CHAPTER 1

INTRODUCTION TO THE RESEARCH

1
 In India, where the tradition of drama and theatre is more than two and a half

thousand years old, the question of tradition in theatrical activities is even more

important. India‟s past century is inspired and influenced directly by the modern

western drama tradition and dance drama. For the past one and half decade, Indian

dramatists and directors have experienced a stagnation and they were exploring their

tradition and the more creative assimilation of foreign tradition, and were engaged in

the continuous search of new theatre and new performance styles. Maybe this new

performance style has appeared in the form of a play production which has been

prepared by the mixture of Indian and classical art forms called STYLIZED theatre.

Whatever is being proven and provocative in today's dramatic writing and theatrical

exhibit, it is, in fact, the result of the discovery of this genre. In this quest of style, both

our dramatists and directors remain vigilant that we have to explore Indian tradition in

deeply; and to re-establish new ideas and patterns. Shambhumitra, Ibrahim Alkazi,

Uttpal Dutt, P.L. Deshpande, and Habib Tanveer's artistic dignity and their

achievements in the exhibition have been the result of this awareness. After the

development of box-set (proscenium) in the realistic tradition in the middle of the

nineteenth century, the stagecraft became hard and complicated and making changes in

it became costly. In the art of drama and theatre, realism gets dissolved and destroyed

some of the most important aesthetic elements of this particular art, especially the

elements of poetry, fantasy and rituals, which have been the main source of richness and

power of drama from two and a half thousand years, Ibrahim Alkazi started a good

exploration of this original form of drama. The performances of the 'AndhaYug' of

Ibrahim Alkazi' created many stages and acting spaces on an open stage where the entry

2
and exit of the characters make it very simple and informal. In the same way, the sense

of being free from the realistic methods of theatrical performance and the use of an

experiment is associated with new tradition.

Stylisation is used to create a new and different style in terms of presentation by

using the elements of folk, traditional, and classical theatre and other performing arts.

The uniqueness of contemporary Indian theatre is that there is much more emphasis on

stylisation when it comes to approaching and actualising any play performance.

According to Probir Guha (Enact, Jan-Feb. 1984) now when there is such different

subjects (hunger, unemployment, and social inequality) to work out how can the

discarded the same monotonous grammatical acting and have experiment and evolved a

new aesthetic of theatre where physicality is our means of communication. Stylisation

allows for more creative freedom which enables directors and actors to make the

performance on stage more real and natural which resembles real-life activities. “It is in

the practical experience of devising theatre that much is to be learnt. There is no single

theory they can embrace this amorphous subject; no formula or prescribed methodology

can be applied that guarantees a particular product every time” (Oddy, 1996. 149). The

same thing can be said about stylisation, that there is no single theory or fixed

parameters to measure the stylisation or define the stylisation. So researcher tried to

understand Stylisation with the help of „Dance‟ because dance is a basic movement of

artistic expressions. And first we found stylisation in „Dance‟.

3
About Stylisation

The word stylisation is mainly used to indicate the absence of realism or where

the less degree of realism is used in a production. Mainly stylisation is use in the

classical performances such as classical dance and classical drama where the performer

uses heavy costumes and make-up, and exaggerated voice and speech. Stylisation also

can be found in the rhythmic movement with music and song. For example, dance a

stylised art form, where dancer‟s body expressed in a highly non-realistic movements

and expressions. The example of the „Dance‟ here is relevant to understand stylisation

because dance is the one of a most powerful art form which portrays freely their

emotion as it has been noticed, “According to the modern line of thinking, in primitive

society dance played an important role, and was the most potent way of conveying

thoughts and beliefs” (Iravati, 2003, 2). Indians believe in „celebration‟, maybe dance

originated from celebration and it „sign language‟ was the first medium of

communication. Dance have a main role of Indian performances, it gives versatile and

multiple meaning with artistic grace. Bharata had called Natya as universal Veda which

is compiled of whole education, acts, sculpting, arts and cultures and similarly Natya is

the collective form of dance, singing and acting. Natya is basically a compilation of

three factors which are Nratya, Nartan and Nrata which means Gatravikhepan or body

movement, some of which doesn‟t either require any meaning or any emotion which

only depends on rhythm that is called Nrata, in Narta there is no use of emotions only

body movements are used to express (Dvivedi, 2004, 269).

4
 The second factor of Natya is Nartan; in which emotions are expressed with

body movements but it is not accompanied by vocal and content based acting. The third

factor is Natya which is comprised of all the above mentioned factors with vocal and

content based acting Bharata has also mentioned it as the expression of highs and lows,

happiness and sorrows of life. According to Sharadayan Natyashastra has been invented

by Lord Shiva not Lord Bramha, it is believed according to Nandikeshwara fourteen

Sutras emerged from the Damru of Lord Shiva...and the Art of Dancing emerged from

the dances of Param Shiva when he was happy...Nandikeshwara says the whole Natya

form is Lord Shiva...according to him whole world is part of Lord Shiva, all Brahmins

are Shiva‟s vocalists and moon star etc. are Aaharya actingand Lord Shiva itself is the

purest form (Devedi, 2004, 13).

“आआ गगकमभवनमयसयववगगकआसवव वावडड मयम। आहवयआ गानदडरतवरवगदतआ नमव :

सवतववकआ गशवम”॥(Abhinavdarpan,)

According „Abhinavdarpan‟ ( Devedi, 2004) meaning of this shloka each and every art

form have Lord Shiva, Shiva „Nataraja‟ Statuesque made curve and rhythmic

composition. Lord Shiva has given two dance styles of performances. It was told in

Malvikaagnimitra „Ardhnarishwar‟when Lord Shiva transformed in half man/woman

married with Uma then he divided his own part in two forms named Tandav and Laasya.

5
 Figure 1

Ardhnarishvara (Photo curtesy: google)

Figure 2
Tandva and Lasya (Photo curtesy: google)

यततहसतसतततददगतत,यततददगततसतततमनन|

यततमननसतततभववआ ,यततभववआ सतततरसन|| (Nātyaśāstra)

6
 Bharata‟s treatment of physical action (Angik abhinaya), The hand gesture is the

gesture of gesture: the hand is the indicator of the body. „Where the hand moves,

there the eye follow. And ways of walking on the stage (Gati), the Gati will be

governed by the context and the emotional condition.

„Kutiyattam and Kathakali‟ follow the typical body movement in practically that every

minute of action could be perfected and every inch of the body trained. Though both are

classical art forms and very bounded with Nātyaśāstra‟s highly stylised rules and

following it till today.

Anjala Maharishi also accepted the importance of dance and physical

movement.

Nātyaśāstra prescribes Karanas to be used in the performance of Nritta at

the time of celebration or the happy union of lovers as well as in the scenes

related to duals (dvanda yuddha) and battles. The most common practice of

Nritta is situated in all exist and entries of the characters where they move in

gaits (gati), proper to their roles, social status, nature (Swabhava) and mood. The

training of Gatiprachara, Charividhana and Mandalas thus comprise the basic

movement patterns on the stage of the performers. The dance training also helps

the actor in body expansion through particular movement patterns. Mandalas,

the posture comprise of various foot positions, knee bending or stretching,

standing or on one foot (Maharish, 2000, 100).

7
 Bharata also facilitated the demonstration of the behaviour people‟ worldly and

beyond the world through the folk and dramatic nature of the proper use of physical

activity. Beyond the world (Parlokik), activity is not easy to perform with the simple

gesture and posture so Bharat has given the nature of „Nāṭyadhaṛmī‟. Through

„Nāṭyadhaṛmī‟, the performer can create everything freely.

In Nātyaśāstra Bharat described the two different nature, which related to the

style of acting. They are; Lokadhaṛmī (Realistic) and „Nāṭyadhaṛmī‟ (Non- Realistic/

Dramatic).

Lokadhaṛmī: A play in which men and women in their own nature, without any

change, without any gesture, behave naturally is Lokadhaṛmī.

„Nāṭyadhaṛmī‟: A play in which speech is artificial and exaggerated, action

unusually emotional, gesture graceful, is Nāṭyadhaṛmī (Dramatic). That also is

„Nāṭyadhaṛmī‟ in which voice and costumes are not from common use.”

(Rangacharaya, 2007,115)

Due to this, many scholars consider 'Nāṭyadhaṛmī' as a non-realistic and stylised.

Exaggeration stage automatically creates stylisation but degree of differences of the

realistic and non-realistic. Nāṭyadhaṛmī /Non-realistic performances has given more

space to Stylisation.

Appa Rao and Rama Sastry (1967) say that, the words „Nāṭyadhaṛmī‟ and

Lokadhaṛmī used in the Nātyaśāstra which related to the theatrical presentation. In

general view, Bharata's statement that when a character on the stage and acting with the

8
help of cosmic substances and real and original equipment, it is called the Lokadhaṛmī

method.Thinking deeply about this theory, it seems that Bharata's Lokadhaṛmī tradition

is the realistic style of modern drama. In the realistic acting style, all instruments and

cosmetics are displayed on the stage as own real form. In modern style, it is called

'property'.

If the character has to enter the room and open the shoes and tie, wash his face

with a towel, then the protagonist uses all these tools. He opens his real shoes on the

stage, sweeps his mouth with water, and afterward, he wiped his mouth with the real

towel. This is realistic. After the entry of the character in the theatrical statement, the

character does not open the original shoes, but even if the foot is bare, it is to

demonstrate it through actions that he is opening the shoes, after taking the jag in hand,

blowing water from it, washing his face etc. It is not a towel in the hands of the

character but it is acting like it is wiping the towel from the mouth. The acting drama

presented by the equipment the Nāṭyadhaṛmī.

The basis of the realistic style is the simulation. Simulating the kind of thing

seen in the world is called simulation. The theory of simulation in the drama is Greece's

contribution. Aristotle described the drama as an imitation in his famous treatise 'The

Poetics'. For this, he has used the term 'Imitation of an Action'. Indian theatrical system

is not simulated. The Bharata's folk tradition permits to present realism by imitating.

But Bharata inspires the Nāṭyadhaṛmī tradition more than the Lokadharmi tradition. For

what Aristotle calls 'simulation', Bharata says it 'Bhavanukirthanam'. Along with the

actor in the Nāṭyadhaṛmī genre, there is a group of actors of many instruments, dance

9
songs, and lyrics and the art of singing lyrics is a collective experiment. In this method,

the collective power of many art forms developed and also it increase effectiveness of

the performance.

Definition of Stylisation: Meanings of stylization cover art presentation and

representation widely collected through the dictionaries and through to Indian and

Western theatre Directors and practitioners who defined stylization in their own way:

“If something is stylized, it is represented with an emphasis on a particular style, esp.

one which simplifies details rather than trying to show it as really is: The Japanese

actors brought vivid emotion to the stylized part of the play” (Cambridge International

Dictionary of English,1995-96-99, 1449).

According to „The free dictionary‟ Stylisation is the act of stylising causing to

conform to a particular style and according to Collin dictionary Stylisation is the act to

give a conventional or established stylistic form to. Oxford Dictionary writes, „conform

(work of art etc. or part of it.) to the rules of a conventional style. Stylized; also

stylization‟.

After the preceding of above investigation three major points about Stylisation

can be mentioned by Meyer Hold: (Pitches, 2003,52)

1. To simplify and reduce something down to find its „essence‟

2. To extend the range of expression used

3. To pay particular attention to the question of rhythm

10
Characteristics of Stylisation

1. The emphasis is on the actor, working with minimal props and scenery

2. The spectator is compelled to use their imagination

3. The actors rely on physical plasticity and expression

4. The words of the playwright may be transformed by the director

5. Rhythm becomes uppermost in the director‟s and the spectators‟ minds

6. The look of the work is carefully constructed, like painting a picture

7. The stylised theatre can produce any type of play from `Aristotle to Ibsen.

Through these points, Meyerhold talks about the specialty of „stylisation‟ and

its advantages. How stylisation has made the space of creativity for directors and actors.

Theatre practitioner can elaborate their idea with stylized movement, stylised gesture &

posture, stylised costume, stylised makeup, and stylised set ant property. Meyerhold is

not believed in the maximum use of theatrical elements such as light, make-up, costume

and heavy realistic set and property.

Indian Contemporary theatre

The Indian contemporary theatre stands on counter with the traditional art forms

and the mythological stories. During the colonial period, there was complete dislocation

of Indian theatre from its roots and it used to represent colonial culture only(Bhatia,

2010, 295). According to Suresh Awasthi Indian contemporary theatre was the

11
discovery of their identity, which was hidden from the colonial theatre culture. Indian

theatre practitioner wants their own theatre which grounded in their own tradition. So

they start to search their roots(ibid,293). “This was part of the whole process of

decolonization of our lifestyle, values, social institutions, creative forms and cultural

modes"(Awasthi,1989,48). He writes that the contemporary Indian theatre felt an

intense need to go back to its rich traditions which carried scores of stories and dealt

with real-life issues. Many directors such as B.V. Karanth, K.N. Panikkar and Ratan

Thiyam among others made meaningful encounter with Indian tradition and reversed

the colonial course of theatre and put it back on the track of the Nātyaśāstra tradition. It

can also be said in other words that during the moment of „theatre of roots‟ few theatre

practitioners like playwrights, directors did the experiments with the folk, tradition and

specifically the actor- spectator relationship which used to be important aspect of Indian

performances otherwise. They also looked the aspects of Indian theatre poetics like

Nātyaśāstra and basic elements present in it.

All these can be seen as part of the promotion of Indian-ness as a

politico-cultural ethos. funding initiatives include supporting institutes to record

and document folk forms in Kerala and Karnataka (Trichur, Udupi) support from

the Sangeet Natak Akademi for particular companies engaged in this kind of

work: the role of the Indian Council for the cultural relation, supporting this kind

of work within India and as the cultural export, and the work of the Indira

Gandhi National centre for the art festival of India, which promotes showcase art

and treats art as a national icon or export commodity, is a significant aspect

12
 of this intercultural program, which is strongly influenced by political

economics (Yarrow,2001,148).

Because of these funding companies, artist without any financial bothering they were

exploring their creativity freely. Through promotional movements, artists became to

know about their own culture and tradition, then they brought from it precious elements

and started experiments. Though they were doing experiments, they fully committed to

Indian theatre and they were trying to give a new language without any help of colonies

which was imposed on them. This type of experimental theatre was neither much

followed of Nātyaśāstra nor much follow of traditional arts (folk and classical) and

made a middle path. Which have freedom for creativity, where the theatre practitioners

can explore their idea and imagination? Kernodle (1960) discusses that if an actor wants

to perform as people do in everyday life, he will have to less strict with following all

conventional techniques and theatricalism. Too much focus theatrical grammar and

conventions would result in artificiality which would be void of real-life, spontaneous

and natural performance. It is with the help of stylisation; a director moulds the

grammar the performance and suits it with needs of local context, culture and viewers‟

expectation.

Heisnam Kanhailal and Devendra Raj Ankur

This research focuses on the stylisation existing in Indian contemporary play

productions of Heisnam Kanhailal and Devendra Raj Ankur, whose unique work

processes have made their productions International. In this research, I have studied the

performances of both directors with respect to the process of evolution of respective

13
stylisation techniques over a period of time and refinement in stylisation as well. I have

also studied how both directors employed their respective stylisation techniques in the

course of rehearsal and then in the actual production. This study also examines the

differences and uniqueness of both directors‟ stylisation techniques.

Heisnam Kanhailal based in Manipur, has established his own theatre laboratory

in collaboration with his wife H. Sabitri. He had focused on developing a unique

theatrical performance which was formed by Organic techniques. He denied

Institutionalised system and the tradition of Guru & Shishya. He believed in „Otherness

to self-discovery‟, which means how practitioners can control their senses and

transform senses of aesthetic into a concrete form.

Devendra Raj Ankur, based in New Delhi, is known for his work namely

„Kahani ka Rangmanch’. However in Devendra Raj Ankur‟s performances are text and

literature driven (which emerged in the colonial time period i.e., British theatre.)

whereas Heisnam Kanhailal‟s performances break this, it used to be performance

driven. But Devendra Raj Ankur‟s productions break the concept of high realism which

was also imposed by Britishers on Indian theatre. His productions are minimalistic and

suggestive that of very similar to Heisnam Kanhailal

14
1.2. Theoretical Framework

In the Art of Stylisation, this thesis attempts to understand through the

experience of Participant observer to Knahailal and Devendra Raj Ankur, it is

also compared and evaluated with the Aesthetics defined particularly in Nātyaśāstra and

performance theory.

15
1.3. Review of the Literature

AppaRao (1967), „A Monograph on Bharta’s Nātyaśāstra Naatyamaalaa’ in

his monograph, talks about the great Indian tradition of theatre and in particular about

the abhinaya, charis, mandalas, karanas and angaharas among others. Rao has talked

about various techniques and methods of theatrical performances which are grounded

on Indian performing arts. In his monograph, Rao clearly makes a distinction between

two styles of acting: Nāṭyadhaṛmī and Lokadhaṛmī. While Nāṭyadhaṛmī style of acting

is predicated on true and actual rendering of events and performances following

established norms and conventions; the Lokadhaṛmī style of acting believes in natural

expression and provides more scope for artistic liberty. By studying Lokadhaṛmī style of

acting, one can get the knowledge about the prevalent social system and beliefs.

A board of Scholars(1996) book of ‘'The Natya Sastra of Bharatmuni',

Dr.Parasnath Devedi(2004) ‘Natyasatra Ka Itihas’(The history of Nātyaśāstra) and

Adya Rangacharya(2007)‘The Nātyaśāstra’. These all books described them in details

of chapters such as; The origin of Natya, Tandava and Lasya Nrtya, Acting of the

subordinate parts of the body, Abhinaya of the hands and of the major limbs, the

performance of Charis, the stage walk of characters, regional styles and nature of

plays(Nāṭyadhaṛmī and Lokadhaṛmī), Vrttis and Kinds of Abhinaya etc. These

descriptions give help to basic knowledge to understand Indian performance style. Dr.

Puru Dadhichi ‘Ekadush Natya Sanghra our Prayoktagarh’: This book is divided into

two parts - first part describes the eleven elements of theatre Art, rasa, bhava, abhinya,

dharmi, vriti, pravriti, siddhi, swara, aatodh ,gaan or nritya. In second part describes the

16
Sutradhaar, Esthapak, Bharat, Shailush, Kushiluv, devdaasi etc. This book gives a wide

information and interpretation of physical movements and expressions.

In a „Dictionary of Theatre Anthropology’, Euginio Barba and Nicola Savarese

(2005) discuss on various aspects of play performance with human behaviour taking as

center stage. Barba and Savarese have talked about the daily life and its extension into

theatrical performances. They have also wrote on various other aspects such as balance,

opposition, rhythm, organicity and the nature of training provided to actors among

others.

Kanahailal (2016)‘Theatre of the Earth’ on his theatre work is an expression of

the self as well as the reflection of the society, after reading this book we come to a

conclusion that his theatre is deeply engrossed and embedded not only in his philosophy

of theatre but also in the experiences of a region and its people.

Kanahailal (2016) this outstanding and remarkably return document not only describes

some of his major production through his words but also tries to capture a sense of

every aspect of his theatre making, his partner/ collaborator Heisnam Sabitri also gave

her words in this documents and observations of various notable scholars and

researchers, including H.S. Siva Prakash, Rustom Barucha, and Richard Gough as also

included their valuable observation in the documentation.

Mahesh Anand(1997),‘Kahani Ka Rangmanch’(Story theatre), in which

writers(NirmalVarma, BhishmSahani, and DhramveerBharti) shared their own

experiences on watching own stories being performed on stage…and actors also got the

chance to get their reviews which these eminent writers experienced during the

17
rehearsals of performances of „Kahanikamanchan‟(story staged) with Devendra Raj

Devendra Raj Ankur. Anand enclosed „Kahani ka Manchan‟ with per-formative text.

Jaidev Teneja and Dinesh Khanna have taken Devendra Raj Devendra Raj Ankur‟s

interview about „Kahani ka Rangmanch. Anand collected valuable information for the

scholars, who want to know about how stories has been presented on stage and what

preparation are necessary for directors and actors. Devendra Raj Ankur(2013)book

entitled 'Pahla Rang' (First color)has written performative text which presentation

already done. As a director, he has given detailed of story presentation technique.

In the theatre Journal entitled as „Enact’ by Sangeet Natak Akadami, gives

report of various play productions of Habib Tanveer, Shantha Gandhi, K.N. Panikkar,

Probir Guha , Badal Sircar etc. which have been performed in various theatre festivals

in India and abroad. This volume of journal contains interviews and work process of

theatre directors. It also gives a valuable report on the Indian theatre directors who have

field of experimenting and stylization in their play productions.

Jane Turner (2004) „Eugenio Barba’has compiled a book on the theatre

practices of Eugenio Barba with the same title. This book is based on Eugenio Barba‟s

method of actor‟s training and performance styles. Turner portrays Eugenio Barba‟s

practical exercises and traces the ways in which his ideas and practices have been

developed and explored the common characteristics and the ways his actors explore

their performances through physical and mental exercises.

Dharwadker‟s (2008) book,Theater of Independent’ mainly focus on post-

colonial theatre. How Indian theatre affected from the colonial theatre and how Indian

18
theatre practitioners were searching a new path to getting own identity. Dharwadkar

studied about Western and Indian theatre practitioners such as Richard Schechner,

Barba, Peter Brook who were interested with the Indian classical and traditional art

form and developed new intercultural theory. Dharwadkar discuss about antirealism and

contemporary folk theatre.

Nandi Bhatiya‟s(2010) book „Modern Indian theatre‟ is a study about the

postcolonial theatre and about the Modern Indian theatre. One main article was written

by Suresh Awasthi the name of “In defence of the „theatre of roots” this is information

of the postcolonial theatre. Awasthi‟s article based on the Indian theatre practitioners

basically who changed the Indian theatre trend and brought back indigenous theatre

with the help of own classical and traditional art form. Bhatiya's another article name

'Enacting the life of Rama, Classical Traditions in Contemporary Religious Folk Theatre

of Northern India' written by Lothar Lutze. Through 'Ramlila' the Indian religious

theatre, Lutze described and co-related with the Brecht theatre.

Erin B. Mee(2007) book ‘'Theatre of Root' has given the sight about the

Indigenous theatre. It has discussed the Political and theatrical origin of the root

movement in the nineteenth century, from movement to style to 'National Theatre' at the

Sangeet Natak Akademi. Suresh Awasthi(1985) article has discussed also the Root

Movements,after the colonial era how Indian theatre directors explored own theatre.

Review of Literature to formulate the research questions and references for the thesis.

19
Works of Stylisation of Some eminent directors of contemporary Indian theatre:

While discussing about stylisation in contemporary Indian theatre, mentioning

about some directors namely Habib Tanveer, Badal Sircar, Kavalam Narayan Panikkar,

RatanThiyam, S.Ramanujam, and Probir Guha among others who contributed to the

development of new language, method and mannerism in theatre which becomes much

more relevant. Due to this some of their works are taken into discussion and analysis

towards understanding of stylisation to explore it further.

In ancient time i.e. in Greek theatre a director is usually known as

“CHOREGEOUS” which means one who trains the Chorus… in this training

Courageous not only trains chorus about movements(Gati), chorus singing, dance

movements, postures(Mudrayen) but also tell them about the soul of the play, basic

thought, different expressions and emotions he also do the explanation about the act and

the play so that while the performance of chorus thousands of viewers also feel the same

emotions of the scene which the chorus is inacting. So in today‟s concept of a Director

a “CHOREGEOUS” was probably that time director (Vashisht 1995, 98).

So the motive of a theatre act can only be possibly achieved only when a

director with all his experience and skills elaborates and modifies all the possible

aspects of the subject and presents it in its fuller, elaborated and illustrated form with all

the richness of the act attached in front of viewers..Then only the motive of the

presentation of a theatre act is fully achieved…researcher got the practical experience

from the eminent Indian theatre personality, which has given in below:

20
 Habib Tanveer(Chhattisgarh )

Sangeeta Gundecha(2012)Habib Tanveer opens a new path of Indian theatre. He

explored a new style which he created through their regional folk and classical art. He

has directed famous plays such as; Agra Bazar(1954), Mitti ke Gadi(1958), Charandas

Chor(1973), Hirma ke Amar Kahani(1985) etc. He designed his plays socially or

politically satire. He used multiple languages and designed their play with full of music,

dance, and song. His way of play direction is mainly non-realistic or Stylised.

K.N.Panikkar (Kerala)

K.N.Panikkar style of acting was full of musical and rhythmic. His plays are a

good example of stylisation his works are mainly based on Sanskrit text. Panikkar has

given the new aesthetic language of Sanskrit theatre. Panikkar has broken the old

pattern of Sanskrit performance. Sangeeta Gundecha (2012) Shri Panikkar‟s plays are

based on the Nāṭyadhaṛmī style. He implements the elements of folk and classical arts

of Kerala in his plays to create a new theatre language. He believes that showing

something as it is will make it realistic. He believes in Stylisation and creates miracle on

stage through to non-realistic way of performance. That is why he proposes that we

should communicate less with dialogue and more with physical movement. If we make

the play dialogue-oriented, then the visual element will become less effective and the

acting will also become secondary. One of the main qualities of his plays is the

ornamental use of words that have no literal meaning. These words are woven so

beautifully into melody, rhythm and beat that it naturally creates a meaningful scene

that both the performers and the audience are able to enjoy. For an example: In a

21
Bhavabhuti‟s play „Uttarramcharitam‟ these lines were used for the scene of birds

mating, the director had designed it with music and rhythm which altogether create

beautiful Stylised composition on the stage. It is as follows:

Kuttatkuttat kukku tarikukku tari

1 2 3 4

Kinat kinatkit khinnakit khinna

1 2 3 4

Charatcharat chinnakit chinnakit

1 2 3 4

Khirat khirat ghir kitghir kit

1 2 3 4

Jhinakjhinak jhin kitjhin kit

1 2 3 4

Kit ta !

S.Ramanujam(Tamilnadu).

S. Ramanujam's plays were presentational style. Music and dance were the main

elements of his theatre. Performers‟ expression and gesture- posture with full of

rhythmic and they have given loud expression. Ramanujam is said; when drama comes

on stage, stylisation is active along with performance. The actor's sense of rhythm

changes, he gives the impression of being a real person because the actor is presenting

the reality and increasing the illusion of reality. Ramanujam says that the action on the

stage is stylisation also with it because the actor has to reach his acting to the audience

22
sitting at the end of the auditorium. [Direct Interview with Ramanujam, Place-

Pondicherry University, year 2013.]

Ratan Thiyam(Manipur)

Sangeeeta Gundecha (2012) Ratan Thiyam as others, who are deeply involved in

the use of Indian folk and classical tradition, gives importance to the body training of

actors. Even when there is a vachika (verbal) oriented sequence, he gets his actor to use

his total body to convey the sub texts of the words. Thiyam demonstrated this through

his body even while he narrates in the play. Then there was a demonstration of the body

tortured by the oppressor. This conveyed Thiyam‟s twin massages very poignantly; one

of the ideology and other of aestheticism which is the core of all art. His plays

employed the Martial art of Manipur in the battle scene with exquisite artistry using

tradition chant with both body and vocal sound. Ratan Thiyam's plays such as

'Urubhangam, Karanabharam, Chakravyuha' etc. highly ornamental and rhythmic.

Thiyam's plays helpful to understand Indian dramatic style.

Probir Guha(Kolkata)

His production believe in the overpowering impact of direct and innocent

communication they rejected conventional notions of dramatic form. His

dramatic composition are almost like choreographed variation on a central

theme, emerging as extended metaphors in choral speech, assembling movement

create their own dance and song actor collective basis(Enact,Jan-Feb 1984).

23
The actor improvises scene and movement based on an analysis of their own and outer

response to an emotive subject or event. We believe that drama must belong to

everybody.

1.4.Research Questions

 How Stylisation is made in connection with content and design in the process of

Indian Contemporary theatre productions.

1.5. Aim of the study

• To understand the role and importance of stylization through participation in the play

production process of two eminent of Indian Contemporary Theatre directors.

1.6. Objectives of the Study

• To understand the aesthetics of stylization in Indian contemporary play

productions.

• To find the Impact of stylization in the content and design of the play.

• To find the impact of stylization on Actors‟ work.

• Identify the process of stylization in Indian Contemporary theatre directors‟

works; Heisnam Kanhailal & Devendra Raj Ankur.

24
1.7. The Hypothesis of the Research

• Aesthetic of stylisation in Indian contemporary play production based on

Nātyaśāstra.

• The impact of stylisation is always depended on the content and design of the

play.

• Stylisation of a play can be measured from the actor‟s work.

• Contemporary directors always use stylisation as a tool to enrich the play

production.

1.8. Methodology

Descriptive and analytical research method is used in this study, for this the

researcher adopted a combination of two qualitative research methods; in-depth

interviews and Participant observation. The researcher has conducted in-depth

interviews with selected directors and their actors as well as the trained and beginners

with respect to development and deployment of stylisation in their respective play

productions.

1.9. Sources of the study

• Primary sources: In-depth interviews and participant observation based material of

play productions and books written by Heisnam Kanhailal and Devendra Raj Ankur.

The work of Heisnam Kanhailal‟s play productions is Memories of Africa and his

training process and three stories from Devendra Raj Ankur‟s Kahani Ka Rangmanch

are taken.

25
• Secondary sources: Books, magazines, journals, newspaper articles, and the data

collected in videos, web site and other multimedia formats which are related to this

research.

1.10. Limitations of the Study

1. Study focus on only Indian context of Stylisation.

2. This research focuses on stylization of two selected Director‟s plays in which

the researcher participated and observed their play production process through field

works.

3. This research focuses on stylization of acting.

1.11. Scope of the study

Stylisation is the key expression of ideas and creativity of the Indian theatre

directors. It gives universal language to the theatre. It becomes necessary to study that

how directors have introduced stylisation techniques in their work which make their

play performances comprehensible for all. In the present study, The researcher has

selected two contemporary Indian directors – Heisnam Kanhailal and Devendra Raj

Ankur – to study the processes of stylisation. The rationale behind selecting these two

directors is that both Heisnam Kanhailal and Devendra Raj Ankur have been

experimenting with theatrical performances and practices in a very unique way.

Heisnam Kanhailal and Devendra Raj Ankur are two very distinct directors with

Academic and non-Academic of theatre background and also well-known theatre

personalities in contemporary Indian theatre. This can be useful for the researchers and

26
practitioners to look at the processes that both directors have adopted and how they

have developed the aesthetics of stylisation from traditional and modern in their own

ways. This study is also an important document to develop training methods and

performative languages for contemporary theatre practitioners.

1.12. Chapterization

Chapter 1. Introduction of the Thesis

This chapter contains a brief introduction to research topic, review of existing

literatures, statement of the research problem, aim and objectives, scope of the study,

methodology, limitations, Theoretical background , Sources of Study and Cauterization.

Chapter 2. Stylization in Indian theatre tradition

This chapter focuses on the historical study of stylisation in Indian theatrical

performances starting from pre-Sanskrit period to the present time. This chapter has

been divided into various sub chapters like Pre -Sanskrit theatre, Sanskrit theatre, folk

traditional theatre, pre-independence theatre, theatre during independence, and Post

Independent theatre. This chapter examined how stylisation has worked at different

stages of theatrical history; the evolution of stylisation depending upon the needs and

necessities of practitioners; and challenges faced by the actors, directors, and designers,

among others.

For example post-independence the theatre of roots,1970 movement gave a great

momentum to theatre practitioners to find their roots of theatre and they turned towards

27
the folk, rituals, tradition, mythologies text and performances to do the experiment to

find the form and content of their own(Erin b. Mee,2008). And in this stylization played

a very important role and not just that it also gave a different sensibility and aesthetic

sense to contemporary theatre. This chapter has provided a theoretical analysis of

various dimensions of stylisation in existing literature on Indian theatrical

performances.

Chapter 3. Stylisation in Heisnam Kanhailal‟s production

This chapter is based on H. Heisnam Kanhailal work processes and the analysis

of performances under his directions. This chapter has been divided into some sub

headings like full script evaluation, performance in the space theatre, concept, method,

and approach, process of making stylisation during rehearsal, technical side of the

production, director‟s interpretation, and analysis. In this chapter, I have examined

work of Heisnam Kanhailal as a director has evolved his own theatrical style and how

he has implemented the same to various theatrical performances.

Chapter 4. Sylisation in Devendra Raj Ankur‟ Play Production

This Chapter is totally based on the performance analysis, and on the work

processes of Devendra Raj Ankur. It has been divided into some sub-headings like full

script evaluation, performance in the space theatre, concept, method, and approach,

process of making stylisation in the course rehearsal, technical side of the production,

director‟s interpretation, analysis and summary. In this chapter, researcher analysed how

Devendra Raj Ankur has evolved his stylisation techniques and how he has

28
developed his own of dramatization. In particular, I have analysed the stylisation

techniques adopted by Devendra Raj Ankur in Kahani Ka Rangmunch (Story theatre).

Chapter 5. Findings and Conclusion

• Findings are given in this chapter.

• Discussion and Analyses on the collected data through using the methodology.

The new finding which are discovered given here.

• The conclusion is made Based on the Aim and Objectives of the research and

further compared with finding of the thesis.

• It explains the benefit of this research.

• It also suggests new directions in this area of research to the future researcher.

References

1. Probir Guha(Jan-Feb 1984). Enact. Sangeet Natak Akadami. New Delhi.205-

206.http://theatreforum.in/m/bibliography/?tab=documents&object_id=5

2. Oddy, Alison.(1994). Denising theatre: A practical and theoretical handbook.

Routledge, London and New York.

29
3. Iravati(2003).Performing Artist in Ancient India. D.K.Printworld(P)Ltd. New

Delhi.

4. Devedi, Dr. Parasnath.(2004). Nātyaśāstra Ka Itihas(History of Natyasastra).

Coukhamba Surbharti Prakashan, Varanasi.

5. Maharishi, Dr. Anjala. (2000) A Comparative Study Of Brechtian and Classical

Indian Theatre. National School of Drama, New Delhi.

6. Rangacharya, Adya.(2007). The Natyasastra: English Translation with Critical

Notes. Munshiram Manoharlal Publishers Pvt. Ltd. New Delhi.

7. Rao, P.S.R.,Appa.( 1967). A MONOGRAPH ON bharata‟s, naaTyaSaastra. A

NaaTyaMaaLaa Publication. Hyderabad-1.

8. Cambridge International Dictionary of English(1995-96-99,1449)

9. (http://www.thefreedictionary.com/stylisation)

10. (https://www.collinsdictionary.com/dictionary/english/stylize)

11. (https://ttu-ir.tdl.org/ttu-

ir/bitstream/handle/2346/18818/31295009673533.pdf;sequence=1)

12. (http://theatreanalysis.blogspot.in/2015/11/vsevolod-meyerhold.html)

13. Pitches, Jonathan (2003) Vsevolod Meyerhold. Psychology Press.

14. Bhatia, Nandi(Ed).(2009-10). Modern Indian Theatre. Oxford University Press.

15. Awasthi, Suresh.(1989). „ “Theatre of Roots”: Encounter with Tradition‟. TDR

33(4): 48-69.

16. Yarrow , Ralph. (2001). Indian Theatre: Theatre of Origin, Theatre of Freedom.

Curzon Press, Britain.

30
17. Kernodle, R. George. (Dec,1960). Style, stylization and style of

acting.Educational theatre Journal.12(4). 251-261. The Johns Hopkins University

Press.https://books.google.co.in/books?id=Ix-

RShGgZUAC&pg=PA104&dq=style,stylization+and+styles+of+acting&hl=en&sa=X

&ved=0ahUKEwi60bavzqfYAhXBP48KHfuwDoQQ6AEIVDAI#v=onepage&q=style

%2Cstylization%20and%20styles%20of%20acting&f=false

18. A Board of Scholar(1986). The Natyasastra of Bharatmuni. Sri Satguru

Publications. New Delhi.

19. Dadhichi, Dr. Puru. (1988)„Ekadush Natya Sanghra our Prayoktagarh‟.

Madhyapradesh Hindi Grantha Acadamy. Bhopal.

20. Barba, Eugenio & Savarese,Nicola.(1991,2006). A Dictionary of Theatre

Anthropology.Routledge publication. New York.

21. Kanahailal, Heisnam.( 2016).Theatre of the Earth. Seagull, Calcutta.

22. Anand, Mahesh.(1997). Kahanika Rang-Manch. National School of Drama

publication New Delhi.

23. Devendra Raj Ankur, D.R.(2013). Pahla Rang: Kahani k Bheetar se Ubharta

Kahani ka Rangmanch. Rajkamal Prakashan. New Delhi.

24. Turner Jane. (2004).Eugenio Barba. Routledge. London and New York.

25. Dharwadekar, Aparna Bhargava, (2005) Theatre of Independence: Drama,

Theory and Urban performance, 1947, Published by University of lowa press,. P.490.

26. Bhatia, Nandi(Ed).(2009-10). Modern Indian Theatre.Oxford University Press.

27. Mee, Erin B..(2008). Theatre of Root. Seagull, Catcutta.

31
28. Vashishat, Dr. Suresh(1995). Hindi Natak or Rangmanch: Brekht Ka prabhaav.

Prem Prakashan Mandir. Delhi.

29. Guntecha, Sangeeta. (2012) Natyadarshan: KN Panikkar Habib Tanveer Ratan

Thiyam se Samvad. Vani Prakashan. New Delhi.

32