Mahesh Duttani

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  • Topic: Arvind Gaur, Mallika Sarabhai, Theatre
  • Pages : 8 (3168 words )
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  • Published : February 20, 2013
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Mahesh Dattani's Final Solutions   Final Solutionsby Mahesh Dattani    Direction Arvind Gaur  Translation Shahid Anwar MusicDr.Sangeeta Gaur  Kavita Nagpal Hindustan TimesMahesh Dattani's final solutions in its Hindustan avatar sound and look much better than it did in the original English. Translator Shahid Anwar and director Arvind Gaur have made major improvements – and not merely of the cosmetic kind – to reveal the communal passions that scar our collective subconscious…the plot is straightforward.Mobs are on the rampage in the city in the aftermath of an attack on a rath yatra passing through a Muslim locality…in a daring departure, Arvind gaur invites the audience to participate in a debate at the end of the play. And people have been staying backing large numbers to discuss the communal aspect of the drama…though there are the usual status quoits, strong voices have been raised for and against the treatment of the "guilty" majority and the "persecuted" minority. With the screaming, stomping, sinister mob in thebackground of this high charged interplay, we have a dramatically explosive play on boards….Arvind Gaur pitched and kept the action at a level on high tension. ..... Smita NirulaThe Pioneer Final solution was first performed in Bombay under Alyque Padamsee's direction. It evolved through a workshop after the Ahmedabad riots, and gained relevance post the Mumbai riots; it has consistently been associated with them. Written in English final solution found an audience that normally chose to disassociate itself with the harsh realities of life and pretend that certain situations did not exist. An audience that went to the theatre to be entertained was suddenly confronted with its own reality…there was a negative anger with the audience. It was an anger towards being made to feel apologetic for one's own being, one's faith. There was resentment at being portrayed as "the enemy"…Shahid Anwar has translated the script in to a simply written but highly forceful and evocative Hindustani script for Asmita. Directed by Arvind gaur, the first Hindustani version of final solutions premiered in September 1997. An intense play it confronts a situation where Hindu Muslim animosity develops in to chaos…what eventually come across (apart from the larger fact of communalism) is that all the characters are victims of circumstances and social conditioning and what was a personal experience for them , gains the enormity of a larger perspective. The chorus is something that drew a lot of comment … here the design is straightforward. Its continual presence, its hovering proximity and its occasionally threatening, occasionally silent almost oppressive nearness, constantly comments upon and envelops the action inside the Gandhi household. Shifting from the two communities it also comments upon the fact that a mob has no name, no loyalty. If the price is right so is the cause. The play is powerful, the production intense, the subject difficult, the response good.  Nikhat Kazmi Times of IndiaPlay, that looks at India - now and henceforth; both forceful and relevant…communalism? One community hates another. One community is in the majority, the other is in the minority. Consequently, the two communities are at loggerheads, living in a atmosphere of conflict and acrimony. The 1990's have seen a number of films, plays and dissertations, which have tried to lift the cover off this contemporary scourge.And some where in the volley of questions and answers. There comes forth a reductive analysis, which reduces a complex phenomenon to a series of cause and effects. Rarely do we come across serious attempts that go beyond the superficial lesions and talk about the problem with all its complexities. Mahesh Dattani's is that rare look at the socio-political problem that defines all final solutions. In Dattani’s view, Hindus and Muslims are not...
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