Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theaters

Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part -11

                                        Bhishma Kukreti

                Bharat Muni states in Natyashastra that ‘Naatyam Bhavanukertinam’ or drama depends totally on emotions.

                Creation of emotions in the mind of audience is the sole objective of any formal, informal plays. Every emotion moves towards bliss or extreme pleasure creation. However, in any drama or play there are two pleasure gainers –the performers and audience. Therefore it is essential that there should be proper balance between performers and audience for gaining pleasure by emotions in the drama.

        Kukreti states in ‘Garhwali Lok Natkon ke Mukhya Tatva va Charitra’ (2013) that he is firm believer that the Garhwali folk drama creators understand the importance of creating emotions by their performances and the aspects of pleasure in the mind of audience.

  The Garhwali folk play creators create emotions by following major means-

1-Body movements as – jumping, flexion, extension, rotation, circumduction, dorsiflextion, plantar flexion, dance running, hand movement, finger movement etc.

2-Facial Expression

3-Language changes or uses

4-Using Proverbs, saying, etc

5-Folk songs or folklores

6-Taking base from memorable event, memorable human being, animals or other memorable aspects

7-Dailogues

8-Let audience understand the dram objectives

9-Involving audience

  Though, the folk performers are/were unaware about classic theories of emotions set by Bharat Muni. The folk people were aware that pleasure  (they may say mood etc) creation is the job of any drama.

Copyright @ Bhishma Kukreti, bckukreti@gmail.com 4/10/2013

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

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Notes on Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theaters; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theaters from  Garhwal; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theaters from Uttarakhand; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theaters from Himalayas ; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theaters from North India; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theaters from Indian Subcontinent; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theaters from South Asia; ; Emotions in Garhwali Folk Plays/Traditional Dramas /Community Theaters from Oriental region;