Abhivyaktee, Panaji production, ‘Agyat Katha’ recently travelled to Kerala, expanding the reach of Goan Katha Gayan-styled theatre. NT BUZZ learns more about the play which explores identity and self acceptance
KALYANI JHA | NT BUZZ
A musical play by Abhivyaktee, Panaji, directed by Saish Deshpande and written by Antara Bhide has recently been performed at Bharat Rang Mahotsav, an international theatre festival, organised by the ministry of culture and National School of Drama, Bharat Rang Mahostsav, Thrissur, Kerala.
‘Agyaat Katha’ is Bhide’s re-imagination of a segment of Mahabharata, where the Pandavas spend a year in hiding without revealing their identity. It highlights Arjuna’s perspective as a transgender woman, Brihannala, which he chose to spend the Agyaat vaas as. It focuses on Arjuna dealing with the expectations of masculinity, rigid ideals of manhood and examines their devastating consequences.
“I was drawn to this segment because Arjun’s year as Brihannala is often treated as strategy or disguise. I saw it as an inner rupture. What happens to a celebrated warrior when he inhabits a feminine identity not as performance but as lived experience? What cracks open inside him? That question shaped the script,” says Bhide. She explains that in this play, the real battle is not happening in Kurukshetra but in the psyche of Arjuna as Brihannala. “Arjun is mocked for appearing as ‘a woman’, the wound is psychological. The forest becomes an extension of his mind. He hunts to recover a threatened idea of masculinity. Each kill is an attempt to prove something to himself. The violence escalates from birds to beasts to near apocalypse, yet no satisfaction arrives,” explains Bhide adding that she explored masculinity and how its expression through domination and suppression, turns self destructive.
“I chose this segment because I found a crisis of identity. The arrow that Arjuna would not release became the axis of the play. Strength, for me, shifted from the ability to conquer to the courage to accept all parts of the self,” she explains.
What makes this play even more interesting is the lyrical form (Katha Gaayan) that Deshpande and Bhide has presented on stage.
“Goa has its own traditions of ‘Katha Gaayan’ (story recitation forms) that combine elements of folk tales, mythology, and local history. This art form is often traditionally performed by bards accompanied by a chorus in a lively and engaging manner,” explains Deshpande.
‘Agyaat Katha’ aims to honour these traditions and has been designed incorporating the structure of the Goan Katha Gaayan folk forms, along with traditional theatre elements from India, and some influences from the Natya Shastra. The narrative is in Konkani, while the drama part is in lyrical Hindi.
“I wanted Katha Gayan because it creates a strong imagery. And as they sing, the image is created in front of all the audience which I depicted in drama form,” shares Deshpande.
The play premiered at Sunaparanta Goa Centre for the Arts, Altinho last year for World Theatre Day. It has also been performed at Prayog Saanj at Ponda and at Ravindra Bhavan, Sanquelim. It will next be staged on March 6 at the Ravindra Bhavan, Margao.
