In the aesthetics of history, we have long encountered two camps. We can say Western aesthetics and Indian aesthetics. We cannot speak of the aesthetics by forgetting the history of Indian aesthetics in the eastern camp. According to Indian tradition, Indian aesthetics, especially it is described in the drama. We cannot speak Indian drama and performing arts in one set. This is because India is a country of great cultural diversity. In India, in the languages and in the states, they have an inherent culture. Therefore, dramatic art has developed in relation to those states. But in all these states dramatic arts influenced India's culture. It also influenced Indian Traditional Sanskrit drama and Indian aesthetics. Modernism begun in Bengal affected all provinces. Indian modernism also directly affected the arts. Indian modernism changed somewhat from western modernism, but the Indian view of art changed with the meeting of Sanskrit and Western aesthetics. It turned to the modernist road. It was fair to say that change is the cornerstone of colonialism.
We can understand Manipur's play in this manner. Modernism and the combination of Indian aesthetics. Heisnam Kanhailal was the founder-director of Kalakshetra Manipur, a theatre laboratory established in 1969 that explores a new vocabulary in the existing language of theatre. The modernity of Indian theatre reached on the coattails of the British Raj in the mid-nineteenth century. Western education for the Manipur was introduced in the 19th century. But basically, copies of Manipur were used primarily in Bengal (1902 – 1922). Those are translating scripts or else adaptations. They did not have their own Manipur scriptures. Bengali artisans have also participated in the advancement of Manipur dramas. Accordingly, the art of Bengal has been developed by Manipur. India's modernity was based on Bengal. Accordingly, European modernist ideas became popular in India based on Bengal. The special feature is that Manipur plays to develop it simultaneously. Early dramas were mainly based on myth. Legends, folk tales, and mythical subjects.
The early dramas were mostly mythological plays taken out of religious texts like Prahlad Charit, Kansa Badha, Sitarbanvas, etc, and performed on an improvised stage, mostly organised by the Education Department. They had their moral implications in the society and the audience enjoyed seeing the real characters before their eyes.[1]
Narasingh, Lamabam Kamal (1900- 1934), l, Sorokhaibam Lalit Singh (1893-1955) were very famous figurer’s in Manipur plays. Among the issues, they are subjected to is the issue of the caste Indian people. Sathi Pooja and Hindu society are also special. Kamal was personally victimized by caste conflict and social stratification as prevalent in the Hindu social system and vehemently attacked the social tyranny. Satikhongnang (Sati, the Banyan tree), was created by bam Lalit Singh. It’s about Sati puja. Arambam Dorendrajit Singh (1907 1944) wrote Moirang Thoibi. It was about the love story of Khamba and Thoibi. So we understand that the Indian legends, especially the social dynamics, have become their domain.
These writers, most of them being the product of the new Western education, have been acquainted with the Western and Sanskrit dramas and Bengali being a major language in their background, they have carried strong influence of these literatures. And fortunately for Manipuri drama. They have built up a school of playwriting on the models they knew.[2]
According to this, we see that Manipur has influenced the theatre play with Western education with Sanskrit Aesthetics. The literary renaissance, especially in Bengal, has had a greater impact. With this, we can see Indian mythologies but present in the modern social imagination. Thus we can clearly see the Indian society through mythology through Manipur plays. In the second stage, theatre festivals and playhouses were held at Manipur. It is a great development of Manipur theatre. This increased the relationship between theatre and audiences. Imphal theatre, Prabhat, Rangashree, Metropolitan, Raja Dumbra Memorial Theatre, Roxy, etc. The dramas such mythologies, Social themes and historical, it also addressed social issues. The military situation also arose. Drama in the post-war period is also a matter of opportunity. The effect of the Bengali dramatists is a matter for it. For these best examples are N. Thanin, D.L. Roy and B. Nutan Chandra. They are pioneer artists. Prompter was a big task. He was given all the dialogues. Most dramas discussed good, righteousness, evil and heroism. In this research, the article says about it.
As most of the plays revolve on good, evil, piety and heroism the social implications of drama on morality was very strong and the audience who devotedly followed the moral codes of the day enjoyed to see the personification of these cates.[3]
The drama category had Western influences. They also influenced William Shakespeare's dramas. Because of this, the drama was a matter of professionalism. Professionalism was influenced by the dramas in large cities such as Kolkata, Chennai, and Mumbai. Manipur dramas, however, have influenced Islamic culture and Hindu culture as well as Manipur tribal cultures. The important point here is the impact of the Bengal renaissance on all these things. Therefore, Western modernity is associated with all cultures. However, their drama was created against backward conditions in society. Especially in Manipur dramas, they try to portray minorities. They concentrate on the Meithei society.
As arcane as some of these references may seem, they form the background to the dominant Hinduisation of Meithei culture and religion. At one level, the evolutionary zeal of some scholars in tracing the Hindu origins of Meithei rites can be dismissed as preposterous; for example, the attempt to trace the origins of the Natyasastra in the Lai Haraoba, which is so clearly a fertility rite.[4]
Manipur drama has a direct connection with the revivalist movement. Also, the renaissance movement is also significant for women and for female participation in Manipur drama. The contribution of women should also be taken into account in the struggle against colonialism. Especially the women's contribution to politics in Assam should be taken into account. This trend has shown the impact of Bengal renaissance. We must not forget that the Bengal Renaissance has directly affected the art of Eagling, although not economically large. Culture is part of politics. And politics must treat art, especially the state, with art. But the vast majority of issues in this state are also viewed by the political as a matter of fact. Instead, cultural diversity should be positively drawn to politics.
[1] Somorendra, Arambam. "Manipuri Drama." Indian Literature 44, no. 2 (196) (2000): 33.
[2] Somorendra, Arambam. "Manipuri Drama." Indian Literature 44, no. 2 (196) (2000): 34.
[3] Somorendra, Arambam. "Manipuri Drama." Indian Literature 44, no. 2 (196) (2000): 36.
[4] Bharucha, Rustom. "Politics of Indigenous Theatre: Kanhailal in Manipur." Economic and Political Weekly 26, no. 11/12 (1991): 748.
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