Agility Sentiment in Garhwali Folk Drama

गढवाली लोक नाटकों में     चपलता Chaplata   भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -33

                                        Bhishma Kukreti

                According to Bharat’s Natyashastra, agility sentiment should be represented in performance by use of harsh words, reproach, rebuke, hitting, killing, capturing and irritating.

          In Natyashastra, चपलता sentiment is not the one that is used today in Hindi. Agility is when a performer uses harsh words or acts as sited above suddenly , without giving thought due to hassle some situation, envy or illusion.

       In Ramlila of Garhwal, after Hanuman burning Lanka by his tail , the actions and treatment of  Rawan, Meghanada, his ministers and soldiers of Ravan  is an example of agility sentiment in folk dramas played in Garhwal.

          I remember a scene of Rawan court after hanuman burning Lanka in a Ramlila played in Gweel village, Malla Dhangu, Pauri Garhwal in 1962. Maya Ram Kukreti played the role of Rawan. Maya Ram Kukreti showed the agility sentiment by his walk, his anger, harsh voice, and couple of hard words in Garhwali. I remember the acting of Maya Ram Kukreti at excellence.

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  6/11/2013

              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 Folk life 

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

Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Agility Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में चपलता   भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में  चपलता भाव ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में  चपलता भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  चपलता भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में   चपलता भाव;पौड़ी गढ़वालके गढवाली लोक नाटकों में  चपलता  भाव;चमोली गढ़वाल के गढवाली लोक नाटकों में चपलता   भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में   चपलता भाव;