APEKSHA

 

APEKSHA

Title of the Play

Genre : Realistic Play in Assamese

Story : Gyanpeeth awardee Dr. Mamoni Raisom Goswami (DR. INDIRA GOSWAMI)’s Novel DOTAL HATIR WOOYE KHOWA HAOWDA.

Playwright and Director : Baharul Islam

Duration : 1 hour 30 mints

Interval : No interval

Premier of the play : on 8th January 2006 at Theatre Utsav 06 BANGLORE

No of People on the stage : 15(Fifteen)

No of People on Tour : 18 (Eighteen)

Minimum performance area : 30 x 20 feet

Freight : 50 kg

Seagull’s play production


APEKSHA
(The Waiting)
Scene wise synopsis

1st scene

Naam-kirtana is going on.

Owner of the house is Horu Gokhani.

Since the death of Gokhai-her husband as a consequence of opium consumption, Horu Gokhani has been fulfilling all her duties along with religious rites.

She comes to know from the priest that the communists are snatching lands at various places.

Horu-Gokhani is afraid – if they beat up Mahidhar when he goes to collect revenue!

Who is this Mahidhar?

Is it adequate to identify him only as the helper of Horu Gokhani?

2nd scene

Training to control the elephant. Owner Indra Nath names the elephant – Jagannath.

3rd scene

Another widow – Durga. Her only desire is to go to Kashi to release her husband’s remains there.

Indra Nath brought his aunty Durga from her in-laws’ house to his. But despite giving the word none came from her in-laws’ house to take Durga. Indranath understood that her in-laws sent her away fearing parting of a portion of their property. Indranath explains to Durga that even a lady has rights over property.

On the other hand Durga thought only about Kashi.

4th scene

Horu-Gokhani also consults her disciples in the society regarding their family problems and also suggests solutions.

Durga informs that the elephant Jagannath is getting mad to mate. Elephants get dangerous at this time.

Durga doesn’t accept positively the relation between horu-gohani and Mahidhar.

Mahidhar comes in the dreams of Horu Gokhani to propose.

4th A Scene

Horu Gokhani’s dream with Mahidhar.

5th scene

Everybody is surprised by the news of the communists bringing the Brahmans to the fields.

Looking at 3 pandas from prayag excites Durga. She tells Indranath’s mother to arrange for the expenses to go to Kashi. Indranath’s mother refuses to bear the expenses. Due to that these two Brahmin ladies quarrel.

Taking her clothes-filled trunk, Durga leaves the house.

6th scene

Durga awaits Indranath, sitting over the trunk at Horu Gokhani house.

The trunk had golden jewelry inside which Durga received at her marriage. Durga decides that if no way is left out, she will sell the jewelry and go to Kashi.

Indranath comes and takes Durga away. The trunk is left at horu-gokhani’s house.

7th scene

Song scene.

The elephant broke the howdah (seat made to sit over the elephant) built by Indranath.

The communists enjoy the matter.

On the other hand rumours spread that the elephant has started killing people.

Indranath gets shattered.

 8th scene

Durga is in Horu-gokhani’s house.

Durga decides to five her jewelry to the pandas in order to go to Kashi.

Durga screams when she finds no jewelry in her trunk.

Horu-gohani tried to stop her when she kept screaming that Mahidhar had stolen the jewelry.

Then Durga criticizes the relation between Mahidhar and horu-gohani in public.

Durga gets broken when she lost all hope of going to Kashi.

9th scene

Dilemma of Durga.

10th scene

Instability in the mind of Horu Gokhani.

Her dreams.

At that time Mahidhar is seen as a prisoner – the reason gets clear that he concealed the money received as advance by selling the land of horu-gokhani.

11th scene

Scene of despair.

Durga comes to bid good-bye to Horu Gokhani.

Although none came to take her back, putting her self-respect at stake, she decided to go to her in-laws house. No doubt she could not go to Kashi – now she would spend her life at her in-laws’ house.

What would Horu Gokhani do now?


APEKSHA SUMMERY

In the post-independence era, along with many regions of the lower Assam the grip of opium was tremendous even in the Satras. As a consequence disaster came to the lives of many.  The satras were not only places o religious practices, but also they played a prominent role in the direction of the society.

At that time the elephant was considered and prayed as a man’s strength. On the other hand the elephant was also used as a means of livelihood.

During the time of post independence Communism flourished. “One who owes the plough owes the land” – with this energy, the communists became a headache for the Adhikar of satras.

The journey of two Brahmin widows living in the midst of the satras at that time is the theme of our play “Apeksha”.

Durga and Horu Gokhani – Though both supported religion and Sanskaras, still their aims were different. Both wore betel leaves on their feet taking care not to touch the ground, during their menstruation. Durga anticipated her in-laws to come and take her to her husband’s home and her only dream was to go to Kashi to release her dead husband’s remains ASTHI and to shave her head.

On the other hand Horu Gokhani was courageous and determined. After her opium-addicted husband died she carried on her family on her own. She also kept a man close to her, just because her heart wanted to dream.But sometimes even the very powerful elephant gets mad – the men of the satras gets agitated.

But did the wishes, dreams of the two lonely women living in the society get fulfilled?


DIRECTOR’S NOTE

After passing out from the National School of Drama I established SEAGULL and started rehearsals at home.

My Amma would sit in the sun and watch our rehearsals.

I get courage – and keep on doing theatre.

Despite living with all family members, I saw Amma suffer from some unidentifiable loneliness.

All the time she looked feverish.

One day she left us just like that.

Her unidentifiable loneliness imprinted a deep mark on my mind.

The play “Apeksha” is a follow-up of my Amma’s   condition.

In this man-dominated society, time and shackles of principles – a soulful analysis of the love, sacrifices, religion of the women’s mind – this is my play “Apeksha”.

Of the play APEKSHA

In the post-independence era, along with many regions of the lower Assam the grip of opium was tremendous even in the Satras. As a consequence disaster came to the lives of many.  The satras were not only places o religious practices, but also they played a prominent role in the direction of the society.

At that time the elephant was considered and prayed as a man’s strength. On the other hand the elephant was also used as a means of livelihood.

During the time of post independence Communism flourished. “One who owes the plough owes the land” – with this energy, the communists became a headache for the Adhikar of satras.

The journey of two Brahmin widows living in the midst of the satras at that time is the theme of our play “Apeksha”.Durga and Horu Gokhani – Though both supported religion and Sanskaras, still their aims were different. Both wore betel leaves on their feet taking care not to touch the ground, during their menstruation. Durga anticipated her in-laws to come and take her to her husband’s home and her only dream was to go to Kashi to release her dead husband’s remains ASTHI and to shave her head.

On the other hand Horu Gokhani was courageous and determined. After her opium-addicted husband died she carried on her family on her own. She also kept a man close to her, just because her heart wanted to dream.

But sometimes even the very powerful elephant gets mad – the men of the satras gets agitated.

But did the wishes, dreams of the two lonely women living in the society get fulfilled?


ON STAGE

Feroza Begum

Bhagirathi

Arundhati

Mousumi

Sunil

Shankar

Sirajul

Debojit

Kushal

Moon

Dhruba

Yasmin


OFF STAGE

Story

From the Novel DOTAL HATIR WOOYE KHOWA HAWODA Written by Gyanpeeth awardee Smt. Mamoni Raisom Goswami.

Light

Akan Das

Chetahan Jagatap

Costume

Bhagirathi

Property

Kushal

Sirajul

Production Controller

Chetan Jagtap

Script, set, music and Direction

Baharul Islam

 

seagull

© Baharul Islam seagull Theatre Assam, Designed By (Nazir [email protected])

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