Dwi Hajar ki Dwi Ankhee: A Garhwali Drama about Woman Psychology

Dwi Hajar ki Dwi Ankhee: A Garhwali Drama about Woman Psychology

             

(Review of a Garhwali Drama ‘Dwi Hajar ki Dwi Ankhee’ written by Dr. Govind Chatak)

(Notes on Woman Psychology in Modern Dramas, Woman Psychology in Modern in Indian Dramas, Woman Psychology in Modern in Himalayan Dramas, Woman Psychology in Modern in Uttarakhandi Dramas, Woman Psychology in Modern in Garhwali Dramas)

                                                            Bhishm Kukreti

 

                                     Barring ‘Pankho’ , ‘Vasanti’ dramas, there has been less importance on the subject of women in Garhwal before Dr. Chatak.  Dr. Chatak repeated ‘Pankho’ subject but differently. In this drama the heroin revolt against the situation. Pankho was written in 1932 and Dr Chatal created ‘‘Dwi Hajar ki Dwi Ankhee’ in 1956. Garhwali dramas are mirror for informing the social changes taken place time to time. In ‘Pankho’, the woman takes the situation as it is but in ‘Dwi Hajar ki Dwi Ankhee’ the woman character is more rebellion and wants to be heard.

                The story is not complex in ‘Dwi Hajar ki Dwi Ankhee’ drama by Dr. Govind Chatak. Vasanti a young girl is married to an old man. Physically and psychologically, Vasantis is dissatisfied from her old husband.  Vasanti runs away from her husband with her cunning boy friend. He takes her to a Hotel in city. He sells her to the hotel owner for two thousand bucks.  The writer informs audience symbolically the hotel owner wants to us Vasant as call girl in his hotel. When Vasanti becomes annoyed on hotel owner the owner replies teasingly her,” dwi hajar ma t teri ankhi I chhan” and dram ends here.

                       The drama is memorable for character Vasanti. At one point Vasanti  leaves her husband and runs away with a cunning boy for the better physical and mental pleasure. However, when she comes to hotel she is worried about her old aged husband about his problem of cooking food and many other his problems due to his old age. This the best part of the drama which shows another aspect of a woman as a real care taker of this earth.

 The drama is simple and is able in creating curiosity among audience about ‘what happened next?’.

References:

1-Dr Anil Dabral, Garhwali Gady Parampara (Garhwali Dramas from beginning till 1990)

2-Abodh Bandhu Bahuguna, Gad Myateki Ganga (Garhwali dramas from beginning till 1975)

3-Dr Sudharani, Garhwal ka  Rangmanch (Garhwali Dramas from beginning till 1985)

4-Drama special issue of Chitthi Patri magazine (Garhwali Dramas and plays staged in Delhi, Karachi, Mumbai, Dehradun and other places)

5- Dr Hari Datt Bhatt Shailesh, Garhwali Natak evam Rangmanch: Ek Vihngam Avlokan (Garhwali Drams and theatres from beginning till 1985)

6-Dr Bhakt Darshan: Barrister Mukandi Lal Srmriti Granth (Garhwali dramatists or theatres playwrights till 1985

7-Dr Nand Kishor Dhoundiyal, Garhwal ki Divangat Vibhutiyan (pp108-116, about contribution of Bhagwati Prasad Panthri for developing Garhwali drama)

Copyright@ Bhishm Kukreti

 

Notes on Woman Psychology in Modern Dramas, Woman Psychology in Modern in Indian Dramas, Woman Psychology in Modern in Himalayan Dramas, Woman Psychology in Modern in Uttarakhandi Dramas, Woman Psychology in Modern in Garhwali Dramas to be continued…….