Paisa Na Dhyallaa Nam ch Guman Sing Rautela: A Garhwali Drama about Diminishing Prosperity and Pride of Landlord

(Review of a Garhwali drama ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela’ (1992) adapted and written by Famous Playwright Rajendra Dhashmana)

Notes on Dramas showing false pride for  lost glory and prosperity, Asian Dramas showing false pride for  lost glory and prosperity, South Asian Dramas showing false pride for  lost glory and prosperity, SAARC Country Dramas showing false pride for  lost glory and prosperity, Indian sub continent Dramas showing false pride for  lost glory and prosperity, Indian Dramas showing false pride for  lost glory and prosperity, North Indian Dramas showing false pride for  lost glory and prosperity, Himalayan Dramas showing false pride for  lost glory and prosperity, Mid-Himalayan Dramas showing false pride for  lost glory and prosperity, Uttarakhandi Dramas showing false pride for  lost glory and prosperity, Kumauni Dramas showing false pride for  lost glory and prosperity, Marathi Dramas showing false pride for  lost glory and prosperity, Garhwali Dramas showing false pride for  lost glory and prosperity

                                          Bhishma Kukreti

                      Asians will always remember the works of great Asian playwright Rajendra Dhashmana for his bringing newness and contemporary style and subject in local language as Garhwali dramas. Rajendra Dhashmana changed the format for Garhwali dramas and dramatization. Asians appreciate the original works of Rajendra Dhashmana for Asian local languages as Garhwali dramas. However, Rajendra Dhashmana also adapted the other language’s dramas into Garhwali dramas. A famous Asian literature critic, Hindi poet, Dams-activist, Stage play activist Rajendra Dhashmana adapted a Marathi Drama’ Bada Chirebandi’ written by famous Marathi Playwright Mahesh Elkunchvar into Garhwali Drama as ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela’. The adapted drama Paisa na Dhyallaa Nam ch Guman Sing Rautela’ was successfully staged in Delhi in 1992 and 1993.  

          There used to be a class ‘Thokdar’ , ‘Jameedar’ or landlord s in hills of  Uttarakhand for centuries who were owner of land of a certain territory. Under the Thokdar, the Kabjedar, Sirtan and Khaikar used to be the land cultivators. Thokdar used to collect the revinew taxes for Garhwali king, Gorkha king or British ruler. After independence, Thokdari system was ended by Indian government. In the past, Thokdars were as powerful as the king of Garhwal. They had power and they were prosperous too. Howvwer, after diminishing of Thokdari system, the prosperity of averageThokdar also diminished .However, manay ‘thokdars’ did not lessen their expenses on lavish living or ‘That-bat’ and either had to borrow and sell their ancestral properties to their ex-subject.  The Garhwali drama ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘ shows the lost prosperity, loosing pride of such ‘Thokdars’ whose income has been diminishing with the time.

         Rajendra Dhashmana successfully adapted the Marathi drama ‘Bada Chirebandi’ as per Garhwali culture and system. The dialogues and staging technique are appreciable. There is lost pride, there is frustration of ex-landlord for losing power and prosperity, there is aggravation among family members of ex-landlord, there is confusion for bringing the old pride back among family members of ex-landlord family in the drama. Kesar sing Rautela is the symbol ofa  Thaokdar who can’t bear the losing old glory of being landlord,   Kesar is the son of ex-landlord and in frustration he always uses abusive language as ‘apan bwe k maisu’ , apan bani k maisu’ etc

  The drama is still relevant for those who show their prosperity pride without keeping in mind the real income.   Rajendra Dhashmana was able to show keeping false pride for protecting the old glory and old prosperity by selling current ancestral properties by ex-landlord.

   Asians are proud of Rajendra Dhashmana for bringing such contemporary drama of its time.

References:

A-Curtsey to Parashar gaur for supplying manuscript of Garhwali stage play ‘Paisa na Dhyallaa Nam ch Guman Sing Rautela ‘

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)

8- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site

9-Sovinreers of Garhwal Sabha Dehradun, 2005 and 2007 for Lok Natya Mahotsava

Copyright@ Bhishma Kukreti

Notes on Dramas showing false pride for  lost glory and prosperity, Asian Dramas showing false pride for  lost glory and prosperity, South Asian Dramas showing false pride for  lost glory and prosperity, SAARC Country Dramas showing false pride for  lost glory and prosperity, Indian sub continent Dramas showing false pride for  lost glory and prosperity, Indian Dramas showing false pride for  lost glory and prosperity, North Indian Dramas showing false pride for  lost glory and prosperity, Himalayan Dramas showing false pride for  lost glory and prosperity, Mid-Himalayan Dramas showing false pride for  lost glory and prosperity, Uttarakhandi Dramas showing false pride for  lost glory and prosperity, Kumauni Dramas showing false pride for  lost glory and prosperity, Marathi Dramas showing false pride for  lost glory and prosperity, Garhwali Dramas showing false pride for  lost glory and prosperity to be continued….

Ardhgrameshwar: A Modern Garhwali Drama Taking Contemporary issues

(Review of a Modern Garhwali Drama ‘Ardhgrameshwar ‘ (1976) written by Rajendra Dhashmana and Directed by Mitra Nand Kukreti )

Notes on contemporariness in modern dramas, contemporariness in modern Asian dramas, contemporariness in modern South Asian dramas, contemporariness in modern SAARC country’s dramas, contemporariness in modern Indian dramas, contemporariness in modern North Indian dramas, contemporariness in modern Himalayan dramas, contemporariness in modern Mid Himalayan dramas, contemporariness in modern Uttarakhandi dramas, contemporariness in modern Kumauni dramas, contemporariness in modern Garhwali dramas

                                                                    Bhishma Kukreti

                   Rajendra Dhashmana is first Garhwali drama playwright changing the old drama format and brought the new sense and new format for Garhwali drama art. Same way Mitra Nand Kukreti brought newness in the field of Garhwali stage play direction or in the field of Garhwali drama world. Rajendra Dhashmana as a playwright and Mitra Nand Kukreti as a director of Garhwali stage play world are complimentary to each other. Rajendra Dhashmana took initiative in bringing modernity in Garhwali drama and Mitra Nand brought freshness and new imagination in directing ‘Ardhgrameshwar ‘a Garhwali stage play. If Rajendra Dhashmana brought freshness through new subjects and writing in the modern Garhwali stage plays, Mitra Nand Kukreti brought the new aspects in production, placing characters dressing sense, entry of characters, dialogue deliveries, aspects of body languages of performing characters, dialogue deliveries, affectivity of distance between two or more performing characters, movement of performing characters, exact movement of performing characters, uses of lighting and shadow in the Garhwali drama world through ‘Ardhgrameshwar’ a Garhwali stage play.

                Before writing Ardhgrameshwar ‘a Garhwali stage play, Rajendra Dhashmana wrote a drama ‘Jankjod’ in Garhwali in 1975. While Mitra Nand Kukreti had good experience of dramatization of Hindi and English stage plays beside his famous column on analysis of ‘Drama’ of Delhi’ for a daily newspaper. Jagar a Garhwali drama organization of Delhi staged Ardhgrameshwar ‘a Garhwali stage play in Delhi in 1976.

   Ardhgrameshwar ‘a Garhwali stage play is about the migrated Garhwalis suggesting the means of progress in rural Garhwal. For suggestion about progress of village migrated Garhwalis attend the conference and their suggestions are as per their profession. For example a poet suggests poetry is the means of progress, a clerk suggest for type righter as means of progress, a professor suggests speeches as means of progress of village. At the end women folks from village and cities bring the real solutions.

     There are twenty main characters in the drama and more than ten other assisting characters. There are folk songs and folk rites (mantra0 in the drama. The dialogues fit the characters or characters of the drama. The dialogues are witty and do not spare anybody.

              Realism is the key of Ardhgrameshwar ‘a Garhwali stage play. Ardhgrameshwar ‘a Garhwali stage play got appreciation for its writing and presentation from critics of non –Garhwalis too. The well known critics of Delhi drama world positioned Rajendra Dhashmana and Mitra Nand Kukreti as modern most dramatists of India. There were more than ten shows of Ardhgrameshwar ‘a Garhwali stage play all over India. Rajendra Dhashmana  is successful in showing the static or inert mental position of migrated Garhwalis due to their day to their professional works and becoming myopic about other issues such as thinking about their native land.

   As Europe remembers Ibsen, Strindberg, Pirandello and Beckett for bring contemporariness in European modern dramas the Indians appreciate the work of Rajendra Dhashmana and Mitra Nand Kukreti for bringing contemporariness, present-day issues, and present topic in the modern Garhwali drama.  

        Indians will always remember Rajendra Dhashmana’s Ardhgrameshwar ‘for bringing contemporariness, present social issues in the dramas of language as Garhwali.

References:

A-Curtsey to Parashar gaur for supplying manuscript of Ardhgrameshwar ‘a Garhwali stage play

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)

8- Notes on Dramas of Uttarakhand by Parashar gaur –MeraPahad site

 Copyright@ Bhishma Kukreti

Notes on contemporariness in modern dramas, contemporariness in modern Asian dramas, contemporariness in modern South Asian dramas, contemporariness in modern SAARC country’s dramas, contemporariness in modern Indian dramas, contemporariness in modern North Indian dramas, contemporariness in modern Himalayan dramas, contemporariness in modern Mid Himalayan dramas, contemporariness in modern Uttarakhandi dramas, contemporariness in modern Kumauni dramas, contemporariness in modern Garhwali dramas to be continued…

मेरा फ्वां बागा रे: एक प्रसिद्ध गढवाली लोक गीत

एसिया का प्रसिद्ध लोक गीत; दक्षिण एसिया का प्रसिद्ध लोक गीत; सार्क देशों का प्रसिद्ध लोक गीत; 

भारत  का प्रसिद्ध लोक गीत; उत्तर भारतका प्रसिद्ध लोक गीत; हिमालय  का प्रसिद्ध लोक गीत; मध्य हिमालय का प्रसिद्ध लोक गीत;

उत्तराखंड का प्रसिद्ध लोक गीत; कुमाऊंका प्रसिद्ध लोक गीत; गढवाल  का प्रसिद्ध लोक गीत; लेखमाला

 

                          प्रस्तुति : भीष्म कुकरेती

 

  जिन लोगो ने साठ और सहतर  के दशक में दिल्ली से या लखनौ से  कोटद्वार का सफर रेल से किया हो तो उन्हें

याद होगा कि कोटद्वार और नजीबाबाद रेलवे स्टेसन पर उन्हें एक सूरदास जी मिलते थे जो लोक गीत सुनाकर

यात्रियों का भरपूर मनोरंजन करते थे .

मैस्वाग बाग़ लगने पर उनके द्वारा सुनाया गया यह लोक गीत आपको पसंद भी आयेगा और लोक गीतों में

संघर्ष व हास्य किस तरह मिला-जुला होता है का ज्ञान भी देगा .

मुंबई में इस लोक गीत को श्री चन्द्र सिंग राही ने प्रसिद्धी  दिलाई थी .

 श्री राजेन्द्र धष्माणा ने  को  अपने प्रसिद्ध नाटक 'अर्ध ग्रामेश्वर ' में कोटद्वार स्टेसन का वातवरण

पैदा करने हेतु प्रसिद्ध 'फ्वां बागा रे ' लोक गीत का इस्तेमाल किया. धष्माणा द्वारा इस प्रसिद्ध लोक गीत को

इस्तेमाल करने का अर्थ है कि लोक गीत हमारे हृदय में बसे हैं.

 

            मेरा फ्वां बागा रे: एक प्रसिद्ध गढवाली लोक गीत

 

 

      बल मरसा को टैर --- मरसा को टैर -गढवाळ मा बाग़ लगी , बाग़ अ कि ह्व़े डैर -मेरा फ्वां बागा रे

बल गुठयारो को कीच-- गुठयारो को कीच-- पैली पैली बाग़ गाया कौड़ी पट्टी बीच - मेरा फ्वां बागा रे

साब लोखो, लपटैन साब, कपटैन साब

                             सतड़  पतड़  परमेसुर  माराज -बागै ह्व़े डैर

ढुंग ध्वाळो भ्याळा - क्वी ब्वाद   कुर्स्याळु ह्वालो  

                           क्वी ब्वाद स्याळा- मेरा फ्वां बागा रे

साब लोखो, लपटैन साब, कपटैन साब

             सतड़ पतड़ परमेसुर माराज -बागै ह्व़े डैर

अर  सुबेदारूंम  त बडी घपरोळ हुंई च .

ऊ ब्वना छन साब बल कि द्वी द्वी फूली वळा त ह्वाया पर यू तीन फूल्युं वळु कू आया

बला हुडक्यूँ  मच्युं च सुबेदारूं क बीच सचे हाँ

                    भिभड़ाट मच्युं च - मेरा फ्वां बागा रे

अरे अल्मोड़ा क क्वाया - सूबेदार साबकु बागन

                       अंग्वठा बुखै द्याया - मेरा फ्वां बागा रे

फिर क्य ह्व़े साब , बला

तमाखू क त्वया -बुडड़ी क बदल बागन

                            खंतड़ी गमजै  द्याया -मेरा फ्वां बागा रे

झंग्वरा कि धाण - तुमन चली जाण बाबू ल्वाखु

                           बल गाडीन  छुटि जाण

                         यख मिन खौंळयू रै जाण -मेरा फ्वां बागा रे

साब लोखो, लपटैन साब, कपटैन साब

                  सतड़ पतड़ परमेसुर माराज -बागै ह्व़े डैर

झंग्र्यळू बिंया - - काणु आदिम छौं बाबू ल्वखों

                      ख्वाटो पैसा नि दियां  मेरा फ्वां बागा रे -

 

एसिया का प्रसिद्ध लोक गीत; दक्षिण एसिया का प्रसिद्ध लोक गीत; सार्क देशों का प्रसिद्ध लोक गीत;

भारत का प्रसिद्ध लोक गीत; उत्तर भारतका प्रसिद्ध लोक गीत; हिमालय का प्रसिद्ध लोक गीत; मध्य हिमालय का प्रसिद्ध लोक गीत;

उत्तराखंड का प्रसिद्ध लोक गीत; कुमाऊंका प्रसिद्ध लोक गीत; गढवाल का प्रसिद्ध लोक गीत; लेखमाला , जारी

Hindi Poem by Dr Narendra Gauniyal

*******माँ******

यह मैंने किया
यह मेरा है
यह मेरी बदौलत है
हम सब
ऐसा ही कहते हैं

हम
बहुत थोडा सा
करते हैं
ढिंढोरा
बहुत बड़ा
पीटते हैं.
कुछ करते हैं
उसका श्रेय मिलने की
चाहत रखते हैं
जबतक
श्रेय न मिले
लोग धन्यबाद न कहें
तबतक
बेचैन रहते हैं
असली करने वाला
चुपके से कर जाता है
बिना बताये
खिसक जाता है
वह कुछ करके
आनंद ले चुकता है
श्रेय की उसे
कोई चाहत नहीं होती
कोई जरूरत नहीं होती
माँ भी कभी
नहीं कहती
उसने अपने बच्चों को
दूध पिलाया है
अपने बच्चे को
दूध पिलाने से
उसे सुख
मिल जाता है स्वयं
श्रेय की कोई
चाहत नहीं होती
यह सौदा नहीं
स्वार्थ नहीं
उसका कर्तव्य है
वात्सल्य है
जो श्रेय चाहेगी
वह
माँ नहीं हो सकती .
    डॉ नरेन्द्र गौनियाल

Andolan: An Experimental Garhwali Drama about Separate Uttarakhand Movement आन्दोलन:गढ़वाली नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक

Andolan: An Experimental Garhwali Drama about Separate Uttarakhand Movement 

                              आन्दोलन: एक गढ़वाली नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक

(Review of an Experimental Drama ‘Andolan’ written by Parashar Gaud)

Notes on Experimental dramas and Street theatres ; Asian Experimental dramas and Street theatres ; South Asian Experimental dramas and Street Dramas; SAARC Countries Experimental dramas and Street Dramas; Indian Experimental theatres and Street Dramas; North Indian Experimental theatres and Street Dramas; Experimental theatres and Street Dramas in Delhi; Himalayan Experimental theatres and Street Dramas; Mid Himalayan Experimental theatres and Street Dramas; Uttarakhandi Experimental theatres and Street Dramas; Kumauni Experimental and Street Dramas; Garhwali Experimental theatres and Street Dramas; Experimental theatres and Street Dramas in Uttarakhand ; Experimental theatres and Street Dramas in Dehradun

नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, एशियाई नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, दक्षिण एशियाई नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, सार्क देशीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, भारतीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, उत्तर भारतीय नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, उत्तराखंडी नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, कुमाउनी नुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक, गढ़वालीनुक्कड़ स्वांग एवं प्रयोगधर्मी नाटक लेखमाला

                                             Bhishma Kukreti

                 In public, Parashar Gaud is more famous for his first Garhwali film Jagwal. However, Parashar Gaud had been a prominent Garhwali drama personality in Delhi. Parashar Gaud was backbone of Garhwali drama world in Delhi. There is no Garhwali drama taker in Delhi after Parashar Gaud left Delhi for Canada. Parashar was true Garhwali drama activist as drama writer, as performer, as director and as producer.

    Parashar Gaud wrote an experimental Garhwali drama ‘Andolan’ based on separate Uttarakhand movement.  It seems that Parashar wrote this experimental drama as street drama or ‘Nukkad Natak’. There are numerous characters in the experimental and street drama ‘Andolan’. There are numerous plots and many sub plots in the Garhwali experimental and street drama ‘Andolan’. The experimental and street drama ‘Andolan’ deals with many important reasons for need of separate Uttarakhand state.  There are contemporary incidents as March in Delhi by movement activist, death of Veer Chandra Singh Garhwali, interview of a reporter with Chandra sing Garhwali, comments about Hemvati Nandan Bahuguna, election and election slogans, opportunist political and social leaders in Delhi and Uttar Pradesh and in Uttarakhand and many more well known incidents in this experimental and street Garhwali drama ‘Andolan’.

      Street dramas are very good means of communication for every community. There was vacuum for street dramas in Garhwali drama world. Parashar Gaud fulfils the gap by providing experimental and street drama ‘Andolan’.

       The main characteristics of a street drama are that it should have a theme for the social cause and it should be in regional language only.

              The drama ‘Andolan’ is an experimental drama for Garhwali language in the sense that it is totally non-conventional in the form and style. Parashar Gaud used the style of Jamure and Ustad style as the folk dramatists perform in the streets of in urban or rural areas.

 In an interview with this writer, Parashar gaud states that the experimental and street Garhwali drama ‘Andolan’ is tribute to experimental theatre writers Arun kakde, Richard Maxwell, Satya Dev Dube, Antonin Artaud, Rajendra Dhashmana, Carmelo Bene, Dinesh Thakur, Bertolt Brecht, Vijay Mehta, Girish Karnad, Dario Fo, Luigi Pirandello, Vijay Tendulkar, Samuel Becket,Arvind Deshpande,  Isabelle Junot , Sulbha Deshpane, Young Jeen Le, Shankar Shesh, C.P.Deshpande , Meng Jinghui ,   and other playwrights of experimental dramas.  

Curtsey: Parashar Gaud for supplying original manuscript of an experimental and street Garhwali drama

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)

8- Articles on Souvenirs of Garhwal Sabha Dehradun

Copyright@ Bhishm Kukreti

Philosophical Hindi Poetries by Dr Narendra Gauniyal

Philosophical Hindi Poetries  by Dr Narendra Gauniyal

डा. नरेंद्र गौनियाल की हिंदी कविताओं में दर्शन,

Philosophical Hindi poetries by Asian Hindi Poets, Philosophical Hindi poetries by  South Asian Hindi Poets, Philosophical Hindi poetries by  SAARC Countries Hindi Poets, Philosophical Hindi poetries by  Indian Hindi Poets, Philosophical Hindi poetries by  North Indian Hindi Poets, Philosophical Hindi poetries by  Himalayan Hindi Poets, Philosophical Hindi poetries by  Mid Himalayan Hindi Poets, Philosophical Hindi poetries by Uttarakhandi  Hindi Poets, Philosophical Hindi poetries by  Kumauni Hindi Poets, Philosophical Hindi poetries by Garhwali  Hindi Poets series

एशियाई हिंदी कवियों की हिंदी कविताओं में दर्शन, दक्षिण एशियाई हिंदी कवियों की हिंदी कविताओं में दर्शन, सार्क देशीय हिंदी कवियों की हिंदी कविताओं में दर्शन, भारतीय  हिंदी कवियों की हिंदी कविताओं में दर्शन, उत्तर भारतीय हिंदी कवियों की हिंदी कविताओं में दर्शन, हिमालयी हिंदी कवियों की हिंदी कविताओं में दर्शन, मध्य हिमालयी हिंदी कवियों की हिंदी कविताओं में दर्शन, उत्तराखंडी हिंदी कवियों की हिंदी कविताओं में दर्शन, कुमाउनी हिंदी कवियों की हिंदी कविताओं में दर्शन, गढ़वाली हिंदी कवियों की हिंदी कविताओं में दर्शन लेखमाला 

*******भाव *********

कवि: डा. नरेंद्र गौनियाल

रात के अँधेरे में
सड़क पर चलते हुए
एक दिन
लापरवाही में अचानक
बहुत ऊंचाई से
गिर गया नीचे
कठोर जमीन पर
घुटने थिंच गए
पसलियाँ भचक गयी
दोनों आँखों के बीच
नाक के ऊपर
गहरा घाव हो गया

कुछ देर अचंभित
हाथ-पैर टटोले
घाव पर रुमाल रखकर
चुपके से उठ गया
लचकते-लचकते
घर पहुँच गया
चोट-घाव का उपचार करके
रात को
निश्चिन्त सो गया
मै खुद
अपनी गलती से
लापरवाही से
गिरा था
किसी ने
धक्का नहीं दिया
मेरे गिरने में
कोई व्यक्ति
कारण नहीं बना
बनता तो
भाव बदल जाता
मेरा रक्तचाप
बढ़ जाता
विवाद हो जाता
नींद भंग हो जाती
शरीर की पीड़ा के साथ
मन की पीड़ा होती
अपने इलाज की
चिंता से अधिक
बदले की भावना होती

कोई कारण न था
मन में
कोई पीड़ा न थी
शरीर की पीड़ा
जल्दी ही
दूर हो गयी
नहीं विकृत हुआ
मन का भाव
जल्दी ठीक हो गए
शरीर के
गहरे घाव ..
   डॉ नरेन्द्र गौनियाल (दृष्टिकोण  से )

 

Philosophical Hindi poetries by Asian Hindi Poets, Philosophical Hindi poetries by  South Asian Hindi Poets, Philosophical Hindi poetries by  SAARC Countries Hindi Poets, Philosophical Hindi poetries by  Indian Hindi Poets, Philosophical Hindi poetries by  North Indian Hindi Poets, Philosophical Hindi poetries by  Himalayan Hindi Poets, Philosophical Hindi poetries by  Mid Himalayan Hindi Poets, Philosophical Hindi poetries by Uttarakhandi  Hindi Poets, Philosophical Hindi poetries by  Kumauni Hindi Poets, Philosophical Hindi poetries by Garhwali  Hindi Poets series to be continued….

एशियाई हिंदी कवियों की हिंदी कविताओं में दर्शन, दक्षिण एशियाई हिंदी कवियों की हिंदी कविताओं में दर्शन, सार्क देशीय हिंदी कवियों की हिंदी कविताओं में दर्शन, भारतीय हिंदी कवियों की हिंदी कविताओं में दर्शन, उत्तर भारतीय हिंदी कवियों की हिंदी कविताओं में दर्शन, हिमालयी हिंदी कवियों की हिंदी कविताओं में दर्शन, मध्य हिमालयी हिंदी कवियों की हिंदी कविताओं में दर्शन, उत्तराखंडी हिंदी कवियों की हिंदी कविताओं में दर्शन, कुमाउनी हिंदी कवियों की हिंदी कविताओं में दर्शन, गढ़वाली हिंदी कवियों की हिंदी कविताओं में दर्शन लेखमाला जारी ...

डा. नरेंद्र गौनियाल की हिंदी कविताओं में दर्शनशाश्त्र लेखमाला जारी ....

Mangan: A Tragic Garhwali Drama about Handicap Female

(Review of Garhwali Drama ‘Mangan’ (1981) written by Chandra Shekhar Naithani)

Notes on Asian Tragic Dramas about Handicap,  South Asian Tragic Dramas about Handicap, SAARC countries Tragic Dramas about Handicap, Indian Tragic Dramas about Handicap, North Indian Tragic Dramas about Handicap, Himalayan Tragic Dramas about Handicap, Mid Himalayan Tragic Dramas about Handicap, Uttarakhandi Tragic Dramas about Handicap, Kumauni Tragic Dramas about Handicap, Garhwali Tragic Dramas about Handicap

एशियाई नाटकों में करुण रस, मध्य एशियाई नाटकों में करुण रस,सार्क देशीय नाटकों में करुण रस, भारतीय नाटकों में करुण रस,उत्तर भारतीय नाटकों में करुण रस, हिमालयी नाटकों में करुण रस, मध्य हिमालयी नाटकों में करुण रस, उत्तराखंडी नाटकों में करुण रस,कुमाउनीनाटकों में करुण रस, गढ़वाली नाटकों में करुण रस लेखमाला

                                               Bhishma Kukreti

               Whether he is a male or she is female, being physically handicap is a tragic aspect for every human being. The physically handicap human being has to pass through various problems, hurdles not only to balance the physical weaknesses but has to face various social harassments too. The parents of such physically handicap females have to undergo a never ending tension of marrying their handicap daughters.  When married the physically female handicap human being has to face psychological harassment from mother in law side. Even there is logic on a mother in law harassing her physically handicap daughter in law. The mother in law undergoes tremendous social and individual strain and stress by knowing that her daughter in law is physically handicap.    

                   Less is written on the subject of physically handicap human being by Garhwali playwrights. Parashar Gaud the prominent figure of Garhwali dramas or Rakesh Gairola one of the Garhwali drama activist appreciate  Chandra Shekhar Naithani for his taking initiative for writing a drama in Garhwali language on the subject of physically handicap female. A Drama dedicated Garhwali organization Bhagirathi Kala Sangam, Aliganj, New Delhi staged the Garhwali play ‘Mangan’ about a female handicap written by playwright Chandra Shekhar Naithani in Delhi in 1982.

             Naithani has been successful in keeping the curiosity alive till end for the coming events of drama in ‘Mangan’.

           The family members, relatives and friends of any handicap person undergo to strain, constant worry, trauma, suffering, disturbances and stress. Chandra Shekhar Naithani touches those traumas in the drama.

               There are two aspects of facing the weakness. One aspect for a handicap person is to go for struggle and another aspect of life is to escape from the struggle. One aspect is for other people to encourage handicap for overcoming the weaknesses and other reality is that other human beings discourage the handicap and encourage the handicap for escapism.  The audience comes to know choice of dramatist for struggle or escapism by handicap character at the last ending scene of the drama ‘Mangan’.

           There is subject of thinking in tragic drama ‘Mangan’ about the fate of ill fated handicap in the society. The playwright Naithani brings the emotions of adversity, affliction, catastrophe, misfortune, depression, direness in the drama with focused theme and suitable dialogues.

                  The drama ‘Mangan’ by playwright Chandra Shekhar Naithani is one of the finest examples of tragedy in modern Garhwali drama.

Curtsey: The reviewer is thankful to Parashar Gaud for his taking pain in supplying manuscript of ‘Mangan’ a Garhwali tragedy drama about handicap female.

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)

8-Notes of Parashar Gaud in Mera Pahad

Copyright@ Bhishma Kukreti

Notes on Tragedy of Handicap Female in Asian Dramas, Tragedy of Handicap Female in South Asian Dramas, Tragedy of Handicap Female in SAARC Countries Dramas, Tragedy of Handicap Female in Indian Dramas, Tragedy of Handicap Female in North Indian Dramas, Tragedy of Handicap Female in Himalayan Dramas, Tragedy of Handicap Female in Mid Himalayan Dramas, Tragedy of Handicap Female in Uttarakhandi Dramas, Tragedy of Handicap Female in Kumauni Dramas, Tragedy of Handicap Female in Garhwali Dramas to be continued…

एशियाई नाटकों में करुण रस, मध्य एशियाई नाटकों में करुण रस,सार्क देशीय नाटकों में करुण रस, भारतीय नाटकों में करुण रस,उत्तर भारतीय नाटकों में करुण रस, हिमालयी नाटकों में करुण रस, मध्य हिमालयी नाटकों में करुण रस, उत्तराखंडी नाटकों में करुण रस,कुमाउनीनाटकों में करुण रस, गढ़वाली नाटकों में करुण रस लेखमाला जारी …