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| Lorca's 'House of Bernard' staged | | | SIDDHARTH
EARLY TIMES REPORT
Jammu, Mar 3: The nonattendance to the vivid nuance of the actual mannerism of a theater idiom was quite conspicuous in the handful young enthusiasts, mostly assembled as a team only to perform Lorca's House of Bernard was what Rangyug tried at Abhinav proscenium today.
Though the attempt was appreciative of the Director Bhasha Sumbli who also enacted Bernard in the Urdu adaptation as Birjees, somehow the gradation required to pronounce the gist of 1930s vision of Lorca's Spanish fascism constructed on the familial impediments of the young womanly desires, lacked to generate the heat.
The plot essayed in Birjees Qadar Ka Kunba reflects a high intensity craving for a sexual satiation among the family of five ageing sisters controlled by a fascist mother's dogma of saving the grace of ancestral ethics.
The play also pivots on two generations, one having surpassed the present genre and the contemporary trying to break open the shambles of an irony woven on the belief about men being taught to be as beastly mortals only.
Birjees Qadar who tries to uphold a distance among her daughters with the men, has a strong control over them that is slowly but firmly defied by them in a new revolution taking its shape. Lorca has tried to vomit his simmering discontent to this culture though a clique of a household mastered by woman on the women.
The play received immediate recognition among the races of humanity subjected to doom through the slavery of the mighty and before Lorca could have exulted over the triumph of his invention, the young dramatist of just 38 was done to death.
Though the administrative regime of Spain might have suffered a serious set back on its clerical front after having its cocooned culture of woman tyranny exposed to hilt through Lorca's House of Bernard, the drama received an overwhelming response worlwide.
Today's presentation of Birjees Ka Kunba can be related to an attempt embarked upon by a genre of theatre aspirants whose thought process of serious theatre can be moulded for better future presentations.
And the actors on the proscenium though presented a brave front in carrying presentation without any linguistic faults, they somehow lacked in connecting the theatrical idiom among them which was apparently conspicuous throughout. Here, exemplifying just one instance about psychotic hump of Maria Josefa's lunacy hankering for ladder of children to jump over the mountainous fascism is the face of vindictive administration of the era. The symbolization of heat and water too was not fairly and effectively pronounced to bring out the sexual yearn of the captive femininity. Probably, the artists being ignorant to dramaturgical expressions. Play's slow pace also added to its loss of sheen.
And thus only speaking the rehearsed lines without succeeding in elucidating the actual essence cannot be termed as a drama. Haven't Lorca churned in his grave? But, of late Jammu has started showing its thespian worth on dramatics.
An English play held in drama competition of the state is a beginning. More following the suit would be a revolutionary welcome on Jammu's proscenium.
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