RELIVING THE MAGIC OF NARSINH MEHTA…
Conversation with various people associated with the play
‘JAAGINE JOUN TO...’
PREMIRED at PRITHVI FESTIVAL on 10/OCT
SHRI SITHANSHU YASHASHCHANDRA – PLAYWRIGHT
Q: As a leading modern Gujarati poet, what’s your perception of Narsinh Mehta as a poet and as a person?
A: Narsinh Mehta is known as the primal poet (aadi kavi) of Gujarati literature. Before him there were several other poets for three centuries who wrote poetry in Gujarati. In spite of that, Narsinh is counted as the first one because he not only wrote in Gujarati but also his way of feeling and expressing things were Gujarati.
Q: How do you present this understanding in the contemporary Gujarati theatre space?
A: For me Narsinh’s work and life are both associated in the way Gujarat understands its own self and the world. So this play is basically about the Gujarati way of understanding... Since I was keen to know and discover how Gujarat understands itself and rest of the world.
Q: Would you like to discuss some details of both the credits and the visuals of your script?
A: A play on the stage is the world for the Writer, the Actor, the Director and the artistes of sound, music, lights and stage arrangement. So the details arrive from each of these fields. What is special about this play is my visual and auditory understanding of Narsinh. So for example, at the drop of the second act, where the actor feels that he has lost Narsinh; and at the beginning of the first act, Narsinh feels he has lost Lord Krishna... thereby the two together give this performance a circular motion, and this continuity of loss and discovery is presented very visually and convincingly by our director.
SHRI UTKARSH MAZUMDAR – PRODUCER/DIRECTOR
Q: Why Narsinh Mehta and why Shitanshu Yashashchandra?
A: Narsigh Mehta and Kabeer are my inspirations. Their greatness lies in the fact that their love for God isn’t just confined to themselves. It’s universal... in the sense that it relates to all human beings irrespective of their religious differences. They did not give up their family life and values. They were very clear about what they wanted to do in their lives and all such stimulus came from poetry. What wonderful poetry both of them composed! Not just metaphysical, spiritual and devotional songs but Mehta wrote romantic poetry like Raas Leela and Shringar na Pad as well. To write at that point of time was purely amazing and startling. Also what I find awe-inspiring is that in spite of having so many difficulties and obstacles in life; he never gave up hope and never behaved bitterly or rudely with anybody. For instance:
“If I tell you that you are a bad actor or you tell me that Utkarshbhai you are a bad actor then anyone of us will react strongly, but in spite of getting abused or humiliated Narsigh says “ Eva to ame eva vadi tameh kaho chho teva re…” meaning “You may say whatever you feel like…… you continue your work an I will do mine.
We know that Narsinh wrote “VAISNAV JAN TO TENE KAHIYE…” it was to bring to fore that other Narsinh, the one who could write Shringar Pad. This is so much relevant in today’s times when the atmosphere has been communalized to a great extent.
And about Sitanshu bhai? I thought he and only he should write, this was my gut feeling and I told him 10 years ago, “Why don’t you write such a thing for me?” In reply he asked me why couldn’t I write it myself… but I told him that I did not want to write. I wanted him to write as he possessed the sensibility and the vision to accomplish the work. After explaining this concern of mine to him, I realized that Narsinh’s work is dear to both of us. Then I told him it will be one man show and he got puzzle because he has never written one man show so then we had long discussion and then ultimately he said, ‘Let me write the first page or a draft…’, and then it all started.
I still remember that night when I read the first draft before my family. They were all moved and touched. My mother and father were literally in tears. All were impressed thinking that the play had been marvelously written. I told Sitanshu bhai to go ahead with this masterpiece. Kudos to him for pursuing the play with sheer dedication. Afterwards we discussed about putting the draft in the format of a play. Also Naushil (Mehta) was very much there from the word go. His efforts to the making of the play are praiseworthy. Like Naushil, Uday (Mazumdar) helped me with setting the music, balancing both my vividness and emotions. Add to these two brilliant singers, Dr. Parag Jhaveri and Parigna Pandya. Finally when you act or direct a play you must get the pleasure or satisfaction out of it and that is exactly what we all derived out of this play.
Q: Was it worth waiting all this while to direct the play?
A: It’s always worth waiting. That’s why I am producing this play as well. I have a long association with Sitanshu bhai because in 1974 I asked him to write a play for me called “THE LESSON” by Eugene Ionesco, through which he turned from a poet to a playwright. Thus our association goes back a long way.
SHRI NAUSHIL MEHTA – LIGHT DESIGN
Q: You are a major theatre personality in Mumbai and a multilingual author. So how do you respond to Shitanshu bhai’s play on Narsinh Mehta?
A: First of all I don’t consider myself to be major anything on the theatre scene. Secondly I love the play. I think it’s the best thing to have happened to Gujarati theatre in recent years.
Q: Has this script in any way enhanced or changed your perception of Narsinh Mehta as a poet and a person of Gujarati Cultural Theatre?
A: No it has not changed my perception for Narsinh Mehta, but yes it has changed my perception of Gujarati theatre. Earlier I did not believe that a play of this quality was possible on Gujarati Theatre and Siitanshu bhai has surprised as well as shocked me by writing such a beautiful play in our language.
Q: Would you like to discuss some details of the Play?
A: It is a play in verse. It is difficult to believe that a play which is entirely in metre can be performed in 2007 or in the 21st century. But hats off to Sitanshu bhai who has written a play which is not only performance oriented but one in which any actor will die to showcase his acting skills in times to come.
Q: How do you review your own contribution to the Play?
A: I enjoyed designing the lights.
SHRI UDAY MAZUMDAR – MUSIC DIRECTOR
Q: Which beat comes to your mind first when we talk of Narsinh Mehta? Also, how did the music manage to bring Mehta’s character alive?
A: The peculiarity about Narsinh Mehta’s music is that it can be recreated in any part of the century. The phonetics used by him are beautiful, you can find words for every kind of music. His way of conveying things was exceptional.
I did an album called Narsaiyo Bhakt where Harindra Dave did the commentary. It was really melodious. Till date, I and the others still feel like listening to it again and again. Vaishnava Jan is the theme that strikes you first whenever you hear of Narsinh Mehta. He has done lots of traditional compositions too. With Sitanshu bhai writing this play, Utkarsh bhai going to act and Naushil bhai also present this play; was bound to be a complete play in the true sense of the term. After all, we were looking forward to revisiting Narsinh Mehta’s era.
Mehta’s favorite was JULANA CHHAND. When we sit down to read what all he has written it leaves us spellbound. The best part of Sitanshu bhai writing this play was he has written this play in JULANA CHHAND which is an altogether new way of writing. I believe he is a wonderful writer.
Q: What do you have to say about the performances of the two singers cum actors?
A: When we started out the search for actors we were aware of Dr. Parag Jhaveri’s acting talents. He is a tremendous actor and a good singer. Parigna Pandya is a relatively young artist. She has done the dubbing for Harry Potter’s female lead. The value addition here is that along with having talented voices, both of them have an education in music.
SHRI SUBHASH ASHAR – SET DESIGN
Q: When did you first hear of Narsinh Mehta?
A: The first play I did was “TOKHAR” which was directed by Mahendra Joshi and was written by Shitanshubhai. So our association has been there for quite a long time. I know exactly what he and Utkarshbhai want. Shitanshubhai is a writer, poet and play write too. Thus, when Utkarshbhai called me up, I was very happy about getting an opportunity to work with Shitanshubhai. After hearing the script, I got to know that it’s about the life of Vaishnava’s… Hence I have designed the sets accordingly. The play being performed at Prithvi, it’s meaningless to construct a heavy set design. I wished to keep it as simple as possible by placing Tilak in the center and using Flute and Naag as symbols. This design appealed a lot to Naushilbhai and Utkarshbhai and they approved it immediately.
Summing it up all, the more we praise Narsinh Mehta…… the less it seems. Hopes rest on this play… on how successfully it revives the spirit of Mehta and makes him a figure worthy of our appreciation.
Interviewed by
Ankur B. Saraiya
(Date: 06 November, 2007)
No comments:
Post a Comment