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To-Dr. Md Mazid Mia

SMSN High School

Vill+Po-Bagdogra

Dist-Darjeeling

Pin-734014(W.B)

Mobile-9733153487

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ekuo dh c

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dSalj }kjk ekSr ikrs gSa \

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gekjh O;oLFkk gks xbZ Nyuh

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mn~ns'; ls L=h& foe'kZ dk tUe gqvkA ;g

ukjh ds vfLrRo] vf/kdkj vkSj vfLerk ds

fy, fir`lRrk ds fo:) la?k"kZ gSA fir`lRrk

lfn;ksa ls L=h ij viuk opZLo LFkkfir fd;s

jgh mlusss L=h dk fuLrj 'kks"k.k&nksgu djrs

gq, mls loZgkjk cuk fn;kA L=h vius 'kks"k.k

ds fo:) dHkh vkokt mBkus dk lkgl ugha

tqVk ikbZ D;ksafd gekjh lkekftd lajpuk esa

mls dksbZ LFkku ugha feykA gekjh lkekftd

O;oLFkk esa mlds vfLrRo dh dksbZ igpku

ugha] dksbZ egRo ughaaA bl O;oLFkk us lnSo

ukjh ds lkFk n+xk dh gS dHkh /keZ ds uke ij

rks dHkh uSfrdrk dh nqgkbZ nsdjA

fir`lRrk fL=;ksa dh Lora=rk ds fo#)

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bykgkckn&211002

bZ&esy % deepika12jaiswal@gmail.com

eks0 9450405586

lanHkZ xzUFk lwph

1- JWa`[kyk dh dfM+;kW & egknsoh oekZ] i`0

38] yksdHkkjrh izdk'ku 15&, egkRek

xka/kh ekxZ] bykgkckn&1 prqFkZ

laLdj.k&2004 A

2- ukjh dh fLFkfr losZ{k.k vkSj ewY;kadu]

laiknd&dey u;u ik.Ms+;] i`0 41]

fnos'k izdk'ku Jh gfj'pUnz QeZ] pkSd

lqYrkuiqj] m0 iz0 A

3- ukjh iz'u&ljyk ekgs'ojh] i`0 18]

jk/kkd`".k izdk'ku izk0fy0 7@31

valkjh ekxZ] nfj;kxat] ubZ

fnYyh&110002 izFke laLdj.k 2007

A

4- ogh i`````0 34 A

5- ogh A

6- ogh i`"B& 37 A

7- JWa`[kyk dh dfM+;kWa&egknsoh oekZ Hkwfedk

ls i`0 9] yksdHkkjrh izdk'ku] 15&,

egkRek xka/kh ekxZ] bykgkckn&1 prqFkZ

laLdj.k 2004 A

8- mifuos'k esa L=h eqfDr dkeuk dh nl

okrkZ;sa & izHkk [ksrku i`0 39]

jktdey izdk'ku izk0 fy0] 1&ch

[6] usrkth ekxZ ubZ fnYyh& 110002]

izFke laLdj.k&2003 A

9- gal] ekpZ&2001 fir`lRrk ds u;s :i]

i`0&7 A

10- J`Wa[kyk dh dfM+;kWa&egknsoh oekZ]

i`0&150 yksdHkkjrh izdk'ku &15&,

egkRek xka/kh ekxZ] bykgkckn&1 prqFkZ

laLdj.k&2004 A

11- vk/kqfud lekt dh ukjh psruk&MkW-

lqkhy oekZ iq- 188 laLdj.k&1998

vkkk ifCyfkax dEiuh ckbZ ikl jksM

deykuxj vkxjkA

12- L=h&fpUru dh pqukSfr;kWa&js[kk dLrokj

i`0 24] jktdey izdk'ku izk0 fy0

izFke laLdj.k 2006 A

13- vkSjr mRrj dFkk&laiknd&jktsUnz

;kno] vpZuk oekZ] i`0 150 jktdey

izdk'ku izk0fy0 ubZ fnYyh] izFke

laLdj.k &2002 A

14- gal&tuojh&Qjojh 2000&vrhr gksrh

lnh vkSj L=h dk Hkfo"; [k.M+&1

i``0&170 A

15- L=h fpUru dh pqukSfr;kWa&js[kk

dLrokj] i`0 25] jktdey izdk'ku

izk0 fy0 ubZ fnYyh] izFke

laLdj.k&2006 A

16- ledkyhu fgUnh ysf[kdkvksa dh

dgkfu;ksa esa vfHkO;Dr cgqvk;keh

fonzksg& MkW0 js'keh jkenksuh i`0&

17- vkSjr ds gd esa& rlyhek

uljhu] i`0 52] ok.kh izdk'ku]

nfj;kxat ubZ fnYyh] laLdj.k&flrEcj

1994 A

18- mifuos'k esa L=h eqfDr dkeuk dh nl

okrkZ;sa izHkk [ksrku] i`0 54 jktdey

izdk'ku izk0 fy0 ubZ fnYyh] izFke

laLdj.k & 2003 A

19- ogh i`0 85 A

20- gal&flrEcj& 1996] L=h&foe'kZ ds

vUrfoZjks/k& izHkk [ksrku i`0 58 A

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Ukkjh Lora=rk % ldkjkRed ,oa udkjkRed i{k

ks- mfeZyk iksjoky lsfB;k &cSaxykSj

^oDr cnysxk thou cnysxk* lp! bl okD; esa

cgqr xw

( ), -2, -2015

nku djrk gSA xqtjs oDr esa t xq.k R;kx]

cfynku] leiZ.k /kS;Z] lgukhyrk L=h dh igpku Fks ftuds dkj.k og iwT;k Fkh vkt os

lHkh xq.k cnyrs ifjoosk esa iq:k dh fokskrk, cu x, gS bl dkj.k L=h ds thou dh ubZ

ifjHkkkkva dk fuekZ.k g jgk gSA orZeku le; esa ;g dguk vfr;fDr ugha gxh fd ^gj lQy efgyk ds ihNs iq:k dk gkFk gSA*

vkt ukjh iq:k ds fy, Hkx ,oa rqPN oLrq ugha cfYd fe=le gS ftlds lkFk og

le; ij fopkj a dk vknku& nkudjrk

gS] lq[k&nq%[k ckVrk gS] mlls lykg ysdj

thou ds QSlys djrk gSA

gj flDds ds n igyw grs gSA ckgjh :Ik dqN

vj crkrk gS Hkhrj dqN vj gh gS& vHkh r

geus ukjhRo ds cnyrs vFk Za dk ldkjkRed i{k

ns[kk vc ,d utj flDds ds nwLkjs igyw ij Hkh

Mky ysrs gSaA

L=h Lora= gS ;g okD; lqurs gh ekuliVy ij

dbZ u fpUg yx tkrs gSA vkt ukjh dk vkxs dh rjQ c

( ), -2, -2015

gq, cnyko ds p ds lkFk ekuork ds ukrs ge

lHkh d lpuk gxk vkf[kj cnys lekt ds

lkFk ge dSls cnys gSa] D; a cnys gSa fdruk cnys

gSa cnyko ldkjkRed g rHkh lekt dh lqanjre

vfHkO;atuk g ldrh gS vU;Fkk viuh fu;fr ij

lefiZr L=h pyrh r jgsxh ij ;g lekt ,d

fnu [kqn j,xk vius fed vuSfrd cnyko ij

t vkt jdk tk ldrk gS] og dy ugha :dsxk

vr% ;fn ukjh Lora=rk ds uke ij bl dkj dh

dqjhfr;a d ik.k nsus ds ctk; ifjokj o lekt ds fookl dk eku j[kk tk;s r ;g cnyko u dsoy lekt o ifjokj ds fy, cgqr

ldkjkRed fl) gxk] vfirq ukjh esa fufgr

lkeF;Z dh ijkdkBk Hkh mtkxj gxh vj rHkh lPps vFk Za esa ukjh Lora=rk ds ek;us lkFkZd

gaxsA vkxs Hkh L=h viuh fu;fr ij pyrh jgsxh]

yxkrkj gjckj D; afd t ;g dne :dsa r

l`fV dh xfr gh :d tk,xhA

ukjh d bl cnyrs ifjosk esa ,d vj ubZ fLFkfr ls tq>uk iM+ jgk gS] ckgj dk;Zjr gus

ls ml ij dk;ZHkkj dh ngjh ekj iM+rh gS]

dHkh&dHkh ?kjsyw dk; Za vj dk;kZy; bR;kfn dh

ftEEksnkfj; a esa Bhd ls lkeatL; ugha cSB ikrk

bl dkj.k mls ekufld ruko ls Hkh xqtjuk

iM+rk gS ftlls mldk thou vj dVe; g tkrk gSA thou ds la;tu] larqyu dh f;k

esa thou dk HkkoukRed vj f;kRed Hkkj lnk

ls L=h ij gh jgk gS ;fn ;g larqyu fcxM+Rkk gS

r lkjk nk L=h d gh fn;k tkrk gS] lkFk gh ;g mykguk fn;k tkrk gS fd mlds bl

Lora=rk dh Hkkjh dher lkekftd ewY; a]uSfrd

ewY; a vj ijaijkva d pqdkuh iM+ jgh gS] tc

fd bu la?kk Za ij fot; ikdj L=h foke

ifjfLFkfr;a esa Hkh dke dj jgha gS lkFk gh ?kj

dh ftEesnkjh ds gj igyw ls viuk QtZ fuHkkrh

tk jgh gSA

esjk ekuuk gS&ukjh vius ijaijkxr lkekftd

ifjosk esa gh vPNh gSA flQZ vko;drk gS mls le>us dh] vVwV fookl dh] vkLFkk dh] xk

( ), -2, -2015

'krjath pkyksa esa f?kjh vkfnoklh vfLerk

MkW0 kjn dqekj f}osnh exat] jhok

eksckby ua- +918878934785

oSf'od lH;rk esa vius vfLrRo dh j{kk gsrq vkfnoklh tu leqnk;ksa essa ,d ,slk

foe'kZ lkeus vk;k gS] ftlesa mudk ty] taxy vkSj tehu gh eq[; mithO; curk gS A blh dkj.k

muds okfpd ijEijk esa izkIr *lcvkYVuZ lkfgR;* esa izfrjks/k dk ,slk Loj eq[kfjr gqvk gS] ftldk

lh/kh laca/k ,d ,sls tkxj.k ls gS] tks yksd dh Hkkoukvksa ls izsfjr gS A yksd ds izfr mudk eksg gesa

uohu mn~Hkkoukvksa dh vksj Bsys fy, tk jgk gS D;ksafd vkt Hkh fodkl ds cgkus foLFkkiu dk na'k

>sy jgs vkSj gkf'k, ij thou ;kiu dj jgs bu vkfnokfl;ksa esa eqfDr dh vkdka{kk lekt vkSj

laLd`fr esa viuk LFkku cukus dh NViVkgV rFkk viuh igpku cukus dh yyd gS A bl lanHkZ esa

'kf'kHkw"k.k feJ dh ;g dfork vkfnoklh vfLerk dks u;k vk;ke nsrh gS &

gesa er Hkxkvks ;gkWa ls

ckck vkne ds tekus ls

tc 'kk;n rqe Hkh ugha vk;s Fks

rc ls blh feV~Vh vkSj blh taxy esa

thrh vk;h gS gekjh dbZ&dbZ iq'rsa A

er foLFkkfir djks gesa

gekjs iqj[kksa ds Je] ty dk lksrk

QwVsxk t:j ,d fnu

vkSj lc dqN dj nsxk gjk Hkjk

[kqn djus dks rS;kj gesa

gekjs vkxkeh bfrgkl dk uD'kk A

Hkkjr dk vkfnoklh ewyr% fdlku gS vkSj ty&taxy&tehu ls mldk

ukfHk&uky dk fj'rk gS A og taxy ds mRikn ij xqtj&clj djrk gS vkSj izd`fr rFkk mldh larfr

( ), -2, -2015

ds lkFk lg;ksxh dh Hkwfedk fuHkkrs gq,] mldh j{kk Hkh djrk gS A og mldk miHkksDrk Hkh gS vkSj

iks"kd Hkh A foMEcuk ;g gS fd Hkkjr ds bl vkfnoklh lewg ;k oxZ ls Hkkjr dh 'ks"k vkcknh vkt

Hkh iwjh rjg ifjfpr ugha gS vkSj rks vkSj] tks yksx Hkkjr esa mu ioj jkt dj jgs g Sa] os Hkh mudh

laLd`fr] Hkk"kk] thou 'kSyh] ewY;ksa] vkpkj laafgrkvksa rFkk mudh loZ lgefr o yksdrkaf=d iz'kklfud

O;oLFkk ls vufHkK gS A lewg esa jgdj lewg ds fy, lkspuk] thuk o ejuk] xSj vkfnoklhtuksa dh

lksp ds ckgj gS] pwafd xSj vkfnoklh lekt dh gn Lo;a rd ;k T;knk ls T;knk ifjokj rd gh

lhfer gksrh gS A nwj njkt ds vNwrs {ks=ksa dk losZ{k.k djsa rks vHkh rd ns'k dh iwjh vo/kkj.kk

Hkkjrh; ekul esa Li"V ugha gS A njvly Hkkjrh; ekul dbZ [kkapksa vkSj igpkuksa esa caVk gS A

igpku dh ;g xzafFk] tkfr;ksa o /keksZa dh csfM+;ksa rFkk Js"Brk vJs"Brk vkSj vga dh tathjksa esa mls

bruk dldj tdM+s gq, gSa fd nk;ka gkFk ck,a dks gs; ekurk gS ;k 'k=q le>rk gS A vc ,sls ladh.kZ

ekul esa mls lh/ks lkns vkfnoklh ekuql ds fy, dgka gksxh txg \ okLrfodrk ;g gS fd vle ds

ckn ds Hkkjr ds Hkwxksy ls] 'ks"k Hkkjrh; ifjfpr gh ugha gS A yxrk gS fd os mUgsa tkuus esa :fp Hkh

ugha ysrs A lp rks ;g gS fd Hkkjrh; ekul v'oes?k dk dkYifud ?kksM+k nkSM+kdj [kqn dks fotsrk]

?kksf"kr djus dk vknh gS A og mu jkT;ksa ds yksxksa ls nnZ dk fj'rk ugha tksM+rk A ogka ds yksx tc

b/kj vkrs gSa] rks ge muls iwNrs gSa *D;k vki oekZ ds gSa] phu ls gSa ;k frCcr ls \ Qyr% Hkkjr

ds gh lhekar izns'kksa ds yksx vius Hkkjrh; gksus ij lansg djus yxrs gSa A

ou Hkkjrh; laLd`fr ds vkfne mRl jgs gSa A vkfnoklh leqnk; Hkh bUgha ouksa ij

vk/kkfjr gSa A vkfnokfl;ksa dh thfodk dk lk/ku Hkh taxy o tehu gSa A gekjh ljdkj us taxy dks

O;kikfjd oLrq ?kksf"kr dj taxy jkt dks Hkh vkfnokfl;ksa ls Nhu fy;k gS A bu vkfnokfl;ksa ds thou

;kiu dk vk/kkj ;s taxy gh gS vkSj bu taxyksa dks gh muls Nhu fy;k x;k gS A vkfnokfl;ksa dks

nSuafnu t:jrksa ds fy;s ydM+h dkVus dh Hkh NwV ugha gS] tcfd bldh ekax dbZ vkfnoklh laxBu

dbZ n'kdksa ls mBk jgs gSa A fiNys o"kksZa esa vkfnokfl;ksa ds fy;s lqfo/kk lEiUu fpfdRlky;ksa] LokLF;

dsUnzksa ;k mPp f'k{kk dsUnzksa dk fuekZ.k ugha gks ldk A ,d gSjku djus okyk rF; ;g gS fd vkfnoklh

laLd`fr dh j{kk ds uke ij vkt ls 36 o"kZ igys] 'kjkc tSlh cqjh yr dks izksRlkgu nsus gsrq lHkh

jkT;ksa esa NwV ns nh xbZ tks fo'ks"k {ks= dk ntkZ izkIr Fks A ,sls {ks=ksa esa vkfnokfl;ksa dks izfrfnu 'kjkc

( ), -2, -2015

cukdj ihus dk ,slk vf/kdkj fn;k x;k] tks muds fy;s csgn fujk'kktud lkfcr gqvk A blds pyrs

;g lekt u flQZ dqiksf"kr gqvk cfYd 'kkjhfjd ,oa ekufld rkSj ij Hkh izHkkfor gqvk A

vkfnoklh leqnk;ksa esa lcls cM+h leL;k muds fodkl dks ysdj gS A ljdkj us buds

mRFkku ,oa fodkl ds fy;s Nk=kokl rks cgqr cuok;s] ysfdu ogkWa ;k rks [kkuk gh ugha feyrk ;k

feyrk gS rks bruk de fd isV gh ugha Hkjrk ;k chekj dj nsrk gS A rc ,sls Nk=koklksa esa jgsxk

dkSu \ Nk=kokl [kkyh rks Ldwy Hkh [kkyh A ljdkj othQk nsrh gS vkfnoklh Nk=ksa dks ysfdu vk/kk

iSlk forj.k djus okys j[k ysrs gSa vkSj tks feyrk gS og bruh nsj ls fd mldk mi;ksx i

( ), -2, -2015

ohj] fo}ku o fpard gq, gSa] ysfdu ns'k ds uhfr fu/kkZj.k esa vkt Hkh mudh dksbZ iSB ugha gS] u gh

mudh vkSdkr cuus nh xbZ gS fd os tksjnkj gLr{ksi dj ldsaA fodkl dk lh/kk laca/k jktuhfr ls

gksrk gS vkSj vkfnoklh dk jktuhfrd vkj{k.k gksus ds ckotwn mudk n[ky bruk ugha gS fd os uhfr

fu/kkZj.k ij Bksd ctkdj ckr dj ldsa A gekjh O;oLFkk vkfnokfl;ksa esa fcjlk] uanckg] :ify;kuh]

flaxhn;h vFkok VkV~;kHkhy dks rks cnkZ'r ugha dj ldrh] gkWa jktusrkvksa dks euekuk Qyus Qwyus ds

volj iznku djrh gSa A vkfnokfl;ksa dks xSj vkfnoklh lksp dk dk;y cukdj rFkk dfFkr eq[;/kkjk

esa lekfgr djus dh lkft'k jpdj mudh laLd`fr lekIr dj ldrh ga A

vkt nf{k.k ds lHkh jkT;ksa esa vkfnokfl;ksa dh Hkk"kk xk;c gks pqdh gS A mudh

laLd`fr vkSj vfLerk yqIr gksus ds dxkj ij gS A muds nsorkvka vkSj nsfo;ksa dks nwljs yksx gfFk;k

jgs gSa ;k mUgsa vius nsork Fkek jgs gSa A vkfnoklh fdlh eafnj ;k nsoky; dk eksgrkt ugha gksrk A

mudh vkLFkk dk dsUnz iwjh izd`fr gksrh gS A vkt muds ekul dks vkLFkk dsUnzksa ls cka/kus dk iz;kl

fd;k tk jgk gS] ftlls mudh igpku gh [kRe gksus dk [krjk iSnk gks x;k gS A ;gkWa rd fd muls

mudk uke Hkh Nhuk tk jgk gS A og vkfnoklh dgykrk gS ;k ewy fuoklh vFkok ns'kt dgykuk

ilan djrk gS] ysfdu fofp= gS A ftldh dksbZ tkfr ugha] tks vkfnoklh gS] mls ouoklh dgdj

mldh igpku ij inkZ Mkyk tk jgk gS A vc tc vkfnoklh viuh igpku ds fy;s ;k 'kkL=ksa esa dh

xbZ voekuuk] bfrgkl esa dh xbZ mis{kk vkSj fodkl ds uke ij fd, tk jgs vius fouk'k ds fo:)

cksyus dk iz;kl dj jgk gS rks mls pqi djkus ds fy, ?kks"k.kk,Wa dh tkrh gS A vkfnoklh lekt dh

=klnh ;g gS fd vHkh og iwjh rjg vfHkO;fDr dh 'kfDr gkfly ugha dj ik;k A

vknokfl;ksa ds yksdrkaf=d vkSj lkewfgd ewY;ksa dks xSj vkfnoklh ugha lh[krs A blds

myV vkt vkfnokfl;ksa esa cky fookg vkSj ngst dh izFkk,Wa ys tkbZ tk jgh gS A *?kj okilh* ds uke

ij ,d vPNh Hkyh] izd`fr lg;ksxh laLd`fr o rdZ lEer dkSe dk /kekZarj.k djus dh lkft'k jph

tk jgh gS A ;fn vkfnokfl;ksa dks mudh tM+ksa ls dkVdj] ckgj dh [kwa[kkj nqfu;k esa fcuk f'k{kk]

vf/kdkjksa vkSj lqj{kk ls ySl fd, NksM+ fn;k tk,xk rks fuf'pr gS fd os vkfnoklh gh ugha jg tk,xsa

A cM+h vkcknh mudk lek;kstu dj ysxh A cM+h vkcknh mudh laLd`fr Nhudj viuh dqlaLd`fr vkSj

fod`fr;kWa mu ij ykn jgh gS A

( ), -2, -2015

vkfnoklh rc Hkh Nys tk jgs Fks] vkt Hkh Nys tk jgs gSa A fodkl esa mudh dksbZ

Hkwfedk ugha gS A [kfut laink esa dksbZ fgLlk ugha A isM] igkM+ ij mudk dksbZ gd ugha A taxy dV

jgs] igkM+ uaxs gks jgs] ufn;kWa cka/kh tk jgh] [kfut fudkys tk jgs ij blls vkfnokfl;ksa dks dksbZ

ykHk ugha A mUgsa cgdkus okys rc Hkh Fks] vkt Hkh gSa A ;g ,d vdkV~; lR; gS fd vkfnoklh

iapflrkjk laLd`fr esa u rks iui ldrk gS] vkSj u gh th ldrk gS A ml laLd`fr esa vkus ij og

vkfnoklh gh ugha jgsxk A ;g 'krZ vkfnokfl;ksa ij gh ykxw gksrh gS A pwafd viuh laLd`fr NksM+rs gh

vkfnoklh jktusrk vkfnoklh ugha jg tkrk] blhfy, vkfnokfl;ksa ds ,sls ,d jktusrk] ftUgksaus [kqn

dks xSj vkfnokfl;ksa dh ikap flrkjk laLd`fr esa kj[k.M vkSj NRrhlxkj[k.M ds eq[;ea=h vkfnoklh gh cus ysfdu eaf=ifj"kn

essaaa vkfnoklh dHkh cgqer esa ugha jgs A vkfnoklh fgr xkS.k gks x;k A vkfnoklh jkT; Hkh ,sls cus

fd vius gh jkT; esa vkfnoklh vYier gks tk, A

Hkkjrh; lekt esa vkfnoklh thou lnk ls 'kks"k.k dk f'kdkj jgk gS A ty] taxy]

tehu ds fy;s mudk lkgfld la?k"kZ vuojr tkjh gS A vktknh ds ckn vkSifuosf'kd lRrk ls rks

eqfDr fey xbZ ysfdu 'kks"k.k dk [ksy fQj Hkh tkjh jgk A flQZ lRrk dk :i cny x;k A igys

vaxzstksa us fd;k vc lRrk vkSj jktuhfr ij dkfct vius ns'k ds gh yksx 'kks"k.k dj jgs gSa A

vkfnoklh tks vius thou ds ewyHkwr vf/kdkjksa ls oafpr gSa vkt Hkh viuh vfLerk vkSj vfLrRo

dh yM+kbZ yM+ jgs gSa A vkfnokfl;ksa dk fo'okl rHkh vftZZr fd;k tk ldrk gS tc ge iwjh bPNk

'kfDr vkSj izfrc)rk ds lkFk cnyko ds fy;s dfVc) gks tk;sa A fo'okl dk ladV fo'okl vkSj izse

ls gh [kRe gks ldrk gS A fo'okl vftZr djus ds fy;s ljdkj gks ;k xSj vkfnoklh lekt] nksLr

cudj muds ikl tkuk gksxk neudrkZ] 'kks"kd o 'kkld cudj ugha A muds fodkl ds fy;s ges a]

vko';d dne mBkus dh vko';drk gS] blfy;s fodkl fdls fy;s gks ;g r; djuk t:jh gS A

vkfnoklh {ks=ksa esa fodkl dks jkstxkjksUeq[kh cukuk] mudh /kjrh ij fodkl gks jgk gS] mudh lqj{kk

dh xkjaVh ysuk A m|ksx esa mudh Hkkxhnkjh lqfuf'pr djuk A foLFkkfirksa dh iquokZl ifj;kstuk

'kq: djus ls igys] yksxksa dks vius x`g jkT; esa jkstxkj nsdj iyk;u jksdk tk ldrk gS A muds

( ), -2, -2015

lalk/kuksa ij mUgsa vf/kdkj nsdj mUgsa viuk fu.kZ; [kqn ysdj viuk fodkl djus dks vf/kd`r djuk

gksxk] rkfd os vius fodkl ds lkFk&lkFk ns'k dks Hkh le`) cuk ldsa A

&&&00&&&

( ), -2, -2015

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Jankriti (International e magazine), vol-2, April-2015

I am a big man:

My dreams are bigger than me.

The Theatre of Ratan Thiyam , Chorus Repertory Theatre and Actors Training

Essay written by: Dr. Satyabrata Rout

Ratan Thiyam is a man of

multi-dimensional personality. At one hand he is an accomplished writer, poet, dancer, and painter and on other he keeps a strong political

viewpoint and frequently raised his voice for human rights,

against war and sufferings. He has developed a passion to serve people and work for society through theatre during his NSD days in early seventies. He knew the dreams could only be realised through a proper organization with a

group of performers who could understand his ideology and execute them with faith and belief. In the quest of apprehending his vision, he returned back to his hometown at Imphal, Manipur after graduating from NSD, New Delhi in 1975. He knew it well that achieving the goal by doing regional theatre is not an easy job; it needs a lifes

struggle.

North-Eastern part of India remains backward for many reasons. The major population of the frontier belongs to tribal communities, leaving no space for progressive thoughts. Moreover there was always turmoil of political fights. But

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Jankriti (International e magazine), vol-2, April-2015

somehow the valley of Manipur is different from other hilly regions. It has a strong ritualistic vaishnav tradition that forms its base. During the Gaudiya Vaishnava

movements in 18th century initiated by Sri chaitanya Dev of Navadwip, the Vaishnava culture was flourished into a highly devotional ritualistic tradition and formulated the socio-cultural behaviour of Manipuri people. The vaishnav tradition gave rise to many ritualistic activities, which reflects in art and culture of the Manipuri society. Shringarika- Bhkti (devotion through love), being the major component of all the cultures of Manipur is expressed through various performance traditions. These

performance traditions are directly related to temple culture and Radha-Krishna cult. Pung Cholom and Sankirtan, Rasa-lila, Laiharaoba, Thang-Ta, Sumanga lila, etc. are some of the traditional performing art forms, grew in the soil as a cross breed of bhakti and tribal culture. But with all the strong heritage of culture, rituals and other

homogenous activities, Manipur has politically suffered every time. Unrest and communal rites break frequently in the land and people suffer attacks from Border countries. In the midst of these socio-political conditions, Thiyam started struggling for a progressive art movement in the mid seventies.

To start a career in theatre in a place where there is no scope for further

development, Thiyam dreamt of connecting this isolated North-East valley with the mainstream theatre in global perspective. He began motivating youths from various tribes to theatre. The drama school training helped him to inspire few like-minded people; Bhogen, Ibomcha, Ibachoba and Ravindra, etc. who came forward initially to

work in his mission. In the beginningThiyam with the help of these local youths conducted few workshops by adopting realistic method of acting training for his plays as learnt from the drama school. But soon he understood the limitation of urban training method in the soil of Manipur. A Manipuri youth is more exposed to vibrant

ritualistic and tribal cultures as a part of cultural and social heritage. Moreover the urban theatre training could not be easily adopted by the physical and psychological structures of the native youths; they have different ecological, geographical and social conditions, who can be more expressive through the native cultures than an urban

training system developed in West. Immediately Thiyam shifted his perception towards the local indigenous culture and gradually developed a new theatre training system during the course of time. Being a student of the legendary director, E. Alkazi, Ratan Thiyam was well exposed to Western, Greek and Oriental theatre that guided

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Jankriti (International e magazine), vol-2, April-2015

him in developing a global understanding. He developed a method with the

amalgamation of the rooted tradition of Manipur and contemporary global theatre. While looking Thiyam in the perspective of another noted director of Manipur, H. Kanhailal, we found that, both had struggled vividly to achieve regional identity in their theatre practices. Kanhailal rejected urban training system and developed a discipline, borrowing elements from the local day-to-day activities, since he found

them more comfortable for his rural actors1. Ratan Thiyam involved gurus and experts

from various cultural milieus to impart physical and vocal training to his actors in order to bring discipline and order in the physical and vocal system of the actors. He knew that, to express in his kind of theatre, the actors should develop a discipline of voice and body.

Ratan Thiyam explains:

In general the infrastructure of my productions is based on actors

physical appearances. The body language is the main tool to carry the expression. For that my actors work on their body structure, focusing on spine and knee joints. When the spine and knees of the body system are in a bend position, it influences the voice significantly. To bring right emotion through voice in different situations, the actor has to work on his standing and sitting gestures. It also works in reverse way. Physical gestures and voice culture work reciprocally in my productions2.

1 Elaborate discussion on Kanhailals training system is in a different chapter. 2 Interview of Ratan Thiyam, Nov--2013, Imphal.

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Jankriti (International e magazine), vol-2, April-2015

To execute this idea of shaping the physical structure of the actors, he introduced Laihui, Lai-haraoba, Pena, Cholom, Pung, Thanh-Ta, Rasa-lila and many tribal and

folk dance forms into his training. The movement and rhythm of these forms were learnt rigorously from the gurus, without which his actors cannot express. Since Thiyam believes on the holistic approach of theatre, where each actor has to express through dance, movement, improvisation, music, chanting, singing, speech delivery,

narrative style, mime, and at the same time interact with space and visuals, it became essential to go through a painstaking process. Thiyam used to tell his actors; These

forms are like weapons for a warrior, which can be applied at the time of need3.

Out of this concept of new genre theatre and innovative training system, the

famous Chorus Repertory Theatre was born on the 1st April, 1976 at Imphal. A Manipuri play that instigated Thiyams methodology was Sanarembi Chaisra, presented by the repertory in 1977. This is considered as the first play of the repertory and was travelled outside of Manipur to be performed in Delhi at Sriram Centre. Slowly but steadily, Chorus Repertory Theatre gained popularity out side the state and

was invited in many theatre festivals. It acquired a small piece of land at the outskirt

of Imphal city and with the help of few actors; Thiyam was engaged in fulfilling his dream. Though the existing campus of the repertory was developed gradually by acquiring the land bit by bit in the course of time, to start with, he constructed few huts and a workspace for his theatre and training purpose where the actors started

dwelling; it became a residential repertory. During this time, in the early 80s, Thiyam directed three plays, Urubhangam, Imphal Imphal and Karnabharam, in which he experimented with the Manipuri martial art Thang-ta along with the other traditional dance forms; Pung cholom, Rasa lila, etc. By that time Chorus had developed into an

institution having a small but exotic campus. Ratan Thiyam received worldwide recognition as a genius of theatre and Chorus entered in to the international arena with the production of Chakravyuha in 1984. Making of Chakravyuha was the turning point of Thiyams career. It was prepared under the Sangeet Natak Akademis young

directors scheme to promote young theatre practitioners of the country as a part of

Theatre of Roots movement, initiated by Dr. Suresh Awasthi, the founder chairman of Sangeet Natak Akademi, New Delhi. Chakravyuha, not only brought name and fame to Thiyam and his Chorus Repertory in the country, it bagged the most prestigious

3 Interview of Bhogen Singh in Nov. 2013 at Chorus Repertory Theatre, Imphal.

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Jankriti (International e magazine), vol-2, April-2015

award The Grand Fringe Award at the Edinburg Theatre Festival in 1987. The play

succeeded in setting a trend of twentieth century Indian theatre in global arena.

Michael Coveney, the renowned UK based theatre critic and author writes in Financial Times, London about Chakravyuhas histrionic presentation at Fringe

Festival.

I have not yet seen Peter Brooks acclaimed epic staging of the

Mahabharata, which begins its farewell world tour in Zurich this Saturday, but this remarkable Indian company from the Manipur valley in the North East of the continent has all the excitement, vigour and narrative simplicity of a Bruce Lee film or the more recent Golden Child...

...There are battles, processions, and banner waving soldiers, undulating military choreography, thrilling exhibition of martial arts. The music is exquisite, played from the wings on cymbals, drums, gongs, and a celeste.

Now this really some thing worthy of a great international festival...4

After the grand success of the play at Edinburg Theatre festival, invitations flung in to present the play at numerous theatre festivals over the world. The repertory became a touring company, performed in more than hundred theatre festivals across the globe. It travelled in entire Europe, USA, Latin American countries and the Eastern world, which include, Japan, China, Chorea, Thiland, Austrelia, etc. All the succeeding productions of Chakravyuha; Andhayug, Urubhangam, Uttar Priyadarshi,

4 Indians on the Fringe, Michael Coveney, Financial Times, 20th August 1987, London.

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Ritusamgharam, Nine hills One Valley, Prologue, When We Dead Awaken, King of

Dark Chamber, etc. grabbed immediate attention and received international invitations to participate in numerous festivals and occasions across the globe.

Chakravyuha placed Chorus Repertory Theatre in the forefront of the tradition.

Under the guidance of Thiyam, Chorus developed a particularly rich form of theatre, combining modern dramatic techniques with the enormous variety of traditional styles of the valley. It drew on and fused these styles to arrive into a dramatic spectacle, combining dance, drama, mime, martial arts and ancient rituals. With all these creative inputs to the repertory company, Thiyam also started expecting the same

high-level commitment from his actors. They are supposed to live in the campus and work professionally with dedication to develop a work-culture. To make their ends meet the actors adopted some other vocations, like; diary, fishery and poultry in the campus and engaged round the year in researching a particular training system, which

becomes a part of their regular curriculum. To achieve the desired expression as per the demand of the production suit to Thiyams imagination, the actors have to work on their self; physical, oral and intellectual level, even more than a year prior to the productions. This total understanding of the traditional forms, central to their work,

forms the base to develop a new approach on training method, a hybrid of old and new techniques. Stylization being the prime mode of Thiyams expression brought many skills and craft to the training system. Its reflection from text to performance is felt in every smallest components of his creation. The actors has to emphasize simple

oral effect by physically thrusting the words, in which their entire body is involved to create the meaning. This physical portrayal is a distinctive feature of Ratan Thiyam's style. The actor's body moves in internal and external rhythm to the performance text. Thiyam works on varied breathing techniques to create a distinctive language of

expression for each character. We can perceive all the techniques in his productions. Lets take Macbeth as an example to understand his techniques. Each character in this production stands and walks with bending knees as if clinching to the earth. The movements are derived after a keen observation of the tribal communities and their

day today behaviours; their regular habits of climbing trees, swimming the river, walking on the landscapes, etc. The steady, slow and controlled movements and gestures of the characters in the play generate a definite sound and oral pattern for the actors and generates excitement and interest in viewing the show. At the same time it

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Jankriti (International e magazine), vol-2, April-2015

also projects the inner psychological condition of the characters, passing through in different situations of the play. This kind of performance allows the audience to

comprehend the conflict and tension of the characters that penetrates in their mind slowly and gradually. The controlled movements of the actors with the help of their spine and knees position and projection of the voices from various resonators derived from their gestures and postures make Thiyams productions different from the

general trend of contemporary Indian theatre practices. This innovative discipline of performance practice, spectacular aura