Divine show

As we celebrate the victory of the good over the evil on Dasehra, Nonika Singh takes a look at how religion has always inspired art and theatre

THESE are stories that have been told time and again, as most of us have grown up listening to these tales of valour, truthfulness, sacrifice, heroism and more. Whether we still remain intrigued by these folklore or not, religion and myths are recurring themes in both theatre and the world of performing arts, as artistes continue to get inspired.

In India, religion and art have always been inextricably linked. Our classical arts, many of which originated in temples, are steeped in the communion with the divine. Even in contemporary theatre as well as related fields like the light-and-sound, the pervasive influence of religion can always be felt.

Years ago, Aamir Raza Husain created a stir with his adaptation of the Ramayana in The Legend of Ram that unfolded on a grand scale in New Delhi — on 19 sets, stretching across three acres, having 35 characters and a 100-member crew.

Today, Harbux Singh Latta is all set to present the old story again in a new format. The epic extravaganza of the Ramayana, in a sight-and-sound format, is set to open in New York on Diwali, while Dr Sahib Singh’s play Guru Maneyo Granth on significant chapters of Sikh religion will be presented before Chandigarh audience soon.

Harcharan Singh’s Chamkaur Di Garhi has been successfully staged by Harpal Tiwana, both in India and abroad, while Gurdial Singh Phul’s plays Jin Sach Pale Hove and Sab Kich Hot Upaye, too, have been enacted many times.

What is it about our great fables and religious history that continue to tempt artistes? The answer is simple — the universal and timeless relevance of the values they present. Besides, religion and its teachings often provide a perfect peg to theatre persons to ‘hang’ their own point of view.

For instance, while Gursharan Singh’s play Chandni Chowk to Sarhand Teek encapsulates the martyrdom of Guru Teg Bahadur and the sacrifices of Guru Gobind Singh’s valiant sons, it also carried a contemporary statement. Written during the Emergency days, it makes veiled references to the establishment’s autocratic ways, atrocities and the counter-rebellion.

Similarly, Dr Atamjit wrote about the martyrdom of Guru Arjun Dev in his Sahitya Akademi Award-winning play Tatti Tawi Da Sach. Though he insists that his is not a strictly religious play in the sense that it does not propagate religious chauvinism, rather it throws light on the great Guru, who, he asserts, stood for the secular fabric of our culture.

Of course, not all plays go beyond the obvious chronicle encapsulation of events. Often, most plays simply recreate the grandeur of yore. Theatre persons like Latta see no harm in it. He may have scripted some of the Ramayana scenes afresh but feels, "The tale of Maryada Purshottam Ram, merely stating what he stood for, is enough to inspire the new generations."

Interestingly, while staging religious plays there is no way one can take liberty with established historical facts, the creative freedom is not compromised in the process. Rather, there is ample scope for flexing creative muscle. Says Amritsar-based theatre person Kewal Dhaliwal, "Be it design, costumes or presentation, one can improvise and innovate. This is not the theatre of realism but one where one can sail on the wings of fantasy."

Agrees theatre person and designer Mahendra Kumar, who has used multimedia in his play Gagan Mein Thaal, based on Guru Nanak Dev. "In Greece, where theatre originated, it actually began with rituals. To begin with, it was a song Dithyranbs sang in the praise of God Dionysus, the god of fertility, wine and food. Slowly, it took the form of a performance."

In fact, many Sanskrit dramas have been penned around mythological episodes. Over the years, this link has been highlighted further. Plays like Girish Karnad’s Agni Aur Barkha are based on rituals. Others playwrights like Nand Kishore Acharya, too, have reinvented myths from a new perspective. His play Dehaantar presents Yayati’s tale as the man who exchanges his old age with the youth of his son from a woman’s angle.

In fact, Sahib Singh is quite clear that unless myths and the religious history are presented with a fresh vision, there is little point in simply reiterating them.

Atamjit asserts that unless plays analyse or introspect, they have no relevance.

Of course, at times telling it another way can boomerang, as sensibilities and religious sentiments are easily irked in our country. Kewal Dhaliwal recalls how his play Krishan, which drew a parallel between politics of yesteryear and present day, raised the hackles of some Hindu right wing organisations. He had to shelve the play, and says that he was even grilled by some zealous Hindu activists, who had not even seen the play.

Atamjit feels such incidents can block scope for introspection. Though it has not deterred him from writing Panchnad Da Paani, which seeks inspiration from Hindu mythology. He is now planning to write a play on Goddess Durga.

Dhaliwal, who considers Krishan as his best-designed play, has directed and designed more than 25 religious plays, including Kurukshetra and Chakravyuh. His latest play Chandi Di Vaar is about Guru Gobind Singh’s long poem on Goddess Durga. Nevertheless, theatre persons are aware of the challenge and pitfalls of re-interpreting religious plays. Without doubt, theatre persons have to walk the razor’s edge, as nobody knows which dialogue and assertion might offend people.

Religious plays involve many other challenges as well. After all dramatising a story, whose climax is already known to its viewers and yet retaining their interest, is an onerous task.

In depicting Sikh religious history, theatre persons face another peculiar predicament — Sikh gurus cannot be depicted in flesh and blood. Yet, they have overcome the challenge of not showing their lead protagonists, the gurus, with remarkable ingenuity.

Sahib Singh feels that this stricture has worked to their advantage, "While it maintains the sanctity of the gurus, it also allows us room to think of ingenious ways."

But not all plays woven around religious themes can be called artistic. Often many productions go overboard, are melodramatic, overtly sentimental, and monotonously linear. In the name of religion, many shoddy productions are lapped up by the devout.

Argues Atamjit, "When we go to see a religious play, it is not always to analyse but also to pay respect." And it is these kind of plays, which Atamjit clubs as mandir or gurdwara theatre that reinforce religious prejudices, and are no more than propaganda. These try to pit heroes against each other and establish the superiority of one religion over the other and this bothers the playwright.

According to Sahib Singh, "There are two kinds of religious plays, one that exploit the sentiments of the shradhhalus and the other which flows against the tide, question blind faith and superstitions and try to veer people away from superficial ritualism." Fortunately, in Punjabi theatre, best plays have been written by non-believers, he claims.

But often it is hard to distinguish myth from religion, so how can theatre draw a clear line between blind faith and simple belief. Agrees Mahendra, "Indeed, the line is blurred. Whether Ravan actually had 10 heads or possessed the power and wisdom of 10 men, who can say definitely?" But yes, he firmly believes that religious myths should not be challenged for the heck of creating controversies and should not be ridiculed at all. Because these myths were often invented to underline deeper truths of life and should be taken with a pinch of salt.

Atamjit agrees that symbolism works at several levels. But he adds, "Since it allows one to draw many meanings, the writer should have the liberty to infer the way he feels and not as a propaganda machine for a particular religion. At the same time, he should be responsible enough to know where and how to draw a line and judge to what extent the elasticity of peoples’ tolerance can be stretched."

Either way, to challenge blind faith or to draw power from its amazing tales and incredible heroes, ruse or muse, faith will continue to move not just people but artistes as well.