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(the bride)
An eco-theatrical production in Kannada performed by Holeranga

Design and Direction : Chandradasan

Text: H.S.Shivaprakash
poetry: Bidirahalli Narasimha Moorthy

Art Direction: Sudheer Babu
Duration of the play: 105 mts

A Play in Kannada in association with Department of Kannada and Culture, Bangalore. Play Wright by Dr.H.S.Shivaprakash, designed and directed by Chandradasan; performed by Holeranga, Honnali, Karnataka.

About Holeranga
Situated on Bank of Tungabhadra river, Diddibagalu should mute with the changing time until Honnali Holeranga, an amateur troupe associated themselves with this historical monument to develop it an eco theatre, first of its kind in Karnataka.

Director's note
This play deals with the elemental nature of passion ambitions, pride, hatred, love and other opposites that make the human life, a tragedy. The play discusses many lives lived by men, animals and even trees and grass.It is a reflection of birth and rebirth concepts of Buddhist doctrine. Life is set to be the coming back from the other shore and it returns. The playwright depicts human drama in a subtle, philosophical, renderings that tough sublimes poetry with metaphors and images. The moonlit river in the forest in which the central character samani reaches, chased by beer is in itself a dreamy space metaphysical in characteristics, a maya.

The story narrated to samani by the spirit of the bride-groom that wanders the rivers washing off blood from his hands reveals to her own stories from the past life and also dilemmas in the present. Samani identifies herself as someone who loved to travel to and for the shore of worldly pleasure of love, life and the shore of redemption and enlightenment. Samani understands that she has many lives in the single life. And it is the moonlight that diffuses the paradoxes to a dreamy and solvated unity. In the ultimate pursuit to marry his beloved at all cost, the bridegroom kills the bride and takes her skull to be given as the Vadhudakshina (a bride price), so that he can marry her. Later the killed one has to give redeem to the killer. The paradoxes of human existence where the hunter hunts the quarry, and the quarry hunts the hunter or both the hunter and the quarry are absent to leave the hunt as the basic truth, is told through the many metanarratives.

The performance space at Holeranga on the bank of Tungabhadra, with ruins of a fort, a leafless tree, thorny bushes, the tiny temple and the slopes of grass running to the river with a moonlight sky above, serves the ideal stage for this saga of sublime and poetic tragedy. The production thrives on the elemental and minimalist usage of dramatic tools even though is spectacular in a way. The culture, music, nature and other rustic life realities of Honnali are infused to form the structure and tone for the play. Human energy and basic acting potential of the local people, mostly tribes were preferred over technical extravaganza. The space design was flexible and informal so that the audience, coming to witness the play, may feel within it and is part of the story retold. This is further invoked by their participation in the final act of offering lamps to the mother Tungabhadra. The dreams, lives, stories of the characters, participants and spectators seem be intertwined. This is a play of opposites that gives the experience of transcendence of space, time and life, as in a dream within a dream.


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