Shumang Leela, the traditional form of theatre of Manipur

Some other traditional Theatre (Drama) in India

Bhand Pather (Kashmir)

• Unique combination of dance, music and acting.
• Satire, wit and parody are preferred for inducing laughter.
• Music is provided with surnai, nagaara and dhol.

Swang (Haryana)

• Mainly music-based – Gradually, prose too, played its role in the dialogues.
• Softness of emotions, accomplishment of rasa along with the development of character can be seen
• Two important styles are from Rohtak (Haryanvi language) and Haathras (Brajbhasha language)

Nautanki (Uttar Pradesh)

• Most popular centres – Kanpur, Lucknow and Haathras
• Verses form: Doha, Chaubola, Chhappai, Behar-e-tabeel

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)

• Fairs & ceremonies in honour of gods, or religious along with musical plays
• Earlier form of Jatra has been musical; dialogues were added at later stage.
• The actors themselves describe the change of scene, the place of action, etc.
• Krishna Jatra became popular due to Chaitanya prabhu’s influence

Maach (Madhya Pradesh)

• 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 theater 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), Narsimha (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.
• Episodes are based on the theme of Lord Krishna – his birth, childhood pranks and various deeds depicting victory of good over evil

Mudiyettu (Kerala)

• Celebrated in the month of Vrischikam (November-December).
• Performed only in the Kali temples of Kerala, as an oblation to the Goddess.
• Depicts the triumph of goddess Bhadrakali over the asura Darika.
• Seven characters in Mudiyettu: Shiva, Narada, Darika, Danavendra, Bhadrakali, Kooli and Koimbidar (Nandikeshvara)

Theyyam (Kerala)

• ‘Theyyam’ is derived from the Sanskrit word ‘Daivam’ meaning God – Hence called God’s dance.
• Performed by various castes to appease and worship spirits.
• Distinguishing features – Colourful costume and awe-inspiring headgears (mudi) nearly 5 to 6 feet high; dyed into different strong colours

Koodiyettam (Kerala)

• Based on Sanskrit theater traditions
• Characters: Chakyaar or actor, Naambiyaar, the instrumentalists and Naangyaar, those taking on women’s roles.
• The Sutradhar or narrator and the Vidushak or jesters are the protagonists
• Vidushak alone delivers the dialogues.
• Emphasis on hand gestures and eye movements makes this dance and theater form unique.

Yakshagana (Karnataka) 

• Based on mythological stories and Puranas – performed at twilight hours
• Mostly episodes are taken from Mahabharata and Ramayana

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 rich harvest.
• Theme being a cycle of eight plays based on the life of Draupadi.

Karyala (Himachal Pradesh)

• Deals with serious question of life & death with simplistic expression; enveloped in humour.
• Audience is given essence of our cultural heritage of viewing the world as a stage and as an unsubstantial pageant which 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

• Creation of Great Assamese saint and social reformer Srimanta Sankardeva
• Written in an language called Brajavali (mixture of Assamese-Maithili)
• Primarily centered on the acts of Lord Krishna
• Shows cultural glimpses of Assam, Bengal Orissa, Mathura and Brindavan.
• The Sutradhaar, or narrator begins the story, first in Sanskrit and then in either Brajboli or Assamese