Nautanki Full Hd

[Madox Valdivia]

Nautankiis a style of traditional North Indian opera. Sharma said it was the most popular entertainment medium in the region until the advent of Bollywood, which took considerable inspiration from the nautanki art form.

Traditionally, nautankis occur in any available open space in or around a village. The stage is elevated above the ground and is usually composed of wooden cots with a cloth backdrop. But even a small platform of bricks in front of a house can serve as the stage. Musicians and percussionists sit on one side, and actors and singers occupy the center stage. The main instruments used include the harmonium (reed organ), nakkara (drum) and dholak (two-headed hand drum).

These humble beginnings reflect the accessibility of nautanki. Though the shows usually cost a fee, villages can use alternate ways to pay if they cannot afford the traveling operas, such as providing food or other goods.

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'Nautanki' is one of the most popular folk theater performance forms particularly in northern India. Before the advent of Bollywood (the Hindi film industry), Nautanki was the biggest entertainment medium in the villages and towns of northern India (wikipedia)

'Nautanki' is also used as a slang in Hindi speaking parts of India (originates probably from Hindi movies) and means that a person is overtly dramatic - sometimes put across to show that the person could be lying or manipulating.

Many years back, when I was pitching "Drama & Theater in Learning", one of the HR Senior Managers bluntly retorted that he expects learning to happen in the training and not "nautanki".

Over the years, L&D Leaders have mellowed down, and that too because of the feedback from the workshops that I have conducted using drama/theatre/improv measuring more impact vis-a-vis the same workshop without this tool, and when read with participants feedback specifically mentioning how the learning is going to help them in their work especially in Sales and in being a more connected Leader.

Articles are written collaboratively by the EIA editors. More information on our team, their individual bios, and our approach to writing can be found on our About pages. We also welcome feedback and all articles include a bibliography (see below).

Nautanki is primarily a form of entertainment, with stories and themes derived largely from secular sources, including popular legends and tales from North India; Arabic and Persian romances; folk epics from Rajasthan, Punjab and Uttar Pradesh; stories of saints, kings, heroes and contemporary incidents; and themes of social inequality and gender violence.

Hathras and Kanpur emerged as the two major centres for nautanki in the late nineteenth century. The Hathras school emerged from a series of svangs produced within an akhara (a predominantly male space for practising music, poetry, drama and wrestling) established by the poet Indarman in the 1890s. This style emphasised music, beginning with a dhrupad and incorporating classical Hindustani compositions and songs. During the 1910s, Kanpur emerged as an important nautanki centre, developing a style distinctive from Hathras and influenced by the growing popularity of Parsi theatre, with the inclusion of a proscenium stage and curtains to the performances as well as a focus on dialogue, expression, acting and stage design.

Nautanki troupes consisted of performers from diverse backgrounds, across castes and religions. Whereas initially, only men were allowed to join nautanki troupes, in the 1920s, women began entering the stage. These actors typically belonged to courtesan families or communities such as the Kalbeliyas, Bedias and Nats. Women nautanki actors rose to popularity in the 1950s and 1960s, with some setting up their own companies. Gulab Bai, a well-known nautanki actor, set up the Great Gulab Theatre Company; another actor, Krishna Bai, set up the Krishna Nautanki Company.

Practitioners such as Pandit Ram Dayal Sharma and Devendra Sharma and directors such as Habib Tanvir, Sarvesh Dayal Saxena, Atul Yaduvanshi and Urmil Kumar Thapliyal have utilised nautanki techniques in their work. Nautanki performers Shrikrishna Pehelwan and Gulab Bai received the *Sangeet Natak Akademi* awards in 1968 and 1990, respectively. Today, nautanki is used as a popular form to spread social awareness by governmental and non-governmental agencies. Nautanki performances take place in cultural festivals, tourist venues such as the annual Surajkund International Crafts Fair, held in Faridabad, Haryana, and are incorporated in collegiate theatre productions.

Our website is currently undergoing maintenance and re-design, due to which we have had to take down some of our bibliographies. While these will be re-published shortly, you can request references for specific articles by writing to helloma...@map-india.org.

A popular folk theatre form that combines music, dance, dialogue and narrative, nautanki originated and grew into popularity in Uttar Pradesh in the nineteenth century. Nautanki may have originated from bhagat, a dramatised religious singing form. It also shares similarities with naqal from Punjab, tamasha from Maharashtra, khyal from Marwar, maach from Madhya Pradesh and jatra from Bengal.

Nautanki is an operatic theatre form fusing dance, music, story, humor, dialogue, drama and wit in an enchanting package. The art form originated in Uttar Pradesh, in the late nineteenth century and gained immense popularity. The dramas were fine-tuned and its protagonists were exceptionally skilled actors and singers.

Despite using very few props, actors created riveting scenes by the bare alchemy of their performance. Performances were held in open grounds, on a make-shift stage, and as actors adorned their costumes and put on a show, people of all age groups watched the performances, spellbound.

The first known home to Nautanki was Hathras, UP. By the 1910s, Kanpur and Lucknow had become important centers for Nautanki and had each developed a distinctive style, catering to their unique audiences. From the beginning, Nautankis reinterpreted a wide range of literature and tradition including legends, Sanskrit and Persian romances and mythological lore.

Some of the most popular nautankis were Raja Harishchandra, Laila Majnu, Shirin Farhad, Shravan Kumar, Heer Ranjha ,and Bansurivali. Plays based on historical characters like Prithviraj Chauhan, Amar Singh Rathore, and Rani Durgavati were also quite popular.

Nautanki functioned as the main source of entertainment for Lucknowites and Kanpur folk, while also instilling moral, social and political values within their plots, conveying messages relevant for causes. In North India, Nautanki played a reformist role during the national movement. It was fighting a battle in it's own way, by enacting plays dripping with patriotism and valour, throughout the stretch of Avadh.

Indian cinema owes a lot to Nautanki. Music, melodrama, the traction between good and evil, royal courts and decoits were imported from stage to screen. By the 1960s, cinema had become the dominant medium of entertainment, and by 1990's, shutters were down on almost all existing Nautanki companies.

However, it cannot be said that the art form has diminished entirely, for in recent times, there is a resurgence of interest in Nautanki. Companies such as the Great Gulab Theatre Company, Krishna Kala Kendra, BLM and Mission Suhani perform occasionally.

The struggle to keep Nautanki alive, is a constant fight between trying to protect the traditional operatic and artistic elements of the original art form while also effectively communicating the story and message to a modern audience by speaking to them in a language of emotions, that is not dependent on translations.

Le spectacle est souvent ponctu de chansons, sketchs ou danses, et le public profite de ces breaks pour aller aux toilettes ou se restaurer. Le nautanki implique une grande participation du public, du soutien logistique la fourniture d'acteurs.

Pendant la prsence britannique, le rejet du colonisateurs et des seigneurs fodaux s'exprimait dans des nautankis tels que Sultana Daku, Jalianwala Bagh, et Amar Singh Rathore. Depuis 40 ans, certains (Pandit Ram Dayal Sharma ou Dr. Devendra Sharma) ont co-crits de nombreux spectacles, quand d'autres y intgraient des messages informatifs et sociaux (lutte contre le SIDA, etc.). Des nautankis plus brefs (deux heures) ont aussi vu le jour, permettant aux habitants d'avoir une pause dans leur routine quotidienne.

Depuis le dbut des annes 2000, des artistes tels que Devendra Sharma exportent le nautanki en Amrique du Nord, o il peut rencontrer une large diaspora indienne. Le spectacle peut se faire en hindi et anglais, et traiter de sujets sociaux propres l'immigration, comme ces Indiens venus tudier et travailler et ne retournent en Inde que pour se marier ou toucher la dot, retournant ensuite aux tats-Unis pour y retrouver leur autre femme ou petite amie.

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