गढवाली लोक नाटकों में शंका भाव
Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -22
According to Bharat’s Natyashastra, the apprehension sentiment is shown by repeated looks, hesitating eyes, dryness of mouth, lips, throat , licking the lips, changes in facial expression, loss of voice, trembling and like that.
Apprehension sentiment is originated in his/her mind because of an anxiety for others knowing his/her sinful works as theft and lake that.
गढवाली लोक नाटकों में शंका भाव
This author I watched a folk drama by Badis (professional class dedicated to dance, song and dramas) in his village Jaspur, Malla Dhangu, Pauri Garhwal around 1964-65. In a scene of that drama, an old woman was desperately trying from outside to listen the talks between her son and daughter in law inside the room. She was trying to listen but at the same time draughts were on her face and body that somebody might be able to catch her listen the talk inside hose between her son and daughter in law.
The performer was a female Badan and she showed her fear of somebody could see her , anxiety, doubt very well. A couple of women were whispering that Badan is copying her mother in law.
There are many examples in folk Jagar when the scene of apprehension sentiment comes as in Pandavas folklores or Ranbhut Jagar.
Copyright @ Bhishma Kukreti, bckukreti@gmail.com 25/10/2013
Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued…
References
1-Bharat Natyam
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folklife
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok swangun ma rasa ar Bhav , Chithipatri
Notes on Apprehension Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Garhwal, South Asia; Apprehension Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, South Asia; Apprehension Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, South Asia; Apprehension Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, South Asia; Apprehension Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudra Prayag Garhwal, South Asia; Apprehension Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, South Asia; Apprehension Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, South Asia; Apprehension Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, South Asia; Apprehension Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Garhwal, Himalaya, South Asia; Apprehension Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Garhwal, North India, South Asia;
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