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The ideas a play wishes to
reflect originates in the sensibilities
of the playwright. Yet he
has an uneasy feeling that directorial liberty
has intruded and distorted
his ideas. Even the actors tend to oppose
the playwright’s or the
director’s viewpoints. None questions the
individuality of the
performer. But once out of the green room and on
stage, an actor’s opinions
are straight jacketed and he has to transform
himself into a puppet,
controlled by the ventriloquist duo of the
playright and the director.
Only thus can be kept intact the sensitivity
of a subject oriented play.
But when these very puppets
spring to life and transmogrify
into unleashed powerhouses
of emotions, who emasculates them?
The director can clip the
wings of the actor. But can he convincingly
ensoul the characters as
envisioned by the playwright ? So,
does the theatre stage
turns into Armageddon for the conflicting dogmatism
of the actors, the
playwright and the director ?
Some such ubiquitous
antipathies are behind the nascence of
Gitanjali, Betaal, Beraag
and Aikyataan – beings from the land of the
mind, who asks : are we the
corpses of a cultural death ? Are our
artists the carcasses of
art?
We hear resigned sighs in
the affirmative.
So, against this fatalism we hereby launch
our crusade.
Plyawrits note
Aikyatan
An Assamese musical play
From Satyanusandhan a
collection of Play in Assamese
Distributor Bandhab
,Panbazar
Price :Rs.180
