Folk theatre of india
Folk Theater
Jammu & Kashmir :
Theatre Art : Achi Lamo, Bhand Pather, Bhagat, Mane Pa and Ras.
Jammu Kashmir state has made its own different and unique style of folk theatre performance; there are different individual categories of a music, dance and drama. It is like a mixture of all the theatre art of several media. In Ladakh region Mane pa and Achi Lamo, in Kashmir Bhand Pather and in Jammu region Bhagat and Ras all these make a nice combination of all theatre art forms.
Achi Lamo :
This theatre form is generally used to express the stories of Buddhist Jatik, it also includes the music, dance and drama. To perform this form, the artists comes from Kashmir's Tibet part, in Tibet, it is known as Topa Khamba. This theatre form is adopted by the people of Ladakhi and they are performing it from many years.
Ras & Bhagat :
The folk theatre Culture of the Jammu has a very spiritual and religious effect. Their famous performances are those which are performed to express the scenes of the Indian epics like Ramayana and Mahabharta. The members of the Ras and Bhagat generally belongs to Himachal Pradesh and Punjab states but they come to Jammu, to perform the Ras Bhagat form and showcase the Indian history.
Bhand Pather :
This folk theatre form is very famous in Kashmir state's masses because it is the only form which maintained their secure sole till this date. Drama is called as Pather in the language of Kashmiri; and the Bhand means the actor or performer. This theatre form generally doesn't pre-decide the themes to perform. The performer of the Bhand Pather form, presents his talent through the step by step improvement, available material and situation to perform the form and entertain the audience. During the performance of the Bhand Pather, they don’t need stage or any platform. They use the instrument to create the music which contains Surnai, it is the Indian Shehnai, Nagara, Big Dhol and Peshrao instrument's Kashmiri version.
Mane Pa :
This form is more dependant on the dialogue and narration than the form of Achi Lamo. This form is performed only by the families of the Mane Pa in the Kashmir's Ladakh region. During the performance to entertain and improve the humor of the people watching, the performer uses the mocks and they laugh on the people.
Folk Theatre of hariyana
The tradition of folk theatre in Haryana is very old. Plays, to begin with were staged in the open with audience sitting around. A combination of music, dance, poetry and speech was called Natya.
Jammu & Kashmir :
Theatre Art : Achi Lamo, Bhand Pather, Bhagat, Mane Pa and Ras.
Jammu Kashmir state has made its own different and unique style of folk theatre performance; there are different individual categories of a music, dance and drama. It is like a mixture of all the theatre art of several media. In Ladakh region Mane pa and Achi Lamo, in Kashmir Bhand Pather and in Jammu region Bhagat and Ras all these make a nice combination of all theatre art forms.
Achi Lamo :
This theatre form is generally used to express the stories of Buddhist Jatik, it also includes the music, dance and drama. To perform this form, the artists comes from Kashmir's Tibet part, in Tibet, it is known as Topa Khamba. This theatre form is adopted by the people of Ladakhi and they are performing it from many years.
Ras & Bhagat :
The folk theatre Culture of the Jammu has a very spiritual and religious effect. Their famous performances are those which are performed to express the scenes of the Indian epics like Ramayana and Mahabharta. The members of the Ras and Bhagat generally belongs to Himachal Pradesh and Punjab states but they come to Jammu, to perform the Ras Bhagat form and showcase the Indian history.
Bhand Pather :
This folk theatre form is very famous in Kashmir state's masses because it is the only form which maintained their secure sole till this date. Drama is called as Pather in the language of Kashmiri; and the Bhand means the actor or performer. This theatre form generally doesn't pre-decide the themes to perform. The performer of the Bhand Pather form, presents his talent through the step by step improvement, available material and situation to perform the form and entertain the audience. During the performance of the Bhand Pather, they don’t need stage or any platform. They use the instrument to create the music which contains Surnai, it is the Indian Shehnai, Nagara, Big Dhol and Peshrao instrument's Kashmiri version.
Mane Pa :
This form is more dependant on the dialogue and narration than the form of Achi Lamo. This form is performed only by the families of the Mane Pa in the Kashmir's Ladakh region. During the performance to entertain and improve the humor of the people watching, the performer uses the mocks and they laugh on the people.
Folk Theatre of hariyana
Folk Theatre
In Hindu mythology, the gods themselves figure as supreme dancers. Drama was created not merely for pleasure but for conveying moral truths. The first Sanskrit Drama emerged from the festival of Indra's Banner, which celebrated the triumph of the gods over the demons.
Folk theatre is divided into two categories
(1) Temple based religious theatre with Indian Epics and Puranas being the source material for characters.
(2) Community-based secular theatre, of minor forms and lighter variety.
In reality several themes are mixed together - mythological love, popular history and religious themes, all with overtones of secular values.
Haryana Swang follows in the old tradition, being the most popular variety of performance based on the 'open stage' technique. It is an all male cultural troupe of twenty to thirty artistes, including the director, producer musicians and actors. The female roles are also played by males, but female troupes are not altogether unknown. Towards the end of the nineteenth century and beginning of the present, all women Swang troupes performed in western Uttar Pradesh and the adjoining 'Khadar 'area of Haryana.
The origin of Swang is traced to one Kishan Lala Bhat, who laid the foundation of the present style of folk theatre. In Haryana the most celebrated name is that of Dip Chand Bahman of village Shiri Khunda in Sonepat. He was popularly known as Shaskespeare or Kalidas of Haryana.
The stage of Swang does not require the elaborate arrangements of the modern dramatic performances. There are no curtains or a green-room for make-up. There is only a wooden plat form about three and a half metres long and of the same breadth. The rest is all a display of skill and stamina of the artistes who perform as long as six hours. They do not use loudspeakers.
An hour before the show, the musicians of the orchestra begin to create the proper atmosphere. The artistes sing some religious or other songs connected with the play. Then the Guru appears ands the artists touch the feet to evoke his blessings. The play opens with a song bhait in praise of the Goddess of knowledge (Bhawani).
With a brief introduction about the play, the performance starts. The Haryan Swang has enriched it self by borrowing and adopting a variety of themes, it embraces romances like Sorath, Nihalde, Padmawat, Nautanki etc. There are historical and semi-historical themes based on Epics, such as Raja Rissalu, Kichak Badh, Draupadi Chirharan, Amar Sing Rathor, Sarwar Neer, Jaswant Singh etc. Themes of old literature, such as Gopi Chand Bhartari Hari, Harischander, Raja Bhoj etc are also adopted. Mythological themes like Prahlad Bhagat and Punjabi romances like Pooran Bhagat, Heer Ranjha etc have become a part of the vast and varied themes on which the Haryanvi rural theatre operates.
Folk Theatre of rajasthaan
| Kathputli
These refer to the string puppets of Rajasthan -- doll-like figures of mango wood, usually without legs and feet. The word Katha means story, the word putli means puppet. String puppets (marionettes) are the most ancient form of puppets in the world.
The puppeteer manipulates the strings attached to the head, waist and hands of the puppets. The lower body is covered in long skirts and therefore does not have strings connected thereon. The figures of these puppets are often inspired by those depicted in Rajput paintings complete with swords, turbans, crowns, beards and moustaches in accordance with their station in life. The arms are always stuffed with cloth so as to give them a rounded, human appearance. Animal puppets such as those of camels and horses may be part of the show, but only their necks would be movable.
Puppeteers are traditionally from the Bhatt community and are known by their trade, Nat Bhatt (those who perform plays). The main puppeteer is the sutradhar and he is accompanied by the bhagavat (narrator-singer), an assistant, and musicians for the drums, cymbals and the harmonium. A reed-like bamboo instrument that emits a shrill sound is peculiar to Kathputli, and is a guaranteed attention- getter.
The heroism of historical persons is the recurring theme of puppet shows, and kings like Prithviraj Chauhan of Ajmer, Amar Singh Rathor (of Rathor), and Vikramaditya of Ujjain are favorites. The incidents of valor from their lives provide the raw material for the show. The puppeteer is able to show off his skill with the strings: swordsmanship, dancing, juggling, acrobatics.
All a Kathputli performance needs is enough space to stand two charpoys (cots) on end and room above to create a proscenium arch that puppeteers refer to as the Taj Mahal. The illumination is provided by electric lighting, torches, even coconut lamps.
khyaal.
Khayal: Khayal is mainly performed in Rajasthan. It is a combination of song,
dance and drama. Music is an important aspect in this form of folk theatre. It is
performed not only for entertainment purpose but it is used mainly as an essential
means of communication between actors. There is an immense variety in the use
of singing—sometimes by the characters individually or in the chorus. Instrumental
music is also used in the beginning of the performance to create a favourable
photos of indian folk theatre:
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