तियाँ देखिए - 

मैं प्राचीन इस पृथ्वी को अपना घर बनाता हूं 
इस उम्मीद में कि जब तक उसकी देह बजती रहेगी 
गेहूं चावल वाले इन खेतों में बिना थके बिना हारे 
मेरा भी रंग-प्रसंग रचता रहेग-बसता रहेगा पृथ्वी  की लय में 
इस घर की खिड़की से बाहर के रहस्य को उकेरती 

बिना पीड़ा और प्रतिरोध  के कविताएँ अपने युग से नहीं जुड़ पाती हैं. शहंशाह आलम जैसा युग कवि इस तथ्य को भली भाँती जानते हैं- 
..हंसना किसी तानाशाह से युद्ध लड़ने जैसा है 
तब भी हंसता हूं संसद के बाहर चिलचिलाती धूप में खड़ा
मेरी हँसी किसी को अपने विरुद्ध लगती है तो लगा करे 

मैंने यानी हेमन्त 'हिम' ने एक ग़ज़ल और एक कविता का पाठ किया.
यदि कोई चीज कुछ समय के लिए आपको भायी इसका ये अर्थ नहीं कि उसके सारे विकल्पों को ही समाप्त कर दिया जाय-

...."जबसे आपका रेकॉर्ड सुना है
किसी और की धुन सुनता ही नहीं हूँ मैं"
यह सुनकर उस सारंगीवादक ने 
जितने भी दूसरे वादकों के रेकॉर्ड्स थे उन्हें तोड़ कर फेक दिया
और कहा - "जब मेरा संंगीत है ही 
तो दूसरे की सुनकर समय क्यों बर्बाद करना"
यह ठीक वही पल था
जब से मुझे उसका सारंगीवादन बहुत कर्कश लगने लगा.

'हिम' की ग़ज़ल की पंक्तियाँ इस प्रकार थीं - 
इक सागर था सुंदर हर इक नदी उधर डूबी
इक जलधारा भटकन में सूखी पर नहीं डूबी
आप हैं जौहरी तो हर किसी को पत्थर ही मान लें
आने पे वक्त दिखे यही लाल, यही मानिक, रूबी
शहद के छत्ते में मधुमक्खी को पहले मज़ा आया
जब पाया कि इसमें विष है मिला तो वह ऊबी

विभारानी श्रीवास्तास्व ने बताया कि लघुकथा लेखन में वो अब जो लोगों को जागरूक करने का काम कर रहीं हैं वो दर-असल दिवंगत महान लघुकथा लेखक सतीशराज पुष्करणा जी की दें है. उन्होंने ही बताया था कि वास्तव में "लघु कथा" और "लघुकथा" बिलकुल अलग विधाएं हैं. जहां लघु कथा को आप छोटी कहानी समझ सकते हैं वही लघुकथा में कुछ विशिष्ट गुण होना आवश्यक है. वैसा ही लघुकथा का एक विशिष्ट गुण है- 'अनकहा'. सारी बातें लघुकथा में नहीं कह दी जातीं बल्कि अंत में पाठक को उस अनकहे के बारे में सोचने के लिए मजबूर कर दिया जाता है जिससे प्रभाव कई गुणा बढ़ जाता है.

प्रतिभा वर्मा साहियकार के साथ-साथ एक इतिहास की शिक्षिका भी हैं. उन्होंने कहा कि इन दिनों छात्र एक-दूसरे को धमकाने का चलन बढ़ा है जिससे शिक्षण संस्थान का माहौल बिगड़ता है. हम शिक्षकों का यह कर्त्तव्य  है कि छात्रों को पढाई करना सिखने से ज्यादा जरूरी है  पहले एक अच्छा इंसान बनना. हमलोग इस चीज की गंभीरता को समझते हुए पहले इस हेतु प्रयास करते हैं. 

कार्यक्रम के दौरान शहंशाह आलम के पुत्र और  साहित्यानुरागी युवा फैज़ ने हम सब के कई शानदार फोटो खींचे जिनमें कुछ  इस रपट में भी शामिल हैं. 

कार्यक्रम के पश्चात एक कवि ने दूसरे कवि की पुस्तक में कुछ रचनाओं के कथ्य के प्रति अपनी असहमति प्रकट की जिसे दूसरे कवि ने विनम्रतापूर्वक स्वीकार किया.  
...

रपट के लेखक - हेमन्त दास 'हिम'
रपट लेखक का ईमेल- hemantdas2001@gmail.com / editbejodindia@gmail.com






Sunday 28 April 2024

"In the presence of absence": a drama based on the poems of Mahmoud Darwish staged on 14.4.2024 in Bandra (Mumbai)

 The stolen orchard

( हिंदी में समीक्षा के लिए -   यहाँ क्लिक करके क्रम सं. 47 देखिए )


"The war will end
The leaders will shake hands
The old woman will keep waiting for her martyred son
That girl will wait for her beloved husband
And those children will wait for their heroic father
I don't know who sold our homeland
But I saw who paid the price..."

A dramatical version of the poems and prosody by Mahmoud Darwish was presented by Dr. Omkar Bhatkar and group at SAPP, Bandra (Mumbai) on 14.4.2024.

If you are there as a noman witnessing your clan being purged, all of your grievances are just a cry in the wilderness and still you can view your society, your culture, your habitats might be as absent ones then you are none other than Mahmoud Darwish and the vitals of your passionate statements is called "The Presence of Absence".

The pain is so profound and consistent that it transform into solace. The representation is so true that  gives a sense to balm to the sufferer. The poet is so passionate about his culture and community life that he feels it in all its ramification even on the patches where it has been completely wiped out by the atrocious miliary regime. 

"Write down!
I am an Arab
You have stolen the orchards of my ancestors
And the land which I cultivated
Along with my children
And you left nothing for us
Except for these rocks..
So will the State take them
As it has been said?!.."

The saga of seclusion and identity crisis is not limited to a place. People experiencing this kind of atrocities in other countries can also relate themselves to it as well. And this is the main reason behind the acclaim for Darwish.

The poems of Mahmoud Darwish encompasses such an unfathomable depth of sorrow and mass devastation that cannot be dealt with in this short article I can only say that Dr. Bhatkar's team was able to put it on stage the nectar of that through their presentation. The other actors were Rekha Shetty, Sharmila Velaskar Kadne, Salome Raye who also gave their significant contribution in terms of acting.

The whole presentation was replete of ethnic Arab contents in every respect- costumes, gait, gestures, language and history. The supple, nimble  body movements and gesture of Dr. Omkar Bhatkar who was the main presenter was rather stunning to me. I had not thought that a person so deeply immersed in literature can also be proficient in dancing gestures which were quite difficult. Dr. Bhatkar is rarely versatile artist who doesnot only perform but also conceives the whole idea of presentation. And the gamut of his presentation is so large - poem to acting,, painting to acting, pure drama of all modern genres, poem recitals and much more. Once more specialty I find in his presentation is that the viewers are also made a part of it. Even their sitting arrangement is planned in a manner that they experience the comfort and difficulty synchronised with the main theme of the play. Kudos to Dr. Bhatkar for this all-engrossing eclectic approach of presentation.

...
(Note: The reporter and this blog are in favour of peace for all including Palestine and Israel. Though this article deals with only one poet who is a globally renowned Palestine poet.)
Report by- Hemant Das 'Him'
Send your feedback to- hemantdas2001@gmail.com / editorbejodindia@gmail.com
See the reviews of other plays- Click here
























Monday 15 April 2024

"Purane Chawal" - Hindi play by D for Drama staged at NCPA (Mumbai) on 07.4.2024

 The clash of two oldies 

( हिंदी में समीक्षा के लिए -   यहाँ क्लिक करके क्रम सं. 46 देखिए )



Habits take long to depart and egos take whole life.  And when it is the matter of a theatre artist then what is the most prominent is ego which remains sacrosanct even after innumerable setbacks.

How it looks like when the incredibly successful and long partnership of two comedy stars is tried to revive once again after decades. It's not like a soft gentle tap on the musical instrument but like a musical instrument thrown upon another producing the severest cacophonous sound, What is special the realistic manner in which the ego clash of the two is portrayed. One of them is somewhat better off living in the care of his married daughter. Another one is living in a 1 BHK at a far-flung suburban locality. Some producer want shoot a program taking both of them. Not to mention what happens afterwards is the details of ego clashes on most petty issues. One of such issues was whether one character will reply of "May I come in, sir?" with "Please come in" or "Aao". The audience rolled around in laughter on this. 

In another scene one artist is lying in bed and sending romantic signals to the nurse who is a widow. The most suppressed and civilised manner in which he conveys his message introduces you to a new kind of comedy which seems novice but is impulsive.  

This Hindi adaptation of  Neil Simon's The Sunshine Boys done by Farukh Seyer never let you know that it is an adaptation. The dialogues are so natural that seems generated in the Indian ecosystem only.

The director Summet Vyas has been able to put the whole gamut of collision of two artists in its minutest detail. The ego clash manifests in almost every body movements of the artists and emphasis, pause in the dialogue delivery. Kumud Mishra and Shubhrajyoti Barat were the two star actors with Ghanshyam Lalsa/ Ishar Sunya, Ayesha Raza, Kirti V.A. Divyendu Saurav and Prashant Pandey as the supporting actors in this play. Sets were by Vivek Jadhav. Lights by Vikrant Thaker and Sound by Divyendu Saurav.

I thoroughly enjoyed the play and literally witnessed the loud guffaws coming out naturally at every dialogue delivery which were really witty.

....
Review by - Hemant Das ' Him'
Send your feedback to - hemantdas2001@gmail.com / editorbejodindia@gmail.com
See the reviews of other plays- Click here


Saturday 13 April 2024

डिजिटल दौर में निजता

आज के डिजिटल दौर में हर व्यक्ति की लगभग हर एक गतिविधि चाहे वह सोशल मिडिया में हो या बाहर उसकी जानकारी एप्प्स के माध्यम से व्यावसायिक संस्थानों के पास रहती है.
हालांकि अधिकाँश एप्प्स निजी जानकारियों की गोपनीयता की रक्षा का वादा करते हैं पर अनेक परिस्थितियों में यह संभव नहीं हो पाता है जो वे स्वयं बाकायदा लिख कर बताते हैं. अब आपके बारे में इतनी अधिक और सम्पूर्ण जानकारी किसी के पास हो तो वो क्यों न (अप्रत्यक्ष रूप से ही सही) आपके सम्पूर्ण जीवन पर अपना अधिकार समझे. और वो इसका भरपूर फायदा उठाते भी हैं. पर इसका नतीजा यह दिख रहा है कि एक सामान्य आदमी का अपना कोई उद्देश्य, मूल्य या विचार ज्यादा मायने नहीं रखता. वह आज नहीं तो कल उस ओर ही प्रवृत होगा जिस ओर व्यावसायिक संस्थान अपने लाभ के लिए उससे अपेक्षा करते हैं. यह प्रश्न सिर्फ उचित कारण बिना निजता के पूरी तरह से भंग होने का ही नहीं है बल्कि सामाजिक ढाँचे के ध्वस्त होने का भी है. अगर व्यक्ति का अपना कुछ नहीं बचेगा तो समाज का निर्माण कैसे होगा? और अगर समाज नहीं रहा तो जो बचेगा वह होगा संवेदना विहीन व्यावसाहिक क्रेता-विक्रेता समूह. ऎसी परिस्थिति में मानव सभी नैसर्गिक सुख और अनुभवों से वंचित हो जाएगा और उसमें मनुष्यता का लोप होने लगेगा, यह संभावना दिखती है. इससे बचने के लिए यह परम आवश्यक है कि सरकारों और नागरिक समूहों के द्वारा निजता की रखा के लिए ठोस कदम उठाएं जाएं.

आप सब को बैसाखी पर्व की हार्दिक शुभकामनाएं!
💐😇🙏
....
लेखक - हेमन्त दास 'हिम'
दिनांक- 13.4.2024
प्रतिक्रया हेतु ईमेल आईडी- hemantdas2001@gmail.com

Saturday 6 April 2024

"Friend Request" - Marathi play staged in Mumbai on 30.3.2024

 The nemesis of a daughter

( हिंदी में समीक्षा के लिए -   यहाँ क्लिक करके क्रम सं. 45 देखिए )



A lioness ambushing her prey. Everything in the life of the businessman Madhav is in peril. 

Here is a deserted divorced man languishing with his devastated life. What he misses the most is his lovely daughter who remained under the protection of his ex-wife. Even after his numerous attempts he did not succeed in meeting his daughter. When the daughter grows up she her father as her nemesis who snatched the natural pleasures of her childhood. She plans taking revenge on Madhav and and execute it meticulously. In this digital era, all passwords of Madhav's accounts are hacked and he becomes totally helpless.

Well, how does this happen? Madhav. Feeling the absence of his daughter with him he has turned an insatiable tippler. In this venture a ricksaw driver extends shows a friendly gesture and both become good friends. The girl mentioned above sends a friend request on facebook to that ricksaw driver Jignesh and seems enamored to his romantic gestures. One day, Madhav is surprised to see that girl in his house. The girl is forcibly adamant on staying in his house. Madhav has no way but to allow her. Later on, it comes to surface that the girl is none other that the real daughter of Madhav but surely on a path of revenge. What happens further should be seen in the auditorium.

The two characters of  the father and the daughter are quite opposite. One is master of treachery and full of fury but the other is cool, calm and considerate. The chemistry of contrast goes well with the parent-progeny duo played by the two actors. The actor playing Jignesh left the audience enthralled with his captivating dialogue delivery, quipping replies and persuasive mannerism..  Actors were Ajay Purkar, Aashish Pawar, Priyanka Tendolkar and Atul Mahajan. Director was Kumar Sohoni. 'Friend Request' written by Prasad Dani. 

Sandesh Bendre which conributed from the background and the set-design truly gave the inside view of a upper middle class house.  Ashok Pataki has enriched the show through music. Guru Thakur's song and  Kumar Sohoni  lighting did their work well. Kumar Sohoni also gets a major chunk of credit who somehow succeeded to keep the suspense intact till the interval. Even after the relationship of the father-daughter is revealed the augmentative journey was interesting and worthy to watch. 
(Disclaimer: Because of the language barrier there can be some discrepancy in the details of the story.)
....

Review by- Hemant Das 'Him'
Send your feedback to - hemantdas2001@gmail.com / editorbejodindia@gmail.com
See the reviews of other plays- Click here



Sunday 17 March 2024

"The sacred bride" - presentation of verses of Janabai, Surdas, St. Theresa of Avila and Rumi performed in Bandra (Mumbai) on 10.3.2024

 Love makes life beautiful but for how long?

( हिंदी में समीक्षा के लिए -   यहाँ क्लिक करके क्रम सं. 44 देखिए )


In the forests of Tulasi,
Jani unravels her plaits
Butter in hand,
Chakrapani massages her head

Life is like an acrobat who is moving on a rope balancing himself with a rod having mysticism and existentialism as it's two ends.  Dr. Omkar Bhatkar at SAPP Bandra (Mumbai) was making a point. The natural penchant of soul for mysticism is consistently moderated by existentialism. The progress of life  is inanimate if only determined by the mundane acts of will. The inner longing for reunion with God is the ultimate driving force that draws a man to mysticism. 

Some selected verses of Surdas, Rumi, St. Theresa of Avila and Janabai were presented in an evocative manner by Prasant Nalaskar and Omkar Bhatkar. The poems were first read soulfully by an artist in it's original language say Marathi (in case of Janabai) which was followed by the rendition of it's English translation by the other artist. The rendition of poems touched the sentimental chords of the listeners. The viewers were left awestruck on the signature Sufi dance presented in the end bereft of music and song.

"In the quest for self-transcendence mystics like Janabai (13th Cen), Rumi (12th Cen), St. Theresa of Avila (15th Cen) and Surdas (16th Cen) composed poems of pain and ecstasy. Pain that came from longing and ecstasy that came from union, led to the creation of some of the finest mystical writings. In the journey of merging with the divine, one becomes the lover and the divine becomes the beloved. The poet often becomes the bride and the divine- the bridegroom. Such Poems of love and longing use erotic metaphors to depict the deep yearning for the mystical union.

The Sacred Bride is a collection of poems of four divine brides: Janabai, Rumi, St. Theresa of Avila and Surdas- yearning to meet their beloved to eternally emulsify and become one with the divine. These sacred poems are woven like flowers in a prayerful garland using music and movement to be offered at the altar of Love."

After the poem recital a public conversation was held in which the viewer's queries were answered by the artists.

The people questioned on his way of theatrical progress delivering new plays back to back. He is always up to the next play every next month. Dr. Bhatkar replied that his aim is to deliver more and more theatre and other performance artworks in this short life. There is no greater ambition. The ambition is to be a better human being day by day with the help of learnings achieved in the process of original artworks and reproducing the plays, poems and other art pieces in a new style. He further clarified that he is more inclined to theatre and works of live performance because the direct public interaction of performer is possible only in live mode. Theatre with particular emphasis on spirituality is comfort zone and he wants to excel in it rather than diluting by venturing into cinema or other art.

No camera can capture the performance. Each performance is a new creation notwithstanding the fact it might be based on a fixed written script. The way you present a play, the way you act a character every time and the way you comprehend the poem in each reading is different. 

Performance was made by Omkar Bhatkar and Prasant Nalaskar. It was designed and directed by Dr. Omkar Bhatkar. Technical assistance was provided by mayuresh, Radhika Mhatre, Nipun Pandey and Anosh. Art and aesthetics were by Omkar Bhatkar. 

....
Report by- Hemant Das 'Him'
See the reviews of other plays- Click here
Send your feedback to- hemantdas2001@gmail.com/  editorbejodindia@gmail.com