Synopsis of the play
A beautiful expression, highly romantic narration of one’s inner feeling from the bottom of lonely heart – Dr.Dharamvir Bharti’s KANUPRIYA is one of the most sensitive and colourful bouquet of love poems which is both modern and traditional genre with a touch of metaphysical poetical trend of early Classical Sanskrit literature.
The unparallel leela of Radha and Krishna without any beginning and end is an example of infinity in love with a pang of separation syndrome. Each and every word carries a weight of every tragic moment experienced by Radha and that is where the tragedy enhances its emotional quality with spiritual depth.
A broken heart with a feeling of betrayal encompasses the deeply hurt world of Radha is being portrayed successfully by the poet and also denoting the idea of a never ending journey of love and attachment with a bond of unseperated charismatic larger than life picture.
The emptiness of a vessel without water and a flower without a fragnance is equal to a body without a soul. But the world of Kanu and Kanupriya sets an example of both Parimit and Aparimit existence wrapped in love and divine spirituality. A very important issue of understanding binary behaviour and philosophical interpretation behind the meaning of love.
Director’s Note
Kanupriya is a saga of creation and criticism of love, romance, finite and infinite, spirituality in the inner space of human journey.
It is very experimental in nature and the verse is always full of ironical ideas. The unexpected tragedy and loneliness is depicted in a very sensitive way without hurting the protagonist. But the pain remains quite, silently torturing the rest of days of Kanupriya.
The play involves quite a lot of musical compositions, dances, scenography, choreography and cast of trained actors and actress, designers etc. to be able to interprete the poems of love – a garland of both romance and tragic chapters.
The most interesting aspect of this production is to fulfil the demand of the thematic content. It is an exhibition of emotions, rasa and reflection of a mirror of Devine soul.
My style of presentation is an interaction of different tradition and performing attitude in contemporary Indian Theatre.
ABOUT THE DIRECTOR
Ratan Thiyam was born into a family of artistes in 1948 – his father, Guru Thiyam Tarunkumar was one of the most respected guru of Classical Manipuri Dance and his mother, Bilasini Devi was renowned dancer. He grew up surrounded by art and art-making but also amid the privations that went with the performative life.
A graduate of Dramatic Arts from National School of Drama, New Delhi Ratan Thiyam is a multifaceted artiste. He works as a designer, music composer, choreographer, lighting expert, costume designer, architect and also a playwright, painter and poet.
In 1976, he started Chorus Repertory Theatre Company at Imphal and close to a quarter of a century later, it still fascinates audiences with the grace and style of its spectacular canvas. All kind of experiments were taking place there and for years the process of artistic experiments went on. One cannot fully appreciate Thiyam’s theatre without understanding his relationship with his repertory company, and with actor training. He sees theatre as “collective expression”. Talking of the ideal actor, he says: ‘Theatre is a composite art, and the actor a vehicle for expression of the thematic content. So the actor must be a composite man……….. He need not master all forms of art but he must acquire the basics of aesthetics so that he can utilize the experience as a vehicle of expression in a space called the performance stage”.
Ratan Thiyam’s intense and holistic production style – all members are trained in dance, acting, martial arts, stagecraft and design – embraces traditional Manipuri forms as well as other methods, developed over time to support Chorus Repertory Theatre’s esthetic approach. Emphasis on vocal and breath techniques, and in physical stamina and control, provide the means to accomplish impressive aural and movement feats. Thiyam’s work are tightly choreographed; his actors must physically push the limits of character. “I have always found human expression more convincing when it is physically portrayed, when there is a body rhythm”.
In recognition to Ratan Thiyam’s contribution in the field of theatre he has been adorned with following prestigious awards and titles: National Academy Award (Sangeet Natak Akademi), 1987; Padmashree, 1989; Nandikar, 1992, La Grande Medaille, 1997 (France); International Man of the Year in the field of Theatre and Humanism, 1998-99; B.M. Shah Award, 2000; Ganakrishti Award, 2002; B.V. Karanth Smriti Puruskar, 2004, One India One People Award, 2006, Kalidas Samman 2006, NETV People’s Choice Award, 2006, SIU-KA-PHA National Award, 2006; John D. Rockefeller III Award(Asian Cultural Council, New York), 2007 and Alakazi Foundation Award, 2008.
Mr. Thiyam has received Fellow & Special invitations from Ford foundation (USA), Manipur State Kala Akademi (Imphal), Japan foundation (Japan), Korean Foundation (Seoul). And he has made his special study tour in USA, UK, Japan, Hong Kong, Greece, Philippines, Thailand, Burma, Indonesia, Yugoslavia, Spain, USSR, France, Australia, and Cambodia.
Known to be one of the most prominent theatre directors both in the National and International scene Ratan Thiyam is ranked among the best Directors of the world like Peter Brook, Tadashi Suzuki, Arianne Mnouchkine, Grotowsky, Eugino Berba and Robert Wilson.
Ratan Thiyam has directed more than 50-productions of original, adaptation and translated plays and produced world class productions including Chakravyuha (The Wheel of War), Urubhangam, Uttar-Priyadarshi (The Final Beatitude), Blind Age, Hey Nungshibi Prithivi (My Earth, My Love) and Chinglon Mapan Tampak Ama (Nine Hills One Valley) which are known as masterpieces in the world theatre movement.
And his productions achieved most prestigious awards including “Indo-Greek Friendship Award (Greece), 1984”; “Fringe Firsts, 1987 from Edinburgh International theatre Festival”; “Diploma of Cervantino International theatre Festival, 1990”.