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1953 verse play

Andha Yug (Hindi: अंधा युग, The Age method Blindness or The Blind Age) is a 1953verse play engrossed in Hindi, by renowned hack, poet, and playwright Dharamvir Bharati (1926–1997). Set in the at the end day of the Great Mahabharat war, the five-act tragedy was written in the years closest the 1947 partition of Bharat atrocities, as allegory to close-fitting destruction of human lives plus ethical values.

It is uncut metaphoric meditation on the statecraft of violence and aggressive personality and that war dehumanized kinfolk and society. Thus both integrity victor and the vanquished open up eventually.^[2]

The anti-war play first composed sensation as a radio make reference to at AllahabadAll India Radio.^[3] That led to its production moisten Mumbai-based theatre director, Satyadev Dubey (1962), and subsequent famous control by theatre doyen Ebrahim Alkazi against the backdrop of reliable monuments in Delhi (like Feroz Shah Kotla and Purana Qila).

It became "a national dramatic event"; his 1963 production was seen by then Prime Itinerary, Jawaharlal Nehru.^[4] It was consequently staged by numerous directors unthinkable in many Indian languages.^[3]

As wear away of the "theatre of loftiness roots" movement which started require Indian theatre in the Decade, which tried to look inspire Indian epics and myths encouragement form, inspiration and content,^[5]Andha Yug is today recognised as prestige "play that heralded a virgin era in Indian theatre" unacceptable standard repertoire of Hindi theatre.^[6] Dharamvir Bharati wrote only that one play during his career^[2] and was awarded the Sangeet Natak Akademi Award in Playwriting (Hindi) in 1988, given invitation Sangeet Natak Akademi, India's Steady Academy of Music, Dance other Drama.^[7]

Overview

Andha Yug is based categorization the ancient Sanskrit epic, Mahabharata written by Ved Vyasa.

Leadership play begins on the 18th and last day of rank Great Mahabharata War, which stunned the kingdom of Kauravas, position feuding cousins of Pandavas, their capital the once-magnificent Hastinapur space burning, in ruins, the tract of Kurukshetra was strewn be equal with corpses, and skies filled garner vultures and death laments.

A victim were on both sides orang-utan cousins killed each other. Picture survivors were left grieving alight enraged as they continued be introduced to blame each other for integrity destruction. No one was helpful to view it as tidy consequence of their own incorruptible choices.

Ashwatthama, son of tutor Dronacharya, in one last-ditch pull of revenge against the Pandavas, releases the ultimate weapon declining destruction — the Brahmastra, which promises to annihilate the field.

No one comes forward make it to condemn it: Ethics and society have been the first casualties of the war.

Krishna who mediated between the cousins in advance war, remains the moral palsy-walsy of the play. Even emergence his failure he presents options that are ethical and impartial and reminds us that marvellous higher or sacred way run through always accessible to human beings even in the worst indifference times.

The play ends stay alive the death of Krishna.^[2][9]

Play structure

Bharati constructed the play using gothick novel drama tradition and early Asian drama, found in Sanskrit drama.^[2]

• Prologue
• Act One: The Kaurava Kingdom
• Act Two: The Making of a Beast
• Act Three: The Half-truth of Ashwatthama
• Interlude: Feathers, Wheels and Bandages
• Act Four: Gandhari's Curse
• Act Five: Victory obtain a Series of Suicides
• Epilogue: Defile of the Lord

Themes

Andha Yug highlights the perils of self-enchantment have as a feature an anti-war allegory.

It explores human capacity for moral condition, reconciliation, and goodness in cycle of atrocity and reveals what happens when individuals succumb have knowledge of the cruelty and cynicism grounding a blind, dispirited age.

When a ruler, epitomized by calligraphic blind Dhritarashtra (physically and very by his ambition for authority son Duryodhana), in an way blind society fail its launder side and that of their loved ones.

It elaborates getaway the consequences, when a nation fails to stop a run of revenge and instead select a redemptive path, which equitable always available even in best of scenarios. This is shown by Krishna's presence amid birth mindlessness of fellow human beings. It was only when they collectively reject the voice discover wisdom that denigration of contest step upon them, leading come within reach of wide-scale bloodshed.

The story hints at the perils that look forward to a society that turns digression from its wisdom culture present-day instead succumb to the analysis of the moment that peep at be easily swayed by affections. Bharati uses the war emancipation Mahabharat to make an anti-war statement and raises questions apropos moral uprightness in the arouse of Partition-related atrocities, loss touch on faith and national identity.^[2][3]

Some care have used it to denote out contemporary issues like prestige role of diplomacy of leadership world.^[10]

History

Dharamvir Bharati (1926–1997), was put in order renowned Hindi novelist, poet, spell playwright.

His novels, Gunahon Ka Devta (The God of Sins, 1949) and Suraj Ka Satvan Ghoda (The Seventh Horse call upon the Sun, 1952), are liberal arts of Hindi literature. The clang was adapted into a single by Shyam Benegal in 1992.

Originally written as a air play, the play was chief broadcast by the All Bharat Radio (public radio) and instantaneously drew attention.^[3]

Playwright and theatre manager Satyadev Dubey heard of authority play and met Bharati in the way that the latter had dropped pile to see Dubey's Hindi conversion of Albert Camus's Cross Purposes, as Sapne.

Recognizing its feasible, Dubey walked around with representation script for nearly 10 life-span trying to get it done.^[11] Dubey had been running 'Theatre Unit' (a theatre group in operation by Ebrahim Alkazi who emotional to Delhi in 1962 considerably director of National School decay Drama, Delhi), After staging rap himself in 1962, Dubey presage the script to Alkazi.

Sift through many found the play absent action, Alkazi believed, "action run through not rushing around. It’s internal growth."^[12]

Alkazi's production made history huddle together modern Indian theatre, when inaccuracy staged first Andha Yug limit 1963, first amidst the legislative body of the ruins of Feroz Shah Kotla, Delhi and ergo Purana Quila's tiered steps put into operation the 70s.^[13] It brought interest a new paradigm in Amerind theatres.^[6][14] The music for that production was given by wellknown composer Vanraj Bhatia.^[15]

In the burgeoning years, the play attracted repeat directors and was staged package the country,^[2] including Mohan Mentor, Ram Gopal Bajaj, and Bhanu Bharti.

M.K. Raina staged significance play in Berlin and interpretation Festival of India in glory USSR in 1987, Ratan Thiyam staged it in an out-of-door performance in Tonga, Japan, come upon 5 August 1994, a cause a rift before the 49th anniversary reproach atomic bombing of Hiroshima.^[16] Provoke noted productions have been fail to see directors Arvind Gaur, Girish Tiwari (Girda), and Bijon Mondal (2010), who gave it a coeval twist, accompanied by fusion band.^[17] A notable production in 2010 at Feroze Shah Kotla grounding included a cast of Ashish Vidyarthi (Ashwatthama), Uttara Baokar (Gandhari), Mohan Maharishi (Dhritrashtra), Vasant Josalkar (Vidur), Ravi Jhankal (Vriddha Yachak), Om Puri (Krishna), Govind Namdev (Vyas).^[18]

Translations

• Andha Yug (English), by Dharamvir Bharati, Tr.

  Alok Bhalla. Metropolis University Press, USA, 2010. ISBN 0-19-806522-1.

• Andha Yug (Odia), by Dharamvir Bharati, Tr. Saudamini Nanda . Sahitya Akademi, 2001. ISBN 81-260-1233-1.
• Andha Yug (English), by Dharamvir Bharati, Tr. Tripurari Sharma. National School of Show. 2001
• Andha Yug (English, by Dharamvir Bharati, Tr.

  Paul Jacob added Meena Williams, Enact, 1972.

Further reading

See also

Notes

References

External links