All Plays

Director                 : Aditi Desai

Writer                    : Vinod Joshi

Group                    : Jashwant Thaker Memorial Foundation, Ahmedabad

Language              : Gujarati

Duration                : 105 mins.

Date                      : 15 Feb. 2025

Play : Sairandhri

Sairandhri is an adaptation as a dance-drama of the Bharatiya Sahitya Akademi award-winning Gujarati epic poem of the same title. The poet, Vinod Joshi, offers a unique interpretation of a motif from the Mahabharata, enriching the character of Draupadi by portraying her as a woman, a complex and a multifaceted figure.

After their defeat in the duel – Game of Dice, the Pandavas and Draupadi assume new identities during their one-year Agyatvasa (an incognito period) in Matsya Desh. Draupadi assumes the role of Sudeshna’s maidservant, Sairandhri, during this period. This work is primarily focused on this phase of her life. It delves into Draupadi’s inner turmoil as she reflects on the memories of her Svayamvara, where she silently acknowledges Karna as her potential husband. Interestingly, the poet also introduces a different form of exile for Draupadi, one where she experiences an entirely unknown state within herself, explored through memories, dreams, and imagination. This internal exile highlights her struggle and self-reflection. At its core, the poem follows Draupadi’s journey of self-discovery as she navigates the pressures of her circumstances and, ultimately, establishes her own identity as a woman. Even after reconciling with the external world, one cannot escape their inner mind, which remains known only to oneself. Draupadi’s transformation into Sairandhri symbolizes the broader human experience, reflecting an eternal truth of life.

Director – Writer                 : Sushmita Mukherjee

Group                                 : Naatak Kampani

Language                            : Hindi

Duration                             : 75 mins

Date                                    : 15 Feb 2025

Play : NARIBAI

Sushmita mukherjee, the narrator, takes us into a journey right into the life of her childhood friend Sunaina, whose life in turn, changes dramatically after a planned encounter with a Bedhni prostitute of Bundelkhand, named Naribai.

What happens to the lives of these three ostensibly different kinds of women when they meet under varying circumstances, forms the weave of the story.

In this 75 minute tri-lingual piece (hindi, english, Bundelkhandi) , Sushmita plays 26 characters

Director           : Dr. Yogendra Choubey

Writer              : Habib Tanvir

Group              : Rang Mandal Natya Vibhag, Indira Kala Sangeet Vishwavidyalaya, Khairagarh, Chhattisgarh

Language        : Chhattisgarhi

Duration          : 90 Minutes

Date                : 15 Feb 2025 

Play : Bahadur Kalarin

Chhachhan Chhad got married one hundred and twenty-six times but remained dissatisfied. When he finally casts his evil eye at his mother with lust, Bahadur was stunned. She decided that it was better to kill this boy. So she lovingly prepared a meal riched of spices for him and fed him with her own hands. The daughters-in-law were told that the work of bringing water should be stopped today. She had a lot of credibility among the villagers. She was a wealthy, rich woman. The villagers respected him. Bahadur sent a message to the villagers that if Chhachan came to ask for water, he should not get water from any house. The villagers were anyway already  upset with the boy, they got an opportunity to take revenge, and they agreed to Bahadur. Hence, when Chhachan came back home suffering from thirst and asked his mother for water, the mother replied, ‘Today there is no water in the house at all. Take the water out of the well yourself!’ And when Chhachan went to the well with the pitcher, Bahadur killed him by pushing him into the well from behind. She stabbed a dagger in her own chest too.

Director                              : Riken Ngomle

Writer                                 : —————-

Adaptation                          : —————-

Group                                 : Theatre-In-Education Company (TIE Co.), NSD, Delhi

Language                            :

Duration                             :

Date                                    : 14 Feb. 2025

Play : TANI LA TANYO

Adapted from folklore about Tanyo (tiger) of Arunachal Pradesh, this play follows the story of old Tani’s promise to his elder brother Tanyo to forever keep his identity a secret. But in the oral tradition of the Tani tribe where ancestors are remembered by reciting all the names from the beginning of the generation, Tani wants his Achi Tanyo’s name to be remembered as well. Now that Tani is old and about to die, he reveals to his family that his elder brother Tanyo is a tiger who still resides beyond the mountains. Due to this, the community still believes that the tiger is their ancient elder brother.

In today’s world where people have become highly individualistic, this play talks about the idea of community living. When people are busy exploiting the life around them, this play brings forth the idea of mutual harmony and co-dependency between man and nature. In today’s time when people are fighting for an unseen God, this play suggests believing in the visible nature and being grateful for everything it bestows us.

Director                              : Navdeep Kaur

Writer                                 : Ekam Maanuke

Group                                 : Department of Indian Theatre, Panjab University, Chandigarh

Language                            : Punjabi

Duration                             : 120 mins.

Date                                    : 14 Feb. 2025

Play : SOHNI MAHIWAL

Sohni Mahiwal is one of the most prominent poetic legends of Punjab and Sindh. It is a story of love and sacrifice. A fresh take on the legend, the play is written by Ekam Maanuke, and is designed and directed by Dr. Navdeep Kaur, Chairperson, Department of Indian Theatre, Panjab University, Chandigarh. The script along with the story is woven with songs and Qalaams of Sufi poets Fazal Shah, Hashim Shah, Bulleh Shah and others. The performance is in Punjabi language and designed to give a total theatre experience. It depicts the cultural heritage of Punjab of that time.

Director – Writer                 : Bipin Kumar

Group                                 : NSD Sikkim Repertory Company

Language                            : Hindi

Duration                             : 110 mins.

Date                                    : 14 Feb. 2025

Play : Safed Lakeer

A combination of facts and imagination, the play Safed Lakeer is based on the research work done by repertory artists on drug abusers and their rehabilitation facilities. In the play, Dr. Mallika Singh is the Director of a Rehab Centre run by a Trust. A Psychiatrist by profession, she is a simple lady having great work ethics, and also has been concerned about the mental health of the drug abusers who joins the rehab centre. Her way of treating patients is different and she puts her genuine efforts in bringing the abusers back to normalcy. There are many such characters, whose stories are slowly revealed as the play progresses. Their past, present and their conflict with themselves carry forward the story of this play.

Director                              : Sunder Lal Chhabra

Writer                                 : Based on Munshi Premchand’s Stories – Chori & Bade Bhai Sahab

Group                                 : Theatre-In-Education Company (TIE Co.), NSD

Language                            : Hindi

Duration                             : 70 mins.

Date                                    : 13 Feb. 2025

Play : WO KAAGAZ KI KASHTI… WO BARISH KA PAANI…

The play is a theatrical adaptation of two stories, ‘Chori’ (The Theft) and ‘Bade Bhai Sahab’ (The Elder Brother), written by Munshi Premchand. Both stories revolve around the theme of childhood and its memories, set against the backdrop of India in the 19^th Century.

These tales delve into issues, joys, and education related concerns of children, making them engaging for both kids and adults. The story ‘Chori’ beautifully captures the emotional simplicity of a child’s mind. Unlike adults, who often harbour bitterness and daily worries, this story highlights the importance of retaining a childlike innocence to make life easier.

On the other hand, ‘Bade Bhai Sahab’ humorously portrays the sweet and sour relationship between two brothers, subtly satirizing the rote learning education system. At the same time, it illustrates the balance between education and life experiences.

Director                              : P.S. Chari

Writer                                 : Dahyabhai Vadhu

Group                                 : Triveni, Gujarat

Language                            : Gujarati

Duration                             : 80 mins.

Date                                    : 13 Feb 2025

Play : KANASARI – DANG’S ORAL FOLKLORE

The Tale of Kanasari is a performance based on the folklore of the Dangs.

Kunkana, an Adivasi community that resides in the Dang district of Gujarat, worships Kanasari as the Goddess of Grains (Finger Millet). Every household of the community worships grains (Raagi/Nachni) in the form of God, though tiny it has the ability to multiply and feed millions.

Kanasari is a princess blessed with super natural powers, revels in nature, and can transform mud, sand and stones into delicious cuisine. The Rajahs abduct her to the Devlok because of her magical powers but the Devas send her back when she attains puberty.

Kanasari is enchanted by a cowherd’s magical music of his Tambe Mahovar (Dangi flute). She falls in love with the cowherd Kanu and chooses to marry him during her Swayamvara.

The Royalty is offended that despite having supernatural powers Kanasari chose a cowherd, a common man, as her husband, and they conspire to attack Kanu.

Kanasari is furious and incensed by the design of the Rajahs and decides to protest. Kanasari invokes all the Goddesses of Nature, who align in support of her. The Rajahs realize their mistakes. Kanasari scripts her victory against injustice.

Director                              : K. Ramakrishnaiah

Writer                                 : P. T. Narasimhachar

Group                                 : Department of Performing arts Bangalore University Bengaluru

Language                            : Kannada

Duration                             : 85 mins

Date                                    : 13 Feb. 2025

Play : GOKULA NIRAGAMANA

Pu.Ti. Narasimhachar :- Renowned Kannada scholar and literature, lyricist. Intriguing poet Puti Narasimhachar is a big name in Kannada literature, a poet who made a big splash in life and literature, a poet who thought that life is due to the grace of God, a poet who saw the first generation of Renaissance literature, many senior poets who saw the 13 Geetha Rupakas created by him, Gokula Nirgamana “Gokula Nirgamana” is a romantic and musician Krishna who takes a different path. An indication is found that in the Mahabharata, Madhura and Dwarka, Krishna does not play the flute.

The play begins with a serene night as the poet listens to a cowherd boy’s flute. Enchanted by the melody, he exits the stage. The Gopis enter, singing about their detachment from worldly life and devotion to Krishna. Dancing joyfully, they exit. The Gopalas arrive, inspired by Krishna’s flute, and follow him to the forest. Meanwhile, other Gopis, drawn by the flute, attend to their tasks while elders discuss Krishna’s charm.

A nobleman informs the village of Akrura’s mission to take Krishna and Balarama to Mathura. The stage shifts to a depiction of nature’s beauty and the allure of Krishna’s flute. The Gopis and Gopalas, searching for Krishna, lament his absence. Akrura observes their devotion as Krishna finally appears, captivating all with his divine music. He performs the Raas Lila with the Gopis, joined by elders and sages entranced by his melody.

Radha and Nagaveni search for Krishna, lamenting his impending departure. Krishna consoles the Gopis before leaving for Mathura, promising to return. Heartbroken, Radha preserves his flute as a sacred relic. The play ends with a young cowherd finding the flute, as the poet expresses hope for Krishna’s return, symbolizing eternal love and longing. In this play Krishna shifted to village to city. The movement indicates how modern things are adopted in our life.    This play is very contemporary forever.

Director                              : Nalini Nihar Nayak

Writer                                 : E. R. Bijaya Mishra

Group                                 : Newquest Repertory, Rourkela, Odisha

Language                            : Odia

Duration                             : 95 mins

Date                                    : 13 Feb. 2025

Play : DHARMABATARA

The judgment of Dharma (the right way of life) and A dharma is relative. Similarly, the definitions of justice and injustice are also relative. However, there is a general consensus among those relative judgments. The merit of the country should prevail over personal benefit. It is imperative for every citizen to accept this rule. However, while treading the road of life, we often stand upon a moral crossroad of events that forces us to ask ourselves… Who is greater? The one who brought us to this world, held our hand, and taught us to walk (the father) or the one who nourished us and let us walk (the motherland)? Who can pass judgment in times of such a moral crisis ? It is the ‘Dharmabatar’ (The avatar of Dharma). Come, let us find out the answer to this question in today’s drama, “Dharmabatar”.

Director                 : Kalaimamani Dr. P.K. Sambandan

Writer                    : S.M. Thiruvengadam

Group                    : Purisai Duraisami Kannappa Thambiran Parambarai Therukoothu Manram, Thiruvannamalai

Language              : Tamil

Duration                : 115 mins.

Date                      : 12 Feb. 2025

Play : Vaali Motcham

Vaali Motcham is dramatized from a section of Kamba Ramayanam, an epic written by the Tamil poet Kambar during the 12^th century CE. After intimating his brother Sukreevan and the Minister Hanuman, Vaali goes to fight with the demon, Mayavi. After fighting for many years, he defeats Mayavi and returns to find that the cave to re-enter his kingdom is closed. Pushing the blocking rock aside, he enters the city to find that Sukreevan has been crowned the King. Enraged, Vaali fights with his brother and chases him away to the forest. Sukreevan and Hanuman feel lost and can’t decide what to do. They encounter Rama and Lakshmana in the forest and take counsel from them. Rama enquires from them about their hiding in the forest and Sukreevan tells him that his brother Vaali, due to jealousy, has driven him away from his kingdom. Rama promises to win him back the crown in return for a favour. He informs them that King Ravana has kidnapped Sita and needs their help to rescue her and bring her back. Agreeing to this, and with the support of Rama, Sukreevan challenges his brother Vaali for a battle. While the two are fighting, Rama secretly shoots an arrow at Vaali from his hiding place. Vaali is shocked as he has a boon that no one can defeat him in a direct battle, and wonders if the arrow belongs to either Shiva or Brahma but he discovers that it is Rama’s. Vaali then asks him that how he, Rama the righteous one, can attack him when he was not fighting directly with him but was in a duel with Sukreevan. Rama replies to Vaali that he shot him as a punishment for usurping Sukreevan’s crown, stealing his wife, and chasing him away out of his kingdom.  Vaali retorts that Rama should have listened to both the sides of the story before taking any such action.

Director                              : Jayanta Rabha

Group                                 : Theatre-In-Education Company (TIE Co.)

Language                            : Hindi

Duration                             : 60 mins.

Date                                    : 12 Feb. 2025

Play : Tichi Tita Toto Turu

Tichi Tita Toto Turu, a devised play developed in the clowning form, presents the interplay between school, home, society and children. Tilu is a bright 9 year old student who is trying to balance school and home, and his childhood between the dreams of the present and the future. The play shows Tilu being bullied by the older kids at school and his distancing away from the dreams of his middle-class family. This play also throws light on the difference between upper class and lower class in the modern society. And in the present era of consumerism, children, influenced by advertisements, are using different types of products to hastily increase their self-confidence. In doing so, they themselves lose their self-confidence, and a child’s inner beauty is getting affected by the glittery external appearances. The play presents that every moment of life should be filled with the colours of happiness, and one must keep laughing and smiling in adverse times.