Shumang Leela, the traditional form of theatre

The 50^th All Manipur Shumang Leela Festival 2021-2022 kicked off at Iboyaima Shumang Leela Shanglen at Palace Compound in Imphal.

Shumang Leela:

Shumang' means 'open courtyard' and 'Leela' means to play. The literal meaning of Shumang Leela is "play of the open courtyard".

Shumang Leela is a traditional form of theatrein Manipur.
The roles of female artists are all played by male actors and male characters are played by female artists in the case of female theatre groups.
Shumang Leela started as a comic genrepresented before the kings and noblemen, which ultimately developed into the present form of courtyard-enacted play.
Shumang Leela groups of those days attempted to preserve and promote humanism, tolerance, confidence, devotion, truth, and justice through their performances.
Shumang Leela has, today, developed both theatrically and artistically.
Shumang Leela has become a powerful medium for mass educationbesides giving entertainment and relaxation.
It has also been trying to strengthen the bond of brotherhoodand friendship among various communities in the State.
It has been trying to focus on the issues of moral values, unity, and integrity.

Some other traditional Theatre (Drama) in India

Bhand Pather (Kashmir)

Swang (Haryana)

Mainly music-based – Gradually, prose too, played its role in the dialogues.
Two important styles are from Rohtak (Haryanvi language) and Haathras (Brajbhasha language)

Nautanki (Uttar Pradesh)

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Rasleela

Based exclusively on the pranks of Lord Krishna
It is believed that Nand Das wrote the initial plays based on the life of Krishna.
Dialogues in prose combined beautifully with songs and scenes from Krishna’s pranks

Bhavai (Gujrat)

Rare synthesis of devotional and romantic sentiments
Instruments: Bhungal, tabla, flute, pakhaawaj, rabaab, sarangi, manjeera, etc.
Main centers: Kutch and Kathiawar

Jatra (West Bengal)

Maach (Madhya Pradesh)

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Songs are given prominence in between the dialogues.
The term for dialogue in this form is bol and rhyme in narration is termed vanag
The tunes of this theatre form are known as rangat

Tamasha (Maharashtra)

Evolved from the folk forms such as Gondhal, Jagran, and Kirtan
Female actress (known as Murki): Chief exponent of dance movements in the play.
Prominent Features: Classical music, footwork at lightning speed, and vivid gestures

Dashavatar (Konkan-Goa)

Personifies the ten incarnations of Lord Vishnu – the god of preservation and creativity.
Ten incarnations: Matsya (fish), Kurma (tortoise), Varaha (boar), Narasimha (lion-man), Vaman (dwarf), Parashuram, Rama, Krishna (or Balram), Buddha and Kalki.
Apart from stylized make-up, the Dashavatar performers wear masks of wood and papier mache

Krishanattam (Kerala)

Came into existence in the mid-17th century under the patronage of King Manavada of Calicut.
Krishnattam is a cycle of eight plays performed for eight consecutive days
Eight plays: Avataram, Kaliamandana, Rasa krida, kamasavadha, Swayamvaram, Bana Yudham, Vivida Vadham, and Swargarohana.

Yakshagana (Karnataka)

Therukoottu (Tamil Nadu)

Literally means “street play”- mostly performed by males dancers
Mostly performed at the time of annual temple festivals of Mariamman (Rain goddess) to achieve a rich harvest.
The theme is a cycle of eight plays based on the life of Draupadi.

Karyala (Himachal Pradesh)

Deals with serious questions of life & death with simplistic expression; enveloped in humour.
The audience is given the essence of our cultural heritage of viewing the world as a stage and as an unsubstantial pageant that is to be negotiated and lived by rising above it.
There is often stylistic diversity, which strengthens their identity from Swang, Nautanki, Bhagat, etc.

Bhaona (Ankia Naat) – Assam