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भारंगम की हलचल शुरू हो गई है

भारंगम की शुरुआत होने वाली है। उसकी तैयारियों, उसमें दिखाये जाने वाले नाटकों के बहाने बहुत शानदार लेख लिखा है प्रसिद्ध युवा रंग समीक्षक अमितेश कुमार ने। आपके लिए- जानकी पुल। 
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टिकट खिड़की पर अग्रिम बुकिंग के साथ ही भारंगम की हलचल शुरू हो गई है. तैयारी का अंदाजा आपको भगवानदास रोड पर मुड़ने के साथ हॊ हो जायेगा.  रानावि की बाहरी दिवारों पर प्रस्तुतियों  के चित्रों से सजे बड़े बड़े फ्लैक्स आपका स्वागत करते नजर आयेंगे.  फूड हब बनता था वहां एक मुक्त स्पेस बनाया जा रहा है जो प्रदर्शनी स्थल जैसा लगता है. उसको पूरी तरह ढका नहीं जा रहा है लेकिन बड़े बड़े फ्लैक्सों से छाया जा रहा है पेड़ नहीं होता तो फ्लैक्सों का शामियाना भी बनाया जा सकता था. प्रदर्शनियों की अधिकता का अंदाजा तब मिलेगा जब आपा रानावि भवन की तरफ़ बढ़ेंगे. पोस्टर्स, रंगकर्मियों के पोट्रेट, प्रस्तुतियों के चित्र से रानावि परिसर अंटा पड़ा  है. भवन के ऊपर एक कृत्रिम सेट लगाया गया है जो दो मंजिला होने का अभास दे रहा है.  आशंका है कि इस बार फुड हब नहीं बनेगा लेकिन शंका भी है कि टिकट खिड़की के सामने जो जगह घेरी जा रही है वहां खाने पीने का सामान मिलेगा. टिकट बिक्री की प्रक्रिया सरलीकृत कर दी गई है. पिछले कुछ सालों से अलग अलग प्रेक्षागृह के लिये अलग अलग टिकट खिड़की होती थी, इस बार एक ही खिड़की पर सभी प्रेक्षागृहों के टिकट उपलब्ध हैं लेकिन इसके लिये एक टोकन ले कर एक क्रम में आना पड़ेगा. लेकिन इस सरलीकरण के बाद भी देर रात एक वरिष्ठ साथी ने सूचित किया कि उन्हें सारी टिकटें बुकमाइशो पर मिल गई हैं. यशपाल शर्मा अभिनित नाटक के भी. मुझे याद है कि हिंदी नाटकों के टिकट कितनी शीघ्र हाउसफूल हो जाते थे.  लेकिन इस बार ग्यारह बज गये हैं और रानावि में टिकटार्थियों की संख्या उत्साहजनक नहीं है.

भारंगम इस बार रानावि के बदले हुए नये प्रशासन तंत्र में हो रहा है. इसलिये वातावरण में बदलाव है जो स्क्रिनिंग समिति के बदल दिये जाने के साथ शुरऊ हुआ. नये निदेशक तैयारियों का जायजा खुद ले रहे हैंतो कैसा होगा इस बार का भारंगम! मौसम का अनुपयुक्त चुनाव, नाटकों की अधिकता, चयन की   दुरभिसंधिया, फेवरेटिज्म, प्रस्तुतियों को अंदर बाहर करने का तिकड़म, इत्यादि जैसी बिमारियों पर बात करना अब एक प्रलाप समझा जाता है लेकिन इनका स्मारण बार बार दिलाना लाजमी है क्योंकि इनको बदले बिना बदलाव संभव नहीं.

भारंगम  में इस बार अंतराराष्ट्रीय प्रस्तुतियां, पारंपरिक नाट्य रूप है, पारंपरिक प्रदर्शन रूप हैं, अनेक छवियों में समकालीन आधुनिक प्रस्तुतियां हैं, और उत्तर आधुनिकता से प्रभावित प्रायोगिक प्रदर्शन रूप समेत सत्तर के लगभग प्रस्तुतियां है.  भारंगम का उद्घाटन रानावि रंगमंडल की प्रस्तुति छाया शंकुतलासे होगा जिसे वरिष्ठ नाट्य निर्देशक के.एम.पणिक्कर ने निर्देशित किया है. गौरतलब है कि रंगमंडल की स्थापना का यह पचासवां साल है और इस वर्ष भारंगम में रंगमंडल की यह एकमात्र प्रस्तुति है.  पचास सालों में रंगमंडल कहां आ पहूंचा है. क्योंकि भारंगम में हमेशा रानावि कि एक से अधिक प्रस्तुतियां शामिल   होती रही हैं.

भारंगम को इस बार अंतरार्ष्ट्रीय महोत्सव की तरह प्रचारित किया जा रहा है लेकिन इसमें एशिया से बाहर की सिर्फ़ दो प्रस्तुतियां है जर्मनी और पोलैंड की. इजराईल, श्रीलंका और जापान के अलावा चीन है जिसके नाट्य विद्यालय के साथ रानावि का करार है. इन प्रस्तुतियों में इजराइल की प्रस्तुति  –  ‘द वुमन हु डिडनाट कम डाउन टु अर्थहै. इस पर रंगकर्मियों की विशेष नजर होगी क्योंकि प्रस्तुति की भाषा  रंगकर्मियों को प्रेरित करती रही है.  शैली की सादगी, देह भाषा पर जोर और कथ्य की गंभीरता इजराईल भारंगम में आने वाले इजराईल के नाटकों की खासियत रही है.
 भारंगम में हिंदी भाषा के नाटकों के प्रतिनिधित्व का सवाल हमेशा रहता है और यह वाज़िब है क्योंकि हिंदी भाषी राज्यों और रंगकेंद्रों की संख्या अधिक होने की वज़ह से उनकी संख्या भी अधिक होनी चहिये. लेकिन हिंदी की अधिकतर प्रस्तुतियां रानावि की रहती हैं. जैसे इस बार रानावि  की सात छात्र डिप्लोमा प्रस्तुतियां है. यह सवाल पूछना भी बेमानी है कि क्या यह आठ प्रस्तुतियां (एक शब्दहीन प्रस्तुति) इतनी बेहतरीन है कि इन्हें बिना किसी प्रतियोगिता के भारंगम में शामिल कर लिया जाता है! इनसे बेहतर हिंदी की प्रस्तुतियां बाहर रह जाती है.  रानावि को इस तथ्य की परवाह भी नहीं है कि वह भारंगम के लिये एक संचालक एजेंसी है, वह संस्थान के सालाना जलसे की तरह इसका आयोजन करता रहा है.  हिंदी की प्रात्सियियों में मुम्बई से दिनेश ठाकुर निर्देशित अंजी’ (ना. विजय तेंदुलकर), अतुल तिवारी निर्देशित ताउस चमन की मैना’, रसिका आगासे निर्देशित म्युजियम आफ़ स्पीसिज इन डेन्जर’, कोलकाता से  शीला झुनझुनवाल निर्देशित अलका’ (ना. मनोज मित्रा), ऊषा गांगुली निर्देशित हम मुख्ताराऔर रमनजीत कौर निर्देशित बावरे मन के सपने’, पटना से रणधीर निर्देशित जहाजी’(ना. राजेश चंद्रा), संजय उपाध्याय निर्देशित धरती आबा(ना. हृषिकेश सुलभ), लखनऊ से सुर्यमोहन कुलश्रेष्ठ निर्देशित बाल्कन वुमन’, भोपाल से बंशी कोल निर्देशित सौदागर’ (ना. ब्रेख्त),  राष्ट्रीय राजधानी क्षेत्र से राजेश बाली निर्देशित कोई बात चले’. इसे भी अगर फ़रीदाबाद, हरियाणा की प्रस्तुति माने (जैसा कि विवरण में दर्ज है) तो दिल्ली के हिंदी रंगमंच से रानावि से बाहर की प्रस्तुति इस बार नहीं है. इसके दो आशय है एक कि भारंगम का मानना है कि दिल्ली के हिंदी रंगमंच में कुछ उल्लेखनीय नहीं हो रहा है  और  दूसरा कि दिल्ली हिंदी रंगमंच को प्रयत्नपूर्वक भारंगम से बाहर रखने का कोई तिकड़म किया गया है.  हिंदी की प्रस्तुतियों मे रणधीर निर्देशित जहाजिन’ (ना. राजेश चन्द्रा) एक उम्दा प्रस्तुति है और इसने पिछले साल विभिन्न राष्ट्रीय महोत्सवों में उपसथिति दर्ज कराइ है और प्रशंसा प्राप्त की है. यह स्वतंत्राप्रापति के बाद भारत में विकास के नाप पर हुए विस्थापन की तबाही का दस्तावेजी बयान है, आलेख, अभिनेता और मंचीय परिकल्पना का अद्भूत मेल है.  ऊषा गांगुली की प्रस्तुति हम मुख्तारा भी चर्चित प्रस्तुति है.  नीलम मान सिंह की चर्चित प्रस्तुति लाइसेंसभी है जो मंटो और ब्रेख्त की रचनाओं पर आधारित है.  ‘धरती आबाझारखंड के आदिवासी नायक बिरसा मुंडा के जीवन संघर्ष का मंचन है. 
  
भारंगम में इस बार पारंपरिक नाटकों की संख्या बढ़ी है. पिछले भारंगम में इन नाटकों में दर्शकों की अच्छी संख्या आई थी. नौटंकी, भवई, दशावतर, सुमंगललीला, तमाशा, जैसी शैलियों की उपस्थिति है. महोत्सव का समापन भी तमाशा से होगा. इस कदम की सराहना कि जानी चाहिये. पारंपरिक रंगरूपों को देखने का यह बढ़िया मौक अभारंगम के दर्शकों को मिला है. रंगकर्मी भी इन शैलियों की जीवंतता का साक्षात्कार कर सकते है, इस तरह से इनकी उपस्थिति के बहुआयामी लाभ है.  पारंपरिक नाटकों के अलावा पारंपरिक प्रदर्शन शैलियां भी भारंगम में विशेष आकर्षण है जिसमें बस्तर के आदिवासियों का देशज संगीत दल बस्तर बैंड, बाऊल गीत, , पूरूइया छउ शामिल है.  
भारतीय भाषाकों के नाटकों में मनिष मित्रा उरूभंगमकी  छः घंटे बांग्ला प्रस्तुति ले कर आये हैं. संस्कृत के इस क्लासिक नाटक की इतनी लंबी प्रस्तुति गति की आदत वाले दर्शकों के धैर्य की परिक्षा लेगी, यह बेहतरीन नाट्यानुभव भी हो सकता है. देवेश चटोपाध्याय निर्देशित निस्संग सम्राटप्रसिद्ध रंगकर्मी शिशिर कुमार भादुड़ी के जीवन पर है. कन्नड भाषा की  प्रस्तुति शेक्सपीयर के विभिन्न नाटकों के पात्रों और घटनाओं की मंच व्याख्या करेगी तो  बांग्ला भाषा की प्रस्तुति हे मानुष…’ आधुनिक क्लासिक  अंधायुगको नवीन संदर्भों में प्रस्तुत करेगी.  मणिपुरी प्रस्तुति लेमेन्ट आफ विडोमहाभारत के कर्ण प्रसंग का पुनाराख्यान है. इस बार जयदेव के  गीत गोविंदम पर एक उड़िया प्रस्तुति भी है. कश्मीरी नाटकों की उल्लेखनीय प्रस्तुति इस बार भारंगम में है. एम.के रैना की सक्रियता इधर कश्मीर में बढ़ी है वे गोसाईं पाथेरले कर आये हैं.  अन्य दो निसार अहमद भगत निर्देशित भांड पाथेरऔर  आयशा आरिफ़ निर्देशित रथ वांद्ये मिलानोहै.
उत्तर आधुनिक शैलियों की प्रस्तुति में विक्रम आयंगार की प्रस्तुति  ‘दोज हु कुड नाट हीअर द म्युजिक’, नाट्य और नृत्य  से युक्त प्रदर्शन रूप है.  मायाऔर   ‘रिप्पलस’,  शब्दहीन प्रस्तुतियां है तो  ‘टेमिंग आफ द वाइल्ड’  खिलौना रंगमंच है. अनुरूपा राय ने अपनी कठपुतलियों रंगमंच का आधुनिक अन्वेषण किया है उनकी प्रस्तुतियां विगत सालों के  भारंगम की बेहतरीन प्रस्तुय्तां रही है. इस बार भी लाइफ इन प्रोग्रेसको दर्शकों को अपनी प्राथमिकता सूची में शामिल कर लेना चाहिये.

ऐसा कहा जाता रहा है कि भारंगम या इस तरह के नाट्य महोतस्व तत्कालीन परिस्थितियों को मद्देनजर नहीं रखता. लेकिन इस बार कुछ प्रस्तुतियों में सामयिक स्त्री आंदोलन को दर्ज करने वाली प्रस्तुतियां शामिल हैं. रसिका आगाशे की प्रस्तुति  म्युजियम आफ़ स्पीसिज इन डेन्जर’ , रमनजीत कौर निर्देशित बावरे मन के सपने’, पार्थप्रतिम देब निर्देशित नाचनी’  ऊषा गांगुली निर्देशित  हम मुख्तारा’, नीलम मान सिंह चौधरी की द लाइसेंस इत्यादि ऐसे प्रस्तुतियां है जो स्त्री आकांक्षा और उनके प्रतिरोध का चित्रण करती हुई , समाज में उनकी वास्तविक उपस्थिति को शामिल करती है. इन प्रस्तुतियों में वैसी महिलाओं की  भी चिंता है जो सामाजिक पदक्रम में नीचे हैं.

भारंगम के नाटकों की सूची को सरसरी निगाह से देखने पर लगता है कि इस बार कुछ ऐसा नहीं है जो आपको इस उत्साह से भर दे कि आप ठंढ में उठ कर टिकट कताने जाये लेकिन सूचि का अध्ययन बताता है कि कुछ अलग मिज़ाज अलग है. निरर्थक प्रयोगों वाले नाटकों की संख्या में कमी, पारंपरिक शैलियों की प्रस्तुतियों में बढोतरी, भारंगम में सतत उपस्थिति बनाए रखने वाले समूहों और निर्देशकों की अनुपस्थिति, पूर्वोत्तर के रंगमंच से नई आमद और भारंगम की साज सज्जा का बदला हुआ तरीका, कुछ संकेत तो जरूर दे रहा है. फिर भी कुछ सवाल पुछे जाने चाहिये. चयन की अनुपयुक्त, अपारदर्शी  और तिकड़मी व्यवस्था कब समाप्त होगी? कमजोर प्रस्तुतियों की उपस्थिति क्यों होती है, इसका जिम्मेवार कौन है? कुर्सी के इर्द-गिर्द खर पतवारों को क्यों नही साफ़ किया जा रहा है?  भारतीय रंगमंच का सही मायने में प्रतिनिधित्व भारंगम में कब बहाल होगा? इसका समय निर्धारण क्यों नहीं बदला जा रहा है? क्या भारंगम को नये सिरे से पुनर्संयोजित करने की जरूरत नहीं है?

नये अध्यक्ष और निर्देशक ने जब पदभार ग्रहण किया तो सोलहवें भारंगम की प्रक्रिया आरंभ हो चुकी थी, अब पूर्णतया उनके कार्यकाल में भारंगम होगा तो उन्हें नये सिरे से भारंगम की परिकल्पना करनी चाहिये , आखिर हम भी मान चुके है कि यह रानावि का आयोजन है इसलिये रानावि प्रशासन से ही उम्मीद है. अब प्रशासन में ऐसे अनुभवी और प्रतिष्ठित रंगकर्मियों से उम्मीद नहीं की जानी चाहिये क्या?

 
      

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तन्हाई का अंधा शिगाफ़ : भाग-10 अंतिम

आप पढ़ रहे हैं तन्हाई का अंधा शिगाफ़। मीना कुमारी की ज़िंदगी, काम और हादसात …

150 comments

  1. natak jo bhi ho—–usme rash ho—apka lekh acha laga

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    सुंदर 🙂

  3. रंगकर्मियों के लिए शानदार लेख लगता है। मुझे अधिक ज्ञान नहीं फिर भी पढ़ा कुछ तो समझ में भी आया।

  4. भूल सुधार -‘द वुमन हु डिडना’ट कम डाउन टु अर्थ’ की जगह ‘द वुमन हु डिडना’ट वांट टु कम डाउन टु अर्थ’ और सुमंगललीला की जगह सुमंगलीला…

  5. अमितेश का यह लेख इस संदर्भ में आए अन्य लेखों या खबरों से बहुत अलग, अर्थपूर्ण और बढ़िया है क्योंकि यह अनुपयुक्त, अपारदर्शी और तिकड़मी व्यवस्था से सवाल पूछने का साहस दिखाता है, सारी जरूरी सूचनाएं देते हुए भी।

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