Reimagining 'Lok-Mahabharat' through theatre in Goa

Set amidst the natural ambience of flora and fauna to celebrate World Theatre Day, Agyaat-Katha was presented by Abhiyaktee-Panaji and staged at Sunapranta, Goa Centre for the Arts, Altinho, Panjim.

Agyaat-Katha is a theatre performance based on a re-imagined episode from the Lok-Mahabharat. The stage enactment of Agyaat-Katha, enriched with songs and dances, is scripted by Antara Bhide and directed by Dr Shaish Deshpande, who also contributed to the design, music and production.

ABOUT AGYAAT-KATHA

The characters on stage included Priyanka Verekar, Abhishek Dhawaskar, Mohan Chandelkar, Krupa Vaze, Antara Bhide, Tania Gaikwad, Varad Vishwanath Tari, Dr Chitra Mekoth, Navami Naik and Mandar Jog.

Sharing insights on the colourful and mesmerising presentation on stage, director Dr Shaish Deshpande said, “Goa has its own traditions of katha gaayan (recitation forms) that combine elements of folktales, mythology and local history.”

“This art form is often presented by the bards accompanied by a chorus in a lively and engaging manner,” he added.

MODERN SPIN: 'Agyaat-Katha' was presented by Abhiyaktee-Panaji on World Theatre Day.

“Agyaat-Katha aims to honour these , and has been designed incorporating the structure of the Katha Gaayan, along with few identifiable conventions of Indian theatre and dance forms,” Deshpande continued.

He further informed that Agyaat-Katha reflects a re-imagined episode from the Lok Mahabharat, while embracing the collective nature of the storytelling tradition to give it a contemporary resonance.

He further informed that Agyaat-Katha reflects a re-imagined episode from the Lok Mahabharat, while embracing the collective nature of the storytelling tradition to give it a contemporary resonance.

In Agyaat-Katha, you can enjoy a blend of melodies, semi-classical dance and music phrases alongside stylised movements infused with raw emotion, weaving together a rustic tapestry of Indian theatre styles. It also helps to understand a deeper connection to the epic that binds people, and an appreciation for the ways in which theatre addresses both, the past and the present.

Throwing light on the script, the writer, Antara Bhide said, “The stories we inherit shape us — sometimes they empower, sometimes they confine.”

CLASSIC STYLES: 'Agyaat-Katha' is a blend of folk melodies, semi-classical dance, stylised movements infused with raw emotion, and a tapestry of Indian theatre styles.

She added that Agyaat-Katha began with a question: What happens when a warrior unlearns war? Arjuna’s time as Brihannala is often dismissed as a disguise, but what if it was a deeper, honest confrontation with identity?

“Patriarchy doesn’t just oppress ,” Bhide mentioned. “It traps men, too. It upholds masculinity as strength, and femininity as weakness. We are taught that gentleness and vulnerability are shameful, that to be a man is to dominate and to fight. But, what true strength lies in embracing all parts of ourselves?” she queried.

“This play is about the suffocating weight of these expectations, the violence they breed, and the quiet defiance of fluidity,” she informed.

“It is about the of fitting in and the courage it takes to be whole. Nature, in its vastness, does not demand conformity. It witnesses, embraces and allows everyone to step into the journey as a witness to a truth unfolding,” she added.

From synchronised acts on stage to flawless renditions offstage and intricate dance sequences, Agyaat-Katha takes you back to the Medieval age, while at the same time, helps you stay connected to the present.

BEHIND THE SCENES

From synchronised acts on stage to flawless renditions offstage and intricate dance sequences, Agyaat-Katha takes you back to the Medieval age, while at the same time, helps you stay connected to the present.

The choreography of the show was handled by Priyanka Verekar; and lights, design and execution were done by Avinash Chari.

The costumes and makeup were taken care of by Abhiyaktee and Alisha Menezes respectively. Masks and props were shouldered by Antara Bhide, and Krupa Vaze was in-charge of the wardrobe.

Rahul Meewa took care of the digital art, while sound equipment was handled by Wellington Monteiro. Taniya Gaikwad looked after the stage management, while Rohak Yuvraj Mangeshkar was responsible for the equipment.