Table Of ContentAssamese Theatre'
CHANDRA KANT PHOOKAN
W hen wepause to ponder and search beyond the cyclorama ofthe theatre, we find
that the urge ofhumanity to express itselfhas created not only theatre but all the
arts-beitpoetry, the novel,music, dance, orarchitecture, oranythingthatcanconceiv
ablybecalledartinthewidestsense.Itiscommonhumanitywhichisthe bedrockofallarts
anditison thisbedrockthat many differentstructuresfor, and forms of, theatrehavebeen
built,beittheluxuriousair-conditioned auditoriumofthemetropolisorthemodest,inad
equately equipped, thatch-roofed playhouse in some small town; whether a performance
byskilled artists inacultivated language. oranenthusiastic representation of ahumble
themebyagroupofuncouthurchinsinsomeremotevillage.Sothesourceofart-creation,
intheultimateanalysis.isthesameeverywhere-theculture oftheparticularregion.
ThetaskofwritinganaccountoftheAssamesedramaforthisseminarhasunfortunately
fallenonme,inpreferencetopersonsdefinitelymoresuitableandbetterequippedto fulfil
suchanassignmentBelieveme,myfeelingsatthismomentarequiteidenticaltothoseof
apoacher, seeking game onland to which hehas notitle. Havingacceptedthe assignment,
I am obliged to behave like an ignoramus; I have not only gone to learned people for
references, butatplacesIhavealsoconveniently usedtheir languageverbatim, because
theirexpressionsareboth authenticand well-phrased.Ihopeyou will bearwith me.
Wemayperhaps saythat the presentIndiantheatrein differentparts ofthe countryhas
takenshape,particularlyintechniqueofpresentation, underthe influenceofthe European
theatre. Weallknow that duringthe periodofforeignrule, Indiantheatrehadrecededtoa
positionnot ofdignityorhonourand had witheredfor wantofproperencouragementand
inspiration. Though avigorous regeneration ofourtheatre, asmaybeexpectedtofollow
thepoliticalemancipationofthecountry,hasyet to setin,Indiantheatrecertainlylooks as
though it has awakened after a long slumber and is being imperceptibly admitted into
society to regain its position in the national life ofthe people. Some acceptthis develop
mentwithgrace.whilesomeothersconsiderittobeanecessaryevilofmoderntimes-the
result, atany rate, is that the numberofits opponents is dwindling.
Whenwe try topenetratethe past andto find out whatkindoftheatre was prevalentin
Assam before the present forms were established, mostly in towns, we find a type of
populartheatre commonly known in Assam as Bhaonaperformed in almost all the khels
.Much helphasbeentaken inthepreparation ofthispaper fromAnkiaNat, publishedbytheDepartment
ofHistorical andAntiquarian Studies, Assam, and editedbyDrBirinchi KumarBaruah,M.A.,Ph.D.,ofthe
GauhatiUniversityandfrom thechapterontheAssamesetheatre inthebookTheRedRiver and theBlue
HillbyShriHemBaruaji, Principal, B.Baruah College,Gauhati. Iexpressmythanks toboththeseeminent
scholars.-C.K.p.
Sangeet Natak Vol.XXXVIII,No.2. 2004
ASSAMESETHEATRE 37
(villageunits)withpopularenthusiasm;ithaditsrootsthereasacommunityfestivaland
hasbecomeaninseparableelementofAssamesefolklife.
ThefatherofAssamesetheatreisShriShankaradeva(A.D.1449-1569).Itishewhofirst
wrotethe drama. conceivedthe dance.composedthesongs andtunes,andharnessedall
theseforcreating the Bhaona, adopting a technique whichhas not yet been replaced bya
better one. Possessed of acreative genius andmasteryof everyartthat makes aliving
theatre,Shri Shankaradeva gavethistheatre form thestampofreligioussignificanceand
popularizeditinthe wholeregion.The useofpaintedscenery.asearlyasinthefifteenth
century.wascertainlyauniquethingforAssam,possiblyforthewholeofIndia.Scenesfor
plays werepersonallypaintedbyShri Shankaradeva;hewrotethe Chihna-jalra,apageant
inpaintedscenes.HischiefmotivewastopopularizetheKrishnalegends.especiallythose
connected withthe central figure of Krishna.This pattern of theatre has maintained its
.popularity formore thanfivecenturies.Someartists, under theimpactofmodemideas,
occasionallyventuretogivethese Bhaonas acoatofnewcolour. buttheessential frame
work remains unchanged.The inexhaustibleIndianepics.whichhavebeenthecommon
pool forproviding themes and inspiration to authors inandoutside India, provided
ShriShankaradeva toowith plotsforhisdramas.Inanagewhenprintingwasunknown.
this great Vaishnavitereformerrecognizedand usedBhaonaasaneffective mediumto
reach and preach to his people.Hiswere all one-actplays(AnkiaNat), and, whenelabo
ratelyperformed, tookalmostthe entire night.
In the context of the brief theatrical performances of the present day, these Bhaonas
seem lengthy,although the Nat itself,as a written piece ofwork,isvery short. Itis made
lengthy inthe produclion with the purpose of prolonging theentertainmentforthe whole
night.Visualizingtheperiodfivehundredyearsago.whentheseplayswerefirstcreated.we
havetoadmitthatafullnight'sentenainmentwasinthenaturalorderofthingsnotonlyin
Assambut perhaps elsewhere too. It iscustomary foraSutradharaofBhaonatorepeatin
prosethedialoguealreadydeliveredinversebytheactor.Thepaceoflifethosedaysbeing
slow,theaudiencewouldgenerallytaketimetocomefromtheirdistantvillagesandwould
not ordinarily feel inclined to leave the show until daybreak. Very oflen these theatrical
performances continuedalso during the day. These sequels wereperhaps primarily in
tendedfortheamusementofchildren.Therewasprovisionformeatsbetweenthedayand
the night shows.The actual performance was preceded by a big orchestra, played by at
leastadozenof whatinAssamesearecalledgayan-bayans,singersandinstrument-play
ers,foradurationofatleasttwohours.Theforcefulrhythmoftheorchestracouldbeheard
milesaway.andevenintheabsenceof microphonesandloudspeakers, thesurrounding
populationwhichformedthe audiencecouldprepareand proceedtothe placeoftheperfor
mance.The useof masksinthe make-upof characterslike Ravana, Vibhishana,Jatayu,
Bakasur andothersis animportant feature of Bhaonas. The khanikara (make-upman)
eitherpossessessuchspecial propertiesandlendsIhemtothe khettroupe.orthese remain
thepropertyofthe khelitself.Themake-upmanfits thesemasksontheparticularcharacter
J8 CHANDRA KANT PHOOKAN
inthechoo-ghar(greenroom)before the beginning ofthe performance,
JUSIbefore theshowbegins,theSutradharaaddressestheaudience afterthecustomof
Sanskritdramasandintroduces thecharacters with humility,seekingthe blessingsofGod.
A comic character (Bahua), whom it would not be wrong to call a clown, occasionally
appearsintheshow,veryoftenjustbeforetheentranceofthe King, toprovide comicrelief
totheaudience.Rakshasasordemons arepainted black;devatas orgods,yellow;Krishna,
Arjuna,Rarna,DraupadiandSitaarepaintedgreen(shyama).Thisorganiccolourmake-up,
however. isbeingslowlyreplacedbymodemcosmetics.What isunderstood asactionin
thedrama isexpressed through symbolicgesturesaswell asdances withmudras,and the
pathosisveryoftenexpressed insong(vilap).Throughoutthe play,the Sutradharaactsas
thedirector.Theorchestrahands, the chorussingers,and othermusicians arecompletely
integrated intheperformance,somuch sothattheyare asessentialasanyother Bhaoria.
Since these plays were performed in the namghars of Assamese village khels, where
naturallyalltheactors werenotliterate, the roleofSutradharahad tobe takenby someone
whocould read thedramas and could prompt. Opendirection and prompting are accepted
inBhaona asnecessary aids. Theroles ofSutradhara,who had to bea literateperson,and
of Krishna,to whomvery often allthe actors hadtobow low, were commonlytakenby a
Brahmin or a man ofsuperiorcaste, conforming to the social code ofthe time. Wiw We
spreadofliteracy,theserestrictionsorlimitationsaredisappearing,andthe roles arebegin
ningto be distributed tosuit Wenatural taleotofactors.
Thoughitisnotpossibletospeak with authority about whatkindoftheatrehadexisted
in Assam before Shri Shankaradeva created the Bhaona, it may safely be said that the
miniaturefolkplayknowninAssamasOja-pali, withmusic,dialogue,andbodymovements,
musthaveexisted andgiven stimulustothe productionofBhaonasby ShriShankaradeva.
ShriShankaradevaandhisgreat disciple,Shri Madhabadeva,createdBhaonasand used
thisforceful mediumtobringthetenetsofVaishnavismtothe people.Therepervadesinthe
BhaonasaSenseofausterity;actingbywomenisinadmissible.
Bhaonasareperformedinthenamghar,generallyatwo-roofedthatchedstructurewhich
combinesthestageandtheauditorium.It isabigmultipurpose houseusedasaprayer-hall,
aseatofjusticewhere localdisputes are settledandmatters of current interestdiscussed.
Attached to the namghar is the manikut where, upon a wooden throne-simhasana-an
imageofVishnuiskept. Only aselectfew canenter themanikut,
Though born out ofreligious motives,the Bhaona also beganto serve the purposeof
recreation.Italsogainedanadditionalimpetus when the Ahom kings selectedBhaonafor
the amusement of royal courts and patronized its performances with elaborate arrange
ments onimportantoccasions.
Satradhikars have made the most vital contribution to this theatre by having carefully
preserved thetradition ofthe Bhaonain theirrespective satras".Theirpersonal participa-
,.Satras are vaishnava monasticestablishmentsorAssam.each headed byaSatradhikar.
ASSAMESE THEATRE 39
tionintheBhaonahaslentprestigetothetheatre.Itiscustomaryformanyofthemtowrite
dramasanddirectperformances,aswelltogiveevidenceoftheirartisticaccomplishments
beforeformalaccessionto theirtitleofpriesthood.
In theearly nineteenth century.when Assamwas passingthrough aseriesofpolitical
catastrophes,culminatingultimatelyintheoccupationofthecountrybytheBritish,Bhaona
Jostagooddealoftheparticipationofthepeopleonaccountofthecontinueduncertainties
that prevailed. It also lost the patronage ofthe Ahom kings who lost their sovereignty.
Assam came to be a British possession in 1826 and along with this naturally started the
dominanceof thingsEuropean,particularlyEnglish-beitlanguageoreducation, custom
orcostume.mannersormodes.
During the last decade ofthe nineteenth and the first decadeofthe twentieth century,
the new theatre carne to Assam through the Calcuna stage and sJowly began to establish
itself in the different towns ofAssam. With the introduction of English education, the
influencebecamemoreandmoredirectand,asaresult,theBhaonarecededtothevillages,
leaving to hernew, fashionable sisterundisputed domainof the towns, At thisstage,
occasionalamateurperformancesofnewplayswereheldinimprovisedplayhousesonthe
occasionoffestivalslikeDurgaPuja, whichslowlybecameacustom,Intheleadingtowns
ofAssam.asortofsemi-permanentbuildingfordramaticperformancescameup.adjoining
the compound of the Durga Puja mandap. The reason for the popular enthusiasm for
holdingtheatricalperformancesduringtheDurgaPujacouldbetheimmigrationofBengalis,
whowerenowcomingtoAssamingoodnumberstofilluppostscreatedbythenewrulers
intheirnewadministrativeset-up.
A numberofAssamesewritersMOteplaystomeetthedemandofamateurgroups,but
translationofBengalidramas was considered an easierjob.TheBritishhavingintroduced
Bengalias thecourtlanguage inpreferenceto Assamese, theinitiativeto writeplays in
Assamescperhapsreceived asetback.
Thereisnoprofessionaltheatre inAssam,andthereforeactingasaprofessionhasyet
togrow.Theamateurtheatresocietiesthatwereformedinalmosteverytowntoproducean
occasional drama,particularly on the occasion ofDurga Pujaor other festivals,grappled
with the entire problemrelating tothe modemplayand itsproduction. It istheseamateur
dramatic clubs that have directly inspired the creation ofmodem dramatic literature in
Assam.'Appetitecomeswitheating'.astheFrenchsay.butmanyAssamesedramas were
created inthereverseprocesswhenaclubresolvedtoholdaperformancewithout even
havinga play to stage.Such theatresocietiesfell that thefirsthurdleinthe path oftheatre
was lackofsuitable plays.Somemembers,outoftheirzeal to fulfil the demand, oftheir
clubs,wrotedramas,and veryoftenthecharactersintheseplayswere modelledwithaneye
On the local actors. Butoccasionalamateur performancescannothelpmuchtocreatea
theatre. becauseitcannotsustaina setofartists permanently, whichis essentialforthe
growth and developmentof theatre.
Again,therehasbeen occasionalparticipationinthisorthatplaybyafewgirl" buttheir
40 CHANDRA KANT PIiOOKAN
numberscouldbecountedonone'sfingers-theideaofparticipationintheatreby women
hasyetto find favourin Assamese society.The absence of women from thetheatreis
creatingarealdifficulty.Tolookforafairboyinplaceofagirltoappearinafemalerole is
the practiceofmostofthetheatresocieties.Butontheotherhand,youngpeople,whoare
attractedtothestageforthesakeofleisurelycultivationofthedramaticart,arewelcoming
womentothedramaticclubs; therefore,itwillsoonbetimeforAssarnesewomento say
whethertheirinterestinthestageispermanent oronlytemporary.Perhaps,withinadecade
or1\\'0, Assamesewomenwilltaketheirnaturalplaceintheatreastheyaredoinginsocial
life.Theirinterestinthisartisatpresentfartootrivialtovitalizethetheatreintherealsense.
HoldingaperformanceisreallyastupendousjobinAssam.Mostoftheplayhousesare,
10 say the least, inadequately equipped. As some of them have no electricity, lighting
arrangementshavetobetemporarilymade,seatshavetobeborrowedeitherfromofficesor
from schools, and dates of performances, therefore, are fixed preferably on Saturdays,
Sundays oronholidaystosuittheconvenienceofthemanagementandoftheactors who
comefromdifferentwalks oflife.Thesecretaryoftheclub orafewenthusiastshavetobe
onthe lookout fora 'squeakingCleopatraboy' to play thepartofthe heroine.
Onaccountoftheamateurcharacterofthesocieties,theartsthatcontributetoasmooth
production have yettobe harnessedto thetheatre.The theatre elsewherehas calledtoits
aidotherartslikemusic,painting,andarchitecture,andisalsoavailingofthetechniquesof
severalcrafts.Aproducer, therefore,musthave athisdisposal today, besidesactingtalent,
agroupofspecializedworkersinthesearts, workingtoacommonrhythm toachievethe
sameobjectandtoproducethesameaestheticeffect.Thoughattimessporadic successes
are achievedinamateur performances, surpassing themostoptimistic expectations, the
totaleffectisgenerallymissed.
Theatre has passedthroughmany vicissitudes andhas, in thepresent century, with
stoodtheassaultofthecinema.Asamediumof entertainment.itisperhapsless popular
but certainly more lively than her rival. In Assam, the taste for theatre is growing and
audiencesare also widening,butthe presenttheatre societiesareincapable of properly
utilizing opportunities for thegrowthof theatre. Thereis no spacious playhouse inany
town inAssam. Andsuchis the state of playhouses in Assamthattheenthusiasmfor
producingaplay isveryoftenlostinthedrudgery oftiringpreliminaries.
Becausethetheatrehasaninherentforceandacapacityforattractingspectators,itscall
isgenerallyrespondedtobypeoplewhofilluptheauditoriumasadmiring audience.Afew
of them venture further and seek to express themselves before the footlights. Since the
dramaticthemeisalwaysatreatmentofhumanlife,thefewwhofacethefootlightsasactors
arethemostessentialhumanelementsoftheatreneededtocreatetheillusionforwhichthe
entirecommunityexpectantlywaits.Thereis againagroupof quietworkerswho sweat
unseenbehindthecurtainandhelpinthecreationofthisillusion.Attractedbythe inherent
forceofthe theatreand undaunted by the limitationsofthe present Assameseplayhouses,
anumberofyoungpeople,mostlyfromcollegesand universities,arefillingup theranksof
ASSAMESE THEATRE 4t
theatre workers andvitalizingthe theatre movementin Assam withnewblood.
These young theatreenthusiasts, in search of a plot or a theme,do nothesitatetogo
beyondthe orbitoftheir own regionaltheatre.Theylook intoobscurecomersoftheirown
home and far beyond, and whenever they come upon something usefulfor the theatre,
whetheritisasimplefolk tune orastorybyforeign writer, theymakeanearnestattemptto
mould, incorporate, and adaptitfor theirown audience. This iscomparativelyeasy today
becausetheworldisbecomingsmallerandtherearefacilitiesforaneasierflowofideas.But
the sense ofselection ofthese enthusiasts and theiracquired craft ofmoulding things to
suit their ownrequirementshavecombinedto give acertaincolourtotheir work. Strictly
speaking, they do not deserve the creditoforiginalcreation, but from the point ofutility,
these are as good as Hindustan cars, moved byMoms motive power.
WhileAssamese Bhaonais morelike an arena theatre, the open-airtheatre is notvery
commoninAssam. Closesttoanopen-airtheatreinAssamiswhatiscalledHazari-bhaona
the theatre of a thousand. On a suitable occasion, when the climate is congenial, ten or
twelve khelsselectanextensivefield asthe venue andeach khel performsaBhaonaonthe
same nightunderdifferentpandals. makingitpossible for alarge audience to witness the
performances. Through the centralizationofthe khe!sfor a night, Hazari-bhaonafulfils,
though in a differentway, the objects ofan open-airtheatre-s-onepurpose ofwhich is to
entertainamuchwideraudiencethanispossiblewithin thefourwallsofanauditorium. For
thepurposeofholdingsuch Hazari-bhaonas,thereisapermanentorganizationinAssam,a
committeeofthe leadingrepresentativesofkhels, which determinestheplaceandthetime
ofaHazari-bhaonaand also worksout aprogrammeconvenientto thedifferentkhels and
the people. Dozens of small shops spring up around the pandals of Hazari-bhaona to
entertain visitors for the night with betel leaf, tea and refreshments. Such agathering of
thousandsofpeoplein acarefree,merry moodmakesfor agalanight.
When we compareculturalactivities inManipurwith those inAssam, one feature can
notescapeourattention. Whilethe dance andtheBhaonahavebeen existing inruralareas
of Assam as living heritage, to be only occasionally referred to and boasted about in
discourse,inManipurthe heritageofdancehas supplementedthemodemtheatre winning
theenthusiasticparticipationofallpeople,bothmaleandfemale.Thetwoplantsofculture,
oneinthe valley oftheBrahmaputraandthe otherintheovalvalleyofManipur,seemtobe
ofthesame origin,thoughtheformerisgraduallyrecedingfromthenational scenetosmall
pockets in the countryside, while the latter is flourishing in towns, drawing the sap of
inspiration from the enthusiasm ofthe people. One wonders ifthis is so because ofthe
participationofwomeninManipurandtheirbeing barredbytraditioninAssam.
Assam has yet to establish a permanent theatre. At present, there is neither a profes
sional troupenoracentralplayhousewithregularperformancesbythebestoftheavailable
talent. As someone rightly described the Assamese theatre, it is an amateur's art and a
leisure-time enterprise. The absence ofa permanent theatre in the State makes an artist
uncertainabouthiscareer. Insteadofcultivatinghisgift. theartist whomighthaveadorned
42 CHANDRA KANT PIIOOKAN
the Assamese stagefeels painfully obliged to seek work and security in some sphere of
activitywherehisdramatictalentisleastrequired.Thus.forwantofscope.whatcouldhave
beenavaluable assetto anindividual becomes aheavyliability. acause forfrustration.
TherearescoresofinstancesinAssamwheretalentedpeoplehavetakenpremature leave
ofthestageandarestrugglinghardtofitintoadifferentvocation,forwhichtheyareleast
suited. The only wayto prevent such waste of talent is for the State to give the theatre
academic status and prestige.
Such an unhappy state of affairs in the realm of theatre might be prevailing in other
Statesalso.Totakecareofthecultural requirementsofthepeopleisthe naturalduly ofa
government,the urgency of whichis heightened bythe imposition of amusement taxes.
Instancesof financialgrants, howevermeagre, indicatethedesire of theGovernment to
encourageculturalactivities,includingthetheatre,through non-official organizations,asis
evidentfromtheestablishmentoftheAkadernis,bothattheCentreandintheStates.Buta
clearer declaration of policy should be made to emphasize the sense of urgency of the
situation.
Itmaybeilluminatingtoknowhowmuchsupportthetheatrehasreceivedfromthestate
inEuropean countries, inorderto make appropriateprovisions fortheatre in ourown
country.Hereareafewfigures:
Country Annualamount
(inRupees)
France nolakhs
Belgium
(acountrysmallerthanPunjab) 10lakhs
TheNetherlands 121akhs
Denmark
(populationJessthanonethirdofPunjab) .. 271akhs
Norway .. 21->lakhs
Sweden .. 61akhs
Russia .. Theatreshavebeennationalized.
Therewere222amateurdramatic
clubsbeforetheRevolution.and
95,600in 1939.
The theatre hasattained a position of prestige in the West and, consequently, it has
attracted new talent to vitalize the art. But in India, and particularly in Assam, such a
situationhas yettodevelop. .
Musictopleasetheear,settings toestablishthe location, actingto carry convictionof
reality,techniquesoflightingandotherstagecrafttocreateeffects,andabovealladirector
topresentthestorywithperfectprecision-all this hasyet to be introduced in most pro
ductionsinAssam.In an unsuitableplayhouse, veryoften, audiences are obliged to gaze
at the blankcurtain longer than they are able to see the acting forwhich they pay.The
amplifiedcannedmusicofgramophonerecords,replacingtheliveorchestraofthetheatre,
ASSAMESE THEATRE 43
createssuchvexationthattherightmoodforappreciationoftheperformanceisveryoften
lost.
Dramatistsfigureprominentlyontheworldliteraryscene.Duringthetwentiethcentury.
nineNobelPrizesforliteraturehavegonetodramatists. Incomparison, wefindatotally
differentsituationinAssam,wherethetheatre,beinginawitheredstate,hasfailedsofarto
awaken ortoattractthetalentthatcouldmakeitalivelychannel ofcommunication. The
Assamesetheatrehasbeenasortoffeeblesoliloquy.Ithasnotsucceededincallingtoher
aid the sister artsof music anddance. the skills of the architect, themechanicandthe
painter,andthustobereallyamultipleart,fittobecalled'theorchestrationofanumberof
distinctarts'.
Therehasbeen,however, anewendeavourbytheGovernmentofAssamtoinvigorate
thedramaticartbysanctioningasumofRs 1,40,000toseven leading dramatic clubs,atthe
rate ofRs 20,000each, on the stringentconditionthat alike amount beraised bytheclubs
as well toqualifyforthe grant.Itisdifficulttosayhow many ofthese clubs can fulfil this
condition.
Anotherendeavourhas been to establish the AssamCentralTheatre (ACT), under the
auspicesofAssam SangeetNatakAcademy(AssamKala Parishad). The AssamAcademy
tookthis decisionin May 1954,and has set upaBoardofManagementforACT with the
Education Minister asChairman andtheFinance Minister asTreasurer. TheBoard also
includes otherrepresentatives, suitable persons withknowledgeofdramaandexperience
oftheatre. The AssamSangeetNatakAcademyhas drawn upaConstitutionfortheBoard
ofManagementofthe AssamCentralTheatre, which, initspreamble,states:
TheCentral Theatre shouldbefederal inpattern sothatthetheatre societiesbytheir
affiliationmayderivestrengthandvitalityfromawell-knitfederalorganization,with
outhavingtosacrificetheirownindividualismandcolourinfavourofuniformity, The
mostimportant requisite,however,of theAssamCentral Theatre is that itshould
correspond tothecollectiveneedandappreciationofthepeople.
Withall these ideas and objects, as set forth in the Constitution,the Board of Manage
menthasdrawnupaplanandaschemewhichhavebeensubmittedtotheGovernmentof
Assam and also to the Sangeet NataleAkademi, urging the former specifically to allot a
spaciousplot ofland in the town ofNowgongand sanctionasum ofabout Rs 17,00,000.
ThereactionoftheGovernmentandtheSangeetNatakAkademitothisproposalareawaited.
ThemodemAssamesedramaactuallystarteditscareeratthebeginningofthetwentieth
centuryandthus,initspresentform, hasnotcompletedeventhefirst centuryofitsexist
ence-aperiodfar too brieffor the normal growth ofaliterature and moreparticularlyof
dramaticliterature,whichrequiressimultaneousdevelopmentinpracticaltheatre.Tradition
growsslowly.Itwillalsoberelevant torememberanotherfactor-that is,inAssamthe
oldertheatreform,theBhaonaoffivehundredyears,hasbeenmoreorlessabandonedas
44 CHANDRA KANT PHOOKAN
obsolete by the educated, and the modem theatre form has been planted on the stage in
imitationofotherregions withoutfull knowledgeorexperienceofthe newfonn.
Assam's stage, both during the time ofShri Shankaradeva and the present period, has
beenthepreserve ofmenalone.Butplaywrightswhoconceivethe themesofdramascould
notavoidcreatingfemale charactersas well. Asaresult,not onlyinAssambutperhapsall
over India, menhavehadtoplay women'sroles on the stage. Previously, this denialofthe
right ofwomen toappearbefore the footlights was easyto enforce, because the producers
of theatre were also very often the privileged leaders of society. The audience was also
accustomed to the convention and willing to be preached to, instructed, and even be
corrected. But the present audience pays for the theatre and has thus imperceptibly ac
quired therighttobeamusedandentertained.Thisaudienceis not preparedtosee aclean
shaven young man dupingthemwithawig and aveil. Itgenerallyrespondsto the theatre
with laurels and applausebut, when outraged, may also assert their right and mayinstead
send catcallsto the actors for daringto dupethem.
The early Assamesedramatists wrote dramas mostlyon themes taken from mythology
and history. Other theatre enthusiasts translated similar dramas from the literatures of
neighbouringparts ofthe country, to be producedthroughthe newly formed theatresoci
etiesinimprovisedplayhouses.Some oftheoriginalAssamesedramasweregoodliterature
but unsuitable for the stage, and might survive as pieces ofliterature longer than some
plays that had an immediate success on the stage. But no drama will do for all time, and
theseplays,inspiteoftheirformernovelty, areout ofdate for the modemstage. Theyhave
nothingto sayto the fastidious modern audience and have therefore outlivedtheirutility.
The presenttendencyofthe audienceis to see theirown suppressedmindprojectedon
the stage through theme and action. They desire to see their own life as it is lived in
everydaypursuits mirroredintheplay.Theyrelishaplay and enjoyit whentheyfind their
own problems transferred to the stage effectively. Their predilection for such plays has
resultedin agreaterattentionbeingpaid to social dramas, which are becoming more and
more popular. These audiences even seek a reportrayal of ancient characters which, as
entertainment,offers afeastofmiracleand mystery. Theywantto hearcleverdialoguesof
heroes and heroines that would not only delight them but would also make them feel the
power oftheir own language. They want to heara tune difficult to compose but easy to
imitate, tobeabletowhistle them whenthey returnafterthe show. Maybe,inpracticallife,
theyfeeltheinadequacyoflanguageasamediumofexpressionoftheirconfusedideas and
consequently seek in the theatre an echo and apictorial representation oftheir mind and
ideas.
Theseand many othertendenciesdevelopingin the modemaudiencesnowsubscribing
tothetheatre, and replacingtheold aristocracythatearlierpatronizedthe art. have created
agrowingdemandfor social dramas.whichcan reflectthejoys,sorrows,andproblemsof
the common man. The Assamese theatre, unfortunately, has not so far been able to fulfil
even a part of this new demand. This constitutes one reason, besides of course many
ASSAMESE THEATRE 45
others, for its comparatively slower development. It is not intended to say that Assamese
literaturehas no socialdrama,but adequatenumbersofpublisheddramas,offeringawide
range for selection inthe showrooms ofbooksellers, are not coming forth. The numberof
socialdramasis actuallyvery small, and Assamese theatrehasyet toattain thestage when
itwillbethetruereflectionofourlife.Butthecauseforthismay also bethatitisatpresent
passing through a period oftransition, from budding toblossoming.
Actorsasaclass must drill themselvesand toiltofitintotheirrolesbefore theytaketheir
make-upandfeel glamorousbeforethe footlights. Butcansuch asetofartists be available
in a society where theatre is just an amateur art and a leisure-time pursuit? Can a busy
contractor,atiredofficeroranofficeassistant,apreoccupiedlawyer,corning fromdifferent
walksoflife andforming aheterogeneous group,fulfil the duties ofaconsummate actor?
Definitely,that isexpectingtoo much. Theatreisneitherabusy man'sleisureactivity nora
lazy man's business.
Then. isit necessary toreplacethe amateurtheatre'societies with professional troupes?
No. Amateursocieties have fostered the public taste for the art and introducedthe ideaof
theatrical-club life to a very wide circle ofpeople. Their active participation in creating
theatre during the present period, going back to more than half a century, has been a
preparation for the nextphase. In the nextphase,orinsubsequentphases oftheAssamese
theatre, amateursocietiesshouldcontinuetoexist, and perhapsthey will. Whatisurgently
necessaryistoraise thepotentialitiesoftheseclubs soastomake them capableofoffering
a more comprehensive entertainment to the people whose need for such diversion and
escapeisgrowing.The historyofmostofthese clubswillrevealthe accumulatedsacrifice
ofagroupofpersonsoveranumberofyears. Butnow, when thefunctionsofGovernment
coveralmostall spheresofnationallife,culturalactivitiescannaturallyclaim attentionand
actionby the state whichcan helpbyremovingthefinancialhurdlesstandinginthewayof
healthygrowthofthedramaticclubs.This would perhapsmake theflowofcreativeenergy
tothese clubs smoother.Inbrief.theAssamesedramaticclubsneed tobesubsidized.more
urgently so because. alternatively, there are no professionaltroupes inAssamto keep the
flag oftheatreflying.
It is generally in a city that a commercial theatre can hold regular shows and collect
subscriptions from a numerouspopulation.but in the absenceofacity inAssam, floating
acommercialtroupeisconsideredhazardous.EventheleadingheadquartertownsofAssam,
whereAssamesetheatremaylegitimatelyexpectareception.do nothold outagood pros
pectfor atouring theatre.Theill-equippedplayhousesneedagooddeal ofproperty.both
for the stageandthe auditorium,tobereallyfitfor aperformance.The whole affair, when
worked out in detail-from borrowing chairs to arranging electrification where it is not
provided,besidesthe usualtroubleofarrangingtemporaryaccommodationforthetouring
troupe-issodiscouragingthatone isapttogive itupassomethingfartoostupendous,let
alone beremunerative.
Assessing a problemor asituation isnecessaryforany solutionto the problem,or any
