The recent spate of suicides in the wake of the pandemic-related lockdowns, especially in the film and entertainment […]
Mahmood Farooqui in conversation with Gargi Vachaknavi
Dastangoi is the art of Urdu storytelling that was popular all across India and could regale commoners and elites alike. That was in times of Mughal splendour. The performers were artists and writers rolled into one who left behind over 46,000 pages of published fantasies. The Dastans were the stories told by these storytellers, the gois. Unfortunately this art form completely vanished, leaving behind few memories.
Inspired by the scholarship of one of Urdu’s greatest living writer S. R. Faruqi, Mahmood Farooqui began its revival in 2005 and has since then trained dozens of other storytellers or Dastangos, staged over a thousand shows all around the world and has composed over a dozen modern Dastans for the genre. With all the innovations that he and his team have spearheaded, a virtually new genre of performance and a new kind of writing for the stage has emerged in our times.
Farooqui is an award winning writer and performer. He was awarded the Bismillah Khan Yuva Puraskar by the Sangeet Natak Akademi of the Union Government for his efforts in reviving Dastangoi. His book on the 1857 uprising Besieged: Voices from Delhi, 1857, was awarded the Ram Nath Goenka Award for the best non-fiction book of the year by the Indian Express Group. He has been a visiting fellow at the Universities of Michigan, US and Berkeley, California and was a Rhodes scholar at the Universities of Oxford and Cambridge. His latest book is A Requiem for Pakistan: The World of Intizar Husain. He has written over 15 modern Dastans for the stage and has trained nearly 50 people besides performing close to 500 shows himself. His wife, film maker Anusha Rizvi, is not only the producer of the Dastangois but also the award winning writer-Director of Peepli Live, a 2010 satirical comedy with the involvement of greats like Aamir Khan and Raghuvir Yadav.
Mahmood Farooqui and his troupe will be performing in Singapore on the 14thof September. In this exclusive, he talks to Gargi Vachaknavi of his work, of how a Dastangoi performance varies from normal theatre and what he is going to perform in Singapore.
Gargi: Why did you think of reviving Dastangoi, an art of 13 th century storytelling in Urdu? What is the potential you see that makes you feel it is necessary to contextualise it for the present day?
Farooqui: I was a student of history and had been active in theatre for many years when I came across the great S. R. Faruqi’s study of the world of Dastans. I had been reading Urdu literature all my life but had never really heard of this incredibly enchanting world. When I dug deeper, I was totally bowled over by the genius of the writers and the of the performers. Here was theatre in its purest form, one or two narrators, sitting still and holding an audience captive, just like our ancient rishis (sages) narrated epics and Shastras to rapt listeners. I felt that this was the most essential art form of the Indian subcontinent. From the word go, it was an instant success perhaps because in India everything, including religion is a story.
The innovation I made was to have not one but two narrators and our designer, Anusha Rizvi, kept the basics very simple so we brought it into the ambit of modern theatre by using techniques of lighting, stage decorum and presentation.
Munshi Premchand(1880-1936), born as Dhanpat Rai Shrivastav, was one of the foremost Hindi writers of the early twentieth century. He has to his credit more than three hundred short stories, fourteen novels, many more essays, letters translations and plays and even a film script.
His short story Shatranj ke Khiladi was made into an award winning film by Satyajit Ray as were a number of his other works by noted directors, like Hrishikesh Mukherjee.
With his reformatory zeal and an ability to create empathetic overtones, Premchand was a prominent writer in Hindi who was appreciated more after his death than before. Writes David Rubin, late translator and scholar, in The World of Premchand (Oxford, 2001): “To Premchand belongs the distinction of creating the genre of the serious short story—and the serious novel as well—in both Hindi and Urdu. Virtually single-handed he lifted fiction in these languages from a quagmire of aimless romantic chronicles to a high level of realistic narrative comparable to European fiction of the time; and in both languages, he has, in addition, remained an unsurpassed master.” Interestingly, Rubin taught for a number of years in Allahabad and Rajasthan Universities in India and is also known to have translated not only Premchand but also another very well-known Hindi poet, Suryakant Tripathi ‘Nirala’.
(From Arts Equator. Link to the complete article given below) The Sight/Unseen Asian Drama Conference was a two-day […]
A face/off set in the world of mythology and folklore
By Zafar Anjum
Conceptualised by: Monisha Charan and Dr Siri Rama
Executive producer & Director: Monisha Charan
Artistic director and choreographer: Dr Siri Rama
Girish Karnad’s play Hayavadana is considered one of the landmark works in the annals of Indian theatre. The play brings about the interplay of questions of love, identity and sexuality through a panoply of characters set in a world of mythology and folklore.
Recently, Izaara Productions brought this famous play alive on stage in Singapore under the skilful direction of Monisha Charan.
The play began with a brief narration on the play’s antecedents: one of the influences behind the play was Thomas Mann’s The Transposed Heads, which in turn was borrowed from a Kathasaritasagara story. In keeping with the spirit of the play, Monisha Charan paid a rich tribute to the myths and legends of the Hindu religion.
The plot revolves around two parallel stories, both involving questions of love and identity (the heart and the head). In the main track, a well-built kshatriya, Kapila (Avtar Bhullar), finds that his best friend Devadatta (Justin Lee) has madly fallen in love with Padmini (Dr. Siri Rama). Although Kapila harbours an attraction for Padmini, his love and loyalty stands above all; he arranges the match for Devadatta and Padmini and they get married.
The director has made sure that the two actors present a contrast in their physicality and demeanour: Kapila is a Kshatriya with a muscular and manly appearance; Devadatta is a learned Brahmin and poet with a weak physique. The playwright cleverly poses the question to the audience: what if their physicalities are switched? What if the weak Brahmin poet becomes muscular and the sinewy warrior takes the body of the weak poet? Are they happy in their new avatars? What happens to Padmini’s love in that case?
Subtly, the play comments on the rigidity of the caste system which imposes a hierarchy on people. Along with the main track, the sub-plot features the Hayavadana (the horse-man), played with gusto by De Zhong Chia, who is unhappy because he feels incomplete with the face of a horse and the body of a man; yet, he is the object of affection of a beautiful lady, played by Renita Kapoor. I wish this track had more layers to it, as we find in the main track.