Prayagraj: As soon as the story begins on stage, a unique world opens up before the audience where man is struggling with his own existence, where love is not just an emotion, but becomes a deep conflict. Girish Karnad’s famous play ‘Hayavadan’ puts this very question before the audience in a very simple but effective manner. On Saturday, the second day of the five-day theatre festival organized by the North Central Zone Cultural Centre, Ministry of Culture, Government of India, the play Hayavadan written by Girish Karnad was staged in the central auditorium. The play was directed by theatre director Mahendra Singh. The program was inaugurated by lighting the lamp by the chief guest R.P. Shukla, Vice President, Seva Bharti, Prayagraj, Deputy Director Programme Dr. Mukesh Upadhyay and Programme Advisor Kalpana Sahay.
Based on a modern, conflicting story, the play depicted the love triangle between Devdutt, Padmini, and Kapil. Masks, dolls, and music left a lasting impression. Padmini, who remained unfulfilled and unfulfilled despite being married to two men, and who remained unlucky despite being married, was the central focus of the play. The play’s story unfolds with unique incidents, interesting characters, complex relationships, and thrilling dramatic twists. Kapil takes Devdutt’s marriage proposal to Padmini’s house. Upon seeing Padmini, Kapil becomes enamored with her. However, the dignity of his friendship with Devdutt prevents him from doing so. He arranges their marriage. However, Padmini becomes attracted to the well-built Kapil, which disturbs Devdutt. One day, Devdutt goes to the Kali temple and cuts his neck. When Kapil arrives looking for him, he too cuts his neck in grief.
Both heads are exchanged for bodies—but their wishes remain unfulfilled: Later, Padmini returns and, seeing the severed heads of both, invokes Goddess Kali. Goddess Kali appears and orders the heads of both to be joined. Padmini, infatuated with Kapil, attaches Devdutt’s head to Kapil’s body, and Kapil’s head to Devdutt’s. Padmini finds both a beautiful face and a well-shaped body in one man. As the story progresses, Devdutt, being a Brahmin, is preoccupied with worship, which gradually weakens his body. Meanwhile, Kapil, through his hard work, also makes Devdutt’s body well-shaped. Thus, Padmini’s desire to find beauty and a well-shaped body in one man is fulfilled. Alongside the main story, a subplot involving a horse-headed man (Hayavadana) also runs, with a touch of humor.
While “Aadha-Adhoore” is based on social reality, “Hayavadan” draws on folklore, myth, and occult practices. The use of Sutradhar, masks, dolls, and music skillfully advances the plot and keeps the audience captivated throughout. The play’s music and theatrical techniques helped enhance the actors’ performances. Akanksha Pal moderated the program.
