Eagerness Sentiment in Garhwali Folk Dramas

गढवाली लोक नाटकों / लोक  गीतों में   औत्सुक्य     भाव

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -40

                                        Bhishma Kukreti

                  According to Bharat Natyashastra, eagerness sentiment is demonstrated in drama by deep sighs, worrying, down caste looks and face, sleep, drowsiness, and desire for lying down.  

               There are many examples of eagerness in folk drama from Garhwal.

                 When ‘Chakrabyuha’ folk drama is dramatized the Pandava group shows eagerness about fate of Abhinmanyu when he entered Chakrabyuha (war strategy created by Dronacharya). Pandava show curiousness, seriousness for knowing the fate of Abhimanyu.   

  In Ramlila folk drama played in Garhwal too, in Shri Lanka Lakshman gets hit by Shakti from Meghnad and becomes unconscious.  As per advice of Sushian Vaid, Hanuman goes to Himalaya for a herbal medicines. Till Hanuman come back the soldiers and supporters of Rama are shown very eager to know the health of Lakshman and they are also eager whether Hanuman reaches back from Himalaya before morning or not? The supporters of Rama show very noticeable acting of eagerness.

Copyright @ Bhishma Kukreti, bckukreti@gmail.com  15/11/2013

              Review of Characteristics of Garhwali Folk Drama, Folk Rituals and Traditional Plays part to be continued… 

                    References

1-Bharat Natyam

2-Steve Tillis, 1999, Rethinking Folk Drama

3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 

4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research

5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India

6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 

7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12

8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet

9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments

10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach

11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara

12- Bhishma Kukreti, 2007, Garhwali lok swangun ma rasa ar Bhav , Chithipatri

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Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Eagerness Sentiment in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;

गढवाली लोक नाटकों में  औत्सुक्य भाव; टिहरी गढ़वाल के गढवाली लोक नाटकों में  औत्सुक्य भाव;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकों में   औत्सुक्य  भाव;हरिद्वार गढ़वाल के गढवाली लोक नाटकों में  औत्सुक्य भाव;देहरादून गढ़वाल के गढवाली लोक नाटकों में  औत्सुक्य  भाव;पौड़ीगढ़वाल के गढवाली लोक नाटकों में औत्सुक्य    भाव;चमोली गढ़वाल केगढवाली लोक नाटकों में  औत्सुक्य  भाव; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में औत्सुक्य    भाव;