Orissa Review * January - 2008

Relevance of Folk Theatres

If we look to origin and evolution of folk theatre, these folk plays. The instruments used in Daskathia
we have to admit that this theatrical tradition is are different from Lilas or Chhaus.
interlinked with human civilization. In the Vedic Lilas, Daskathia, Geetinatya of Baisnab
period, people had developed potential artistic Pani, Mughal-Tamsa, Prallhad Natak,
qualities, like songs, dances and many religious Dandanatya, Ravanachhaya (puppet theatre),
rituals to express their emotions, hopes and Desia-nata, Palas, Suanga and Chhau are
aspirations. 'Bharat Muni' the 1st dramaturgist considered to be the major forms which are still
codified the art of dramaturgy in his famous treatise popular in rural areas on festival occasions. The
called 'Natyasastra'. In Orissa, the historians and royal patronage by Kings and Zamindars gave
drama critics opine that arena theatre was moral boosting and incentive to folk artists to
prevalent in the days of Emperor Kharavela in develop folk theatre troupes, but after abolition
1st century A.D. Dhiren Das, a noted dramaturgist of Kings and zamindars these professional folk
has deciphered the Hatigumpha inscription and theatre troupes started languishing and some of
categorically emphasized, that 'Ranigumpha' cave them are at the verge of extinction. Many talented
of Khandagiri was an arena theatre where people artists are deserting troupes and migranting to
were staging plays from time immemorial in Orissa, cities for some other employment. There are
the land of art and architecture. Many folk forms instances where some of the theatrical folk forms
have been developed mainly out of celebrating are no longer in vogue. On special occasion,
religious and social ceremonies. Songs and dances sporadic efforts are made to stage folk play once
are integral ingredients of these folk forms. Each in a year. As for example in north Balasore district
folk form had its particular community, same to which I belong many Palas like Lalita-Pala,
language, area and way of life. We find some Krusna-lila which were being performed earlier
communality in each form. Religious movements are no longer staged frequently. Many troupes of
like Saivism, Hinduism, Jainism and Vaishnaism Jaleswar, Kamarda, Bhogarai, Deula, Baliapal and
have shaped thematic contents of these folk forms. Chandaneswar of Balasore district have vanished
The musicality is one of the greatest characteristics into oblivion. Palas and Lilas are no longer in
of these folk dramas. The musical instruments vogue due to impact of electronic media and
developed indigenously are peculiar features of deteriorating financial condition of traditional folk

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theatrical troupes. Research scholars have trend in the field of entertainment industry causes
restored many manuscripts of these Palas and Lilas immense sociological hazards. On the other hand
in these areas of north Balasore. the so-called absurd and experimental plays are
Dr Kailas Pattanaik, Department of Oriya creating boredom among the audience. After the
of Viswa Bharati University undertook an indepth second world war, the epic plays of Bertold
study of folk form of Lalita Pala in Balasore district Brecht' enriched modern drama with folk
which has been published in 'Konark' (Oriya elements. Drama was treated by Brecht, a great
journal of Orissa Sahitya Akademi Vol.97, p.78, pulpit of awakening people's mind. Once Brecht
year-1995). Now time has come to make a declared - "I wanted to take the principle that it
complete survey of all such rural folk theatre was not just a matter of interpreting the world but
troupes and identify causes of decays and decline of changing it, and apply that to the theatre." This
of the professional theatre troupes. The same is Brechtian dramatic theory and practice gave new
the pitiable condition of folk theatre form of shape to epic form of theatre. Many new
'Mughal-tamsa' of Bhadrak, though it was once dramatists after Second World War were
enjoyed and accepted by the people as the most influenced by this Brechtian dramatic theory. The
thrilling and popular folk form. new experiments were made to blend the folk
elements with modern innovation in order to attract
Ideas and taste of the people are changing greater audience. Having realizing the importance
fast with the march of the time. The popularization of the rich folk theatre Martin Esslin, a renowned
of radio, TV and VCR as source of entertainment drama critic's message on world theatre day, on
has diminished the loyalty of the people towards 27th March 1989, is pertinent irrespective of
the folk plays. Now aggressive consumerism has region, race and religion. In the words of Martin
mesmerized the people's mind due to advent of Esslin - "In an age where, the world is flooded by
electronic media. At this stage one may ask the a deluge of cheap commercially motivated material
question of utility and relevance of reviving the
on television, the live theatre, the guardian of
traditional multiple streams of folk plays when
traditions and individuality of cultures, threatened
cinema and TV are giving enough entertainment
by this avalanche of homogenized triviality has
to the people. The folk drama has got twin
become more vital to the continued richness and
purpose of both entertainment and education.
variety of human culture than ever before in the
Folk theatre has contributed immensely for
history of mankind" (published in the 'Canplay', a
creating social consciousness. As for example in
magazine of Canadian playwrights associations
Orissa the 'Geetinatya' of Baisnaba Pani played
vol.6, No.2, April 1989).
greater role spearheading patriotic fervour among
the people during freedom-movement of India. Kapila Vatsyayan a great authority on
Similarly other folk dramas like Prahallada performing art has analyzed various forms of
Nataka, Danda, Palas have also enriched people's Indian folk plays in her book 'Traditional Indian
mind with religious virtues. But vulgarization of theatre - Multiple streams'. She has opined that
films, TV serials with overdose of sex and there is great importance in reviving Indian folk
violence are polluting people's mind with main plays as these plays have contemporary relevance.
objective of giving sensuous pleasure. This new In her said book, 'Traditional Indian Theatre', she

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observed "The Yatra forms are an important prompted other playwrights of India to make such
branch of the parent tree of Indian literatures, experiments of blending folk element skillfully with
languages and treatre forms. Its survivals appear modern themes. Habib Tanvir the renowned
to have thrown seeds, which have given modern director and actor made in-depth study of
Bengali theatre a new direction. Like the Bhavai Chhatisgarh music of Madhya Pradesh and dance
and the Tamasa it has provided an Indian format and he used it in his play - 'Charan Das Chor'.
to avant-garde theatre. Possibly this renowned Once when this play was played at Paris, the noted
interest in Yatra was conditioned by the advent directors from London flew to Paris to witness
of a new form of epic theatre from Europe. Be as this Indian avantgarde drama. The critic and the
it may, the European influence generated an spectators were charmed and praised the
interest in national traditions and this has been a experiment of Habib Tanvir. This is a classic
return educational journey home-ward for the example of relevance and importance of folk
modern theatre of India" (Traditional Indian plays, because in this play there was proper
theatre - page 146, published by NBT, New assimilation of elements both the traditional and
Delhi, 1st Edition 1980). So it is to be admitted the modern. Girish Karnad, a Gyanapitha Award
that folk plays of India, have played a great role winner and a celebrated actor dramatist, has also
in shaping Indian avant-garde plays. made similar experiment with folk element in his
In this direction, let us have a review of play 'Haybadan' which has become a popular
impact of experiments of blending rich of folk play among the people.
elements with modern Indian plays of three It is now necessary to examine the impact
renowned playwrights viz; Vijoy Tendulkar, of folk theatre on modern Oriya plays and to what
Habib Tanvir and Girish Karnad. Vijoy extent playwright have been succesful in
Tendulkar, a wellknown dramatist wrote a assimilation of folk elements in aveant-garde
Marathi play - 'Ghasiram Kotwal'. When this play Oriya drama. Let us evaluate this trend of
was staged, it charmed the audience, as proper experimentation in Oriya modern drama.
blending of Marathi folk music, satire and chorus In Orissa, Manoranjan Das, veteran
songs with thematic contents of the play gave rich playwright in his play, 'Katha Ghoda' and
entertainment to the audience with a dramatic 'Nandika Kesari', Bijoy Mishra's 'Jane raja thile',
message. This play was translated into Hindi and Ramesh Panigrahi's 'Mahanatak', Subodha
a repertory troupe travelled with this play to Europe Pattanaik's 'Yethu Ante', Rati Mishra's 'Abatar',
to stage this play in European cities - like Berlin all these modern dramas have used Oriya folk
and London. This play could enthrall the European elements and also certain forms of folk drama for
audiences. 'Guardian', the widely circulated enrichment of the dramatic tradition with a view
journal, praised that this Indian play could satisfy to attract larger audience. In the words of Niladri
the twin parameters of good play - which is Bhusan Harichandan, a dramatist "the playwrights
aesthetic pleasure with a forceful message. have been successful in bringing plays nearer to
'Guardian' remarked that in comparing with the the audience through this new style. He further
modern Indian play, the European play looks like said - "The avant-garde or modernist Oriya drama
a broken mirror. This high appraisal of success of today is enriched with an assimilation of

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elements both traditional and the modern. The religious and rustic, these are to be rejected on
addition of the forms of various Oriya folk dramas the grond of modern secularism and they openly
even to this combination marks it off as different utter - let them die, let folk artists perish. We have
from similar developments in other parts of India" got VCR, films, enough entertainment in 24 hours
(Aspect of Oriya Drama, p.131). But some critics channels. I think, this ultra modernist's negative
observe that this experiment in Oriya modern attitude will cause immense harm to growth of
plays have not been successful to attract humanistic culture for allround development of
audience's attention, but in my humble opinion, human personality. So it is high time that we
though not all but there are plays which have should not allow further vulgarization of Indian
succeeded in this experiment and got audience's culture by inertness, indifference and indolence
clapping. I myself have taken audience's poll and and swayed away by the lures of electronic media.
came to conclusion that the majority of the We the art loving Indians are now facing
spectators have liked Bijoy Mishra's "Jane raja challenges of assault on our language, literature
thile', Subodha Pattanaik's 'Yethu ante', Rati and culture due to westernized sensate culture.
Mishra's 'Abatar'. These modern Oriya plays have Let us not waste time only in theoretical debate
been quite successful because of the proper as to whether an art form is folk, traditional,
blending of the folk elements. I am of the firm classical and modern. Let us understand the
opinion the richness of Oriya folk forms should diversity of cultural tradition, which is to be
be preserved and documented. Patronage should relfected in the contemporary theatre.
be given to establish professional troupes in References :
Orissa. The steps taken in this direction in other
1. The Yatra - The arena Theatre - Dhiren Das.
States, like Bengal, Andhra, Karnatak are really
praiseworthy. In Karnatak more than a dozen folk 2. The theatre of absurd - Martin Esslin.
research institutions have been established by 3. The traditional Indian theatre - Kapila Vatsayan
Government Dapartment of Culture. There the 4. Perspective on Odissi Theatre - Ramesh P.
Government has taken measures to educate and Panigrahi
develop new generation of artists. But in many 5. Folk theatre of Orissa - Direndra Nath Pattnaik.
states the development of folk theatre is neglected. 6. The theatre experience - Edwin Wilson.
It is pity that there are some ultra modernists in
7. Aspects of Oriya Drama - Niladri Bhusan
bureaucracy those who do not favour the Harichandan.
preservation, documentation and promotion of 8. Canplay Vol.6, No.2, April 1989 - Magazine of
folk theatre. Canadian playwrights association.
Now-a-days it has been accepted by 9. Monark 97th issue 1995 - an Oriya quarterly
scholars in performing art that there is great journal of Orissa Sahitya Akademi.
relevance in studying, knowing and preserving
these treasure troves of our Indian folk theatres.
Indu Bhusan Kar lives at Sradha Niwas, 1595, Bhakta
If some may argue that these are old, archaic, Madhu Nagar, Bhubaneswar-30.

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