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Performance : A play opens late in the evening
with an invocation of gods and goddesses by the players. It begins quite often
with a tribute to the founder of the Maanch mandal (group) and the
script-writer. This is followed by verses in praise of Saraswati (the goddess of
learning), Ganesh, Bherun, Chousath Jogin ( The sixty-four nuns) etc. The songs are
rendered by the entire cast standing with folded hands on the stage.
Then comes the Chopdar to
introduce the story. Prior to that, he summons the Bhisti (water carrier) to
sprinkle water on the ground. He is followed by the Farrasan who is supposed to
spread a carpet. They represent in mime their respective functions and prepare
the stage for the performance. Both the Bhisti and the Farrasan run on their
performance for more than an hour singing several songs.
The
Chopdar has to perform an
important role before the actual play starts. He invites the actors on the stage
and introduces them with a few introductory words to the audience. The dialogues
in the Maanch always end with the refrain line which is sung by the performers,
standing together either in the corner of the stage or arranging themselves near
the instrumentalists. Here dholak plays a vital part. The orchestra repeats the
dramatic verse and enables the actor to dance in circles at the conclusion of
each couplet. The dholak has its own style and forms the base of typical folk
music of the region. The sarangi is used to produce orchestral effects.
The presentation technique of the
Maanch, its thematic elements, efflorescent musical fabric and gaudy costumes
have a rich tradition. Actors are free to move during the performance. There
are no rigid rules and stage formalities. They sometimes even sit amongst the
audience when there is no work on stage. Sometimes the characters do not
leave the platform at all. They just go a few steps backward and wait for their
turn. Certain characters make their entry ceremoniously from a distance often
walking through the audience.
Musical Content
In Maanch the dialogues are set to
different tunes called Rangat Dohas. It is the musical sense that permeates the
entire structure. The couplets are sung in three styles namely, Ikhari Rangat,
Dokadi Rangat and Langdi Rangat. The intact melody of Jhela is introduced in
between the Dohas, whenever the singing pattern needs a change. Each couplet or
single unit of dialogue ends with a fixed refrain sung in chorus.
The scale of tal is strictly
followed in dholak while the sarangi follows the singer in normal course. There
are about two dozen tunes often utilised in Maanch. Rangat Ikhari, Rangat Dokadi, Kaligara
Rangat, Jhela, Chhoti Rangat, Sindhu Badhawa, Udayya etc. are
some of the known varieties. Haloor ends with a phrase called Mahara Raj. Gazal
is also used. It is a separate metre sung in a quick tempo
In
Maanch, the opening block of
lines is called Ger, i.e. the beginning and the lines that follow are known as
Udapa. Daur is the word for quick singing. The words are heard only in between
the dialogues concluding with the leading lines. Folk tunes are utilised at
proper situations in the play. A definite tune of Maanch cuts across the whole
play. It has its own identity. A kind of gusto and abundance is attached to
it.
Costumes
The costumes used in Maanch are
locally prepared. Each character actor has a set of familiar clothes. The main
character has to wear more attractive angarkha or a long coat with multi-hued
safu, adding Kaldi to it. He enters the stage with an aura of dignity. Women's
roles are enacted by male actors. Spectators do not mind whether she has
moustaches and masculine angles.
These actors adequately use the
stage. They move in conventional styles speaking or singing their dialogues
while at every movement the dholak is at work. Their facial expressions and
physical gestures of hands and feet always give dramatic impact upon the
audience.
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