विचार क्या है

आज हम एक बात का ख्याल करके बहुत खुश होते हैं कि हमने १० साल काम कर लिया २० साल काम कर लिया। अच्छा है , ठीक है, पर क्या कभी हम ये सोचते हैं कि सिर्फ़ काम करना और करते रहना ही ज़रूरी नहीं है। हमेशा ज़रूरत उस काम की होती है और शायद अहमियत भी, जो काम एक ख़ास लक्ष्य से किया जाता है। इस लक्ष्य को कहते हैं विचारधारा । ये विचारधारा क्या है? विचारधारा हमारी सोच की दिशा है और यही दिशा हमारी दशा भी निर्धारित करती है। हम क्या थे, क्या हैं और क्या होंगे , सब इसी विचारधारा का खेल है। ज़रूरी नहीं है कि हमारे साथ काम करने वाला हर साथी हमारी ही विचारधारा का हो , पर हर विचारधारा की अपनी अहमियत है, महत्व है। तो हम विचारधारा के मर्म को समझें। विचारधारा को कई हिस्सों में बाँट कर रखा गया है। परम्परा , प्रगति, स्थिरता, आधुनिक और कितनी ही अन्य विचारधाराएं हमारे इर्द गिर्द मौजूद हैं। यहाँ समझने वाली बात ये है कि सब अपनी जगह ठीक हैं। हम जिसे ठीक समझते हैं उसे अपना लेते हैं। और जिसे ख़राब समझते हैं उसका विरोध करते हैं। रंगकर्म में कोई लोक कि बातें लेता है, कोई प्रयोग की, कोई व्यंग्य की लेता है कोई वास्तविकता की, हर कोई अपने हिसाब से ठीक है। तो ज़रूरत इस बात की है कि हम अपने विचार के साथ अपना रिश्ता हमेशा मज़बूत रखें और दूसरी विचारधारा का सम्मान भी बनाये रखें। इस विचारधारा के बहुत से मर्म हैं जिन्हें हम आगामी पोस्ट में विश्लेषित करने की कोशिश करेंगे।

Theatre Music

Theatre Music: My Perception

Being a disciple of music through theatre, I always feel strong urge to be associated to theatre music and hence going to write some thoughts regarding this genre.
Theatre music is not any distinguished department of music itself but it is only the whole music used and formed for theatres. Rather than we can say theatre music is only a kind and /or ingredient of theatre. Later on I will try to discuss this topic in very detailed manner. But a few important things, I would like to mention here.
As a production takes a shape for performance, simultaneously, it gets the music ready for use, however, it is not definitive that the created music is the only best and/or only suited music. Because all the theatre activities goes with personal perceptions of creations and differs from person to person. As one script can be treated in many different ways, the music also can be treated so differently for the same script which depends on Music composer’s and Director’s creative perceptions.
For the theatre music, in India, in amature theatre specially, the basic thought flown in its creation, believes that theatre music should not be so melodic and soft, because it can affect audience’s phenomenal response towards picking the line of thought or message of script and it can make viewers in this regard.
But, I always felt strong arrogance about this thought, and did not follow this line of action, even a single time. I always believed that the melody and softness is a totally different issue in the regards of theatre music, and why theatre should be punished by neglecting these fundamental things of music. I strongly oppose the perceptions, which proposes that melody and softness of music in theatre affects the expression adversely. I believe, Music, is the most expressive way to make better, rather to say, best communication of feelings and emotions. And I always proved my ideology right, through the feedback of audience and critics both. Even the most competitive work forces (groups and persons) in theatre in my circle appreciated and enjoyed my work at utmost.
Another thing I always used, in my theatre music creations, is the music of contrasts. Although I am not the first person who used this i.e., music of contrast, but I feel, I am amongst the few ones who liked to do it. The music of contrast is very simple thought though very difficult to perceive as it involves the huge experience of life as well as a highest level of creativity. Simply we can say, music of contrasts is basically contrast of feelings, created and symbolized by music. For example of this music, we can take a creature of a renown theatre music composer, in which, in the scene of a dead body of husband in front of his wife, he used the sounds of a marriage ceremonial procession and succeeded in making the enhancement of feelings of the wife, who was seeing his dead husband.
To be different is the best way to create the theatre music. I would like to share an example of my composer friend, Ishteyak from National School of Drama, who used, in scene of extreme jealousy, the sound of showers of water on the hot plate of iron, which is used to make chapatti in this Indian community. It was the best example of symbolic music, I saw ever.So all the small discussion made here is regarding my beliefs for the theatre music. And that’s all for my today’s contribution.

New & Current Theatre in Rewa

Dear friends,

Rewa is pronounced as Reewa (रीवा). Its in Madhya Pradesh( the central province in the india) normally known as baghelkhand ( Land of baghel which were the kshatriya kings of this province in past). Rewa has a great amature theatre line up in this independent India.

I saw theatre activities since my childhood overhere. The pioneer in the amature theatre activities in India, is a group known as IPTA ( Indian Peoples Theatre Association) has contributed soundly here in Rewa also. The persons who were working in different small groups came together and formed the unit of IPTA here in arround 1990-91. In the start of IPTA in Rewa, there was a BAL-IPTA ( IPTA of Children) too for the activities of theatre among children, almost alike the TIE ( the institution presently working under the name of National School of Drama). The main aim of this Bal-Ipta, was to give an orientation for theatre through life and studies alongwith activities of theatre. So coming on the main line IPTA given a sound mark on the field of Rewa theatre too as like it was in the whole country.

IPTA has presented its first Stage production after a series of more than 100 street play shows ( Nukkad natak) and that was the play of Nag Bodas's TEEN TAPPAR, which was produced through a workshop directed by Sitaram Soni from IPTA ( Vivechana) Jabalpur. I was child artist in that production. After this play, IPTA almost steared all the theatre line up till 1998-99.

Although there were many other groups like Prayas, Kislaya, Kshitij etc who made their presentations meanwhile, but in my view IPTA was leader for all of them and almost all other groups were just making a trial to highlight them. They almost had done nothing contributory neither production wise nor ideology wise. The highlight of their works can be written as some good scripts taken for production only.

The prominent names in the activities of IPTA, who made theatre in real in Rewa were Reena Shukla, Neelu- Ajit Harshe,Late Rajesh Shukla, Suman Singh, Vidya Prakash Tiwari, Hanumant Kishor Sharma, Chandra Shekhar Pandey, Devesh Mishra, Devendra Sharma (Music), Om Dwivedi, Ashish Tripathi alongwith Late Manish Shrivastav, Kamal Kanpuri, Naved Usmani, Pankaj Dixit, Dilip Pawle, Yogendra Mishra, Shailendra Dwivedi and many more. In music section for theatre, the contribution made by Sushil Sharma, Sunil Sharma, Shashi bhushan- Aditya Bhushan and Abhishek Tripathi, who also is a creator of this blog to present you the ultimate history by his own view.

The main part as like think tank for the theatre culture in Rewa was consisted of reknown person from literature , culture and education etc. The higher authoritative decisions for mainly ideological issues in IPTA Rewa were made by Prof. Kamla Prasad, Prof. Sevaram Tripathi, Prof. Vijay Agrawal, Jairam Shukla, Rajiv Shukla etc.

The persons who were also sound to their extents through activities in theatre apart from IPTA are mainly Harikrishna Khatri, Yogesh Tripathi, Harish Dhawan, Hirendra Singh, Anwaar Siddiqui etc who also were busy in Radio plays alongwith the names in light like Pratibha jain, Mahesh saxena with all radio staff and artists crew.

Many persons can feel disagree with some of mine or whole of mine view, but still i believe strongly that what i wrote are the factual informations.

After this publication i will come with a deeper and closer view regarding all activities including the play critics and all......till then good bye......................