|
|
|
Saturday,
February 22, 2003, Chandigarh, India
|
‘Ghasi Ram Kotwal’
visits Patiala
Dedicated to Kalpana Heritage
cricket tie today
|
|||||||||||||||||||||||
|
‘Ghasi Ram
Kotwal’ visits Patiala Patiala, February 21 Socially relevant like all Tendulkar’s plays, “Ghasiram Kotwal” operated at an allegorical level, commenting acerbically on the political institutions of contemporary India. It is a tale of an individual,
Ghasiram, who on his first visit to Pune finds himself falsely accused of theft by Brahmins and is asked to leave the city. Swearing revenge on the people of the city, the protagonist revisits the city and takes into confidence the Peshwa’s chieftain and magistrate of the city, Nana. The central character gives his adolescent daughter to Nana in return for the post of the city ‘Kotwal’. Now, Ghasiram misuses his powers as the law and order in charge of the city to get even with those who had tormented him earlier and subjects the Bhramins of the city to his vehement
rage. Unrealising that Nana is using him to keep the Brahmins of the city in check, Ghasiram keeps on doing his mentor’s job even as his daughter dies mysteriously and Nana marries for the seventh
time. Tendulkar’s powerful play efficiently conveys the dilemma, anguish and trauma of the father who is unable to confront Nana for his daughter’s death as he realises that his daughter was only a small price to pay for the absolute power he now commands as the city
Kotwal. By now, the Brahmins of the city, crushed under the dictatorship of
Ghasiram, want him removed and appeal to Nana, who casually signs Ghasiram’s death warrant. In the final scene, Ghasiram is killed by a mob and realising his moral deterioration, he himself asks for his death. Kewal Dhaliwal efficiently used harsh lights and intelligent stage set up to convey the thematic essence of Vijay Tendulkar’s play which is essentially the metamorphosis of a simple individual into a power-crazy monster who becomes the victim of Machiavellian system. Kewal Dhaliwal, through extensive usage of folk instruments and devices, treated the contemporary classic tragedy by one of the best playwrights in the country within the folk framework of the Marathi theatre and used chorus and rituals to punctuate the impact of narrative violence.
Undoubtably, the director and his team did a fairly good job in respect to stagecraft and technicalities but at times the real essence of the play seemed to be missing as the pitch and tempo of the production stayed stagnant at a particular level. The actors, rather than delivering, seemed to be shouting dialogues sans any variations. The extensive usage of colours in form of costumes and props gave the desired energy to the actors and did not deviate the attention of the audience from the play. The translation by Hardeep Gill managed to retain the original Marathi flavour of the script. Nishan Cheema, who played the protagonist, did a commendable job but Hardeep Gill, who played Nana, eclipsed almost everyone with his measured and realistic portrayal of the character. |
|
Dedicated
to Kalpana Chandigarh, February 21 Inaugurating the programme Mr S.K. Anand, Member (Distribution), Punjab State Electricity Board, assured all help and patronage for preparing and implementing a regular yearly calendar of proposed cultural events to liberally involve artistes and audiences in a systematic manner and to further improve standards. He stressed the need for continuing efforts to keep Patiala heritage and arts alive even after the festival was over. The chief guest, Dr Sawraj Singh (USA), a surgeon-litterateur and human rights activist, in his speech, cautioned the audience against Western culture's over-powering vulgarity and effects of globalisation. He stressed the need of realising the importance of Guru Nanak's teachings as world's latest spiritual thought, representing centuries-old Eastern philosophy and ancient scriptures of India, which he hoped would attract Western countries. He urged the people to be proud of Punjab of Guru Gobind Singh Ji whose example of sacrifice, bravery and dedication is not available anywhere in the world. Mr G.S. Kakkar, dedicating the programme to the memory of Kalpana Chawla, said her demise was a great loss to India. Her spirit of sacrifice, bravery and excellence would inspire the young and the old to touch new heights in their own spheres. Besides "Takht Punjab", a Punjabi musical play, other items included were “Patanga Baz”, a gold medal-winning short play, Patiala Gharana classical and light vocal and Punjabi music by Sumangal Arora and Maina Moudgil and dances by Mansi Saxena and Amit
Jinda, who were presented mementos on the occasion.
|
|
Heritage
cricket tie today Patiala, February 21 A key organiser, Mr K.S. Kang, Administrative Member of the Punjab State Electricity Board (PSEB), said that more than 500 special invitation cards had been sent out to the elite of the city. Despite being busy in HP poll, the Chief Minister, Capt Amarinder Singh, will attend the match. Both the teams, Patiala XI, comprising cricketers who play for Punjab in the Ranji Trophy and the Rest of India will be arriving in the morning from Chandigarh. While the Patiala XI players are already attending a training camp at SAS Nagar in preparation for the Punjab’s Ranji Trophy knockout match, the players of the Rest of India assembled at the PCA Stadium this evening from where they will come to Patiala on a chartered bus. Both teams have a mix of seasoned campaigners and a good contest is likely between the two teams. Equestrian results
Jatinder Singh of Punjab Police stood first in the tent pegging event of the Patiala Heritage Festival equestrian meet at the Polo ground here today. Jatinder was followed by Kamaljit Singh, also of Punjab Police, and Sandeep Dhillon of Punjab Public School (PPS), Nabha, in that order. In the show jumping event for juniors, Vikramjit Singh of Punjab Police took the first spot while G.C Nehra of Indian Military Academy (IMA), Dehra Dun came second. Prithviraj Bedi, a student of PPS, Nabha, clinched the third spot. |
