Reviving classical art

In an effort to recreate and revive the Indian classical theatre, National School of Drama is organising the performance of Abhignana Shakuntalam under the direction of Rita Ganguly, an eminent professor of the school. Sanskrit classical theatre has a highly developed theatre technique and its training is an integral part of NSD curriculum, giving an opportunity to the students to interpret contemporary theatre practice inspired by <g data-gr-id="46">classical</g> theatre. Abhignana Shakuntalam will be presented by <g data-gr-id="45">second year</g> students of NSD,  incorporating contemporary issues along with Kalidasa’s immortal verses. The performances are scheduled from September 11 to 15 at 6:30 pm with one additional show on September 12 at 3 pm at Abhimanch auditorium, Bahawalpur House, Bhagwandas Lane off Bhagwandas Road. NSD has invited one of the senior most theatre teachers Rita Ganguly, who also introduced a syllabus called Movement and Mime at NSD and has taught in the School for 35 years. Rita Ganguly spoke to Millennium Post and revealed, “<g data-gr-id="43">Its</g> been hardly three weeks that <g data-gr-id="42">second year</g> students are learning and I think they’re doing quite well.”

Delving into the techniques used in Sanskrit classical theatre, Rita Ganguly said, “We need a serious effort to revive our classical theatre. It is the most developed form of <g data-gr-id="51">theatre</g> on which there is <g data-gr-id="52">treatise</g>. Nowhere across the world do you have a treatise over theatre techniques for voice, speech, body and internalisation. Internalisation means a person becoming a <g data-gr-id="29">patra</g> (vessel or carrier) through which the character is presented to the audience.” 

Kalidasa’s immortal work Abhignana Shakuntalam has been a seminal text through centuries. NSD will present the play in the contemporary context of women’s emancipation and will utilise the techniques of classical theatre. It will represent today’s atrocities and trauma faced by a young girl every day. 

Shakuntala, a young woman, brought up at the hermitage of Kanvarishi, was seduced by the king Dushyant. Later, he refused to <g data-gr-id="48">recognize</g> the girl and denied the possibility of the girl being impregnated by him. She was rejected and insulted in the court. Years later, he comes to meet Shakuntala, to win back his abandoned wife and his son Bharata. 

In the presentation, Shakuntala refuses to go back, just like in Ramayana, where Sita sends forth Luv and Kush to Ram but refuses to go back with her husband. There is a growing awareness, in the world, to preserve ancient traditions. Thus Globe Theatre is being revived in London, Noh and Kabuki Theatre is zealously preserved in Japan and the Classical Greek Theatre in Greece. In this <g data-gr-id="32">backdrop</g> it becomes imperative to look at our own heritage and attempt to revive our classical theatre which goes back at least 5000 years.