The play Mahamaya skillfully explores timeless issues by bridging Tagore’s philosophical insights with contemporary relevance.
Japonchitro, a noted theatre group of New Delhi Staged “Mahamaya”, a poignant play by Rabindranath Tagore, at a Two-day theatre festival organized by Impresario India on 23rd and 24th March 2024 at India International Centre New Delhi
The group always attempts to present plays that have a ring of contemporary relevance, either in their social message or their eternal emotional connection in the exploration of the human psyche. While encouraging new talent the group combines traditional theatrical norms with the modern, bringing an eclectic view of a ‘new’ theatre able to connect with an audience used to technology and multimedia.
Rabindranath Tagore’s Mahamaya is one such production of the group, which essays a myriad of emotions that evoke empathy and loss. The original short story’s theatrical adaptation (2023) and direction were done by renowned director Suhan Basu.
“Mahamaya” is a play that provides rich insights into the author’s life and the socio-political context of its creation. The play was written in the early 20th century, a time of cultural and political upheavals in India. Tagore, a Nobel laureate with progressive views, used Mahamaya to challenge traditional gender roles and advocate for women’s empowerment, aligning with his broader philosophy of humanism and individual freedom. The play addresses issues that are still relevant and resonant today, and its creation was influenced by the socio-political landscape of colonial India.
Speaking on the production Basu said “Tagore’s Mahamaya portrays a spectrum of emotions, invoking empathy and reflecting societal struggles. Through nuanced characters like Mahamaya and Rajib, and themes of societal pressure and imperialism, the production skillfully explores timeless issues, bridging Tagore’s philosophical insights with contemporary relevance.”
“There have been several shows of the play in Delhi and Kolkata since the first production and we have won prizes in All-India Late Prakash Chandra Ghosh Memorial Full Length Bengali Drama Competition 2023 (Lucknow).”
The storyline of the play is about the tragedy of Rajib and Mahamaya.
Mahamaya is a young exuberant girl who is compelled by society to become a victim of the evils of Sati, which is subtle and powerful. The character of Rajib evokes the struggle of a young man wanting a home and a family.
The struggle of an elder brother (Bhabanicharan) in succumbing to societal pressures of caste, the village elders bent on implicating a young girl, and British imperialism, are all part of Tagore’s masterpiece.
The story opens with Mahamaya as a beautiful young woman whose parents, for whatever reasons, have not yet found a suitable groom for her. She is of a Kulin Brahman family, the highest rank of Brahmans. She falls in love with a young village man, Rajib, who is a Brahman, but not a Kulin Brahman. When Mahamaya’s father finds out about their love, to protect the rank of the family he immediately arranges an alternative marriage for Mahamaya to a Kulin Brahman man.
This groom is already an old man, waiting to die. The wedding takes place and Mahamaya becomes a widow the day after her wedding.
She becomes a sahamṛtā sati who dies with her husband and is committed to the cremation pyre. The fire is lit and great flames leap out. But at that moment a huge storm comes upon them, releasing torrents of rain. All of the people gathered to watch take shelter in the hut, the fire goes out, and Mahamaya frees herself. She runs first to her father’s home; finding no one there, she goes to Rajib. She and Rajib are determined to leave together.
But Mahamaya never removes the veil, or ghomṭā, of her sari from her face, and she lives distant and estranged from Rajib: her face has been hideously scarred by the cremation fire. The thick veil of her sari does more than simply conceal her scars; it represents the shadow of death and the social attitudes that separate her from others as a widow.
The story highlights the significance of social status in ancient India, where marrying someone from a higher social class was not allowed. It sheds light on the harsh realities that women faced during those times. The story also emphasizes the fact that a single decision can have a lasting impact on our lives. Once something is lost, it cannot be retrieved, no matter how much we wish for it. However, we can learn to live with our choices, accept them, and strive to make the best of them.
In terms of the performance, the artists were superb. The character role of Mahamaya played by Anindita Sett, was excellent, Rajeev’s role played by Sheshadri Mitra, and others did justice with their respective roles.
Kakoli Mitra played the role of Pisi (Aunt)…Her facial expressions, posture, and gestures expressed a real involvement in the character. Her dialogue delivery, emotions, and facial expressions were excellent.
Director Suhan Basu himself, a well-known artist, played the role of Kpalick and supported the flow of the play.
In the background score with music, Saurasanta’s composition and performance were outstanding. The stagecraft by Sudip Biswas, lighting by Ranjan Basu, costume by Suhan Basu, make-up by Ratna Basu, title song by Sanandita Basu, multimedia by Madhura Ganguly, etc. captured the eyes of the audience diligently. The lighting, music, stage design, and hutment were perfect. The script of the play was very wisely created.
The issues raised in the play are ably portrayed by actors of Japonchitro, in an era where contemporary issues are remnants of such societal evils. Tagore’s profound understanding of human nature and his mastery in weaving philosophical themes into dramatic narratives is now part of contemporary Bengali theatre through Japonchitro’s efforts.
—-DILIP GUHA
