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Assamese Theatre' CHANDRA KANT PHOOKAN W hen wepause to ponder and search beyond the cyclorama ofthe theatre, we find that the urge ofhumanity to express itselfhas created not only theatre but all the arts-beitpoetry, the novel,music, dance, orarchitecture, oranythingthatcanconceiv ablybecalledartinthewidestsense.Itiscommonhumanitywhichisthe bedrockofallarts anditison thisbedrockthat many differentstructuresfor, and forms of, theatrehavebeen built,beittheluxuriousair-conditioned auditoriumofthemetropolisorthemodest,inad equately equipped, thatch-roofed playhouse in some small town; whether a performance byskilled artists inacultivated language. oranenthusiastic representation of ahumble themebyagroupofuncouthurchinsinsomeremotevillage.Sothesourceofart-creation, intheultimateanalysis.isthesameeverywhere-theculture oftheparticularregion. ThetaskofwritinganaccountoftheAssamesedramaforthisseminarhasunfortunately fallenonme,inpreferencetopersonsdefinitelymoresuitableandbetterequippedto fulfil suchanassignmentBelieveme,myfeelingsatthismomentarequiteidenticaltothoseof apoacher, seeking game onland to which hehas notitle. Havingacceptedthe assignment, I am obliged to behave like an ignoramus; I have not only gone to learned people for references, butatplacesIhavealsoconveniently usedtheir languageverbatim, because theirexpressionsareboth authenticand well-phrased.Ihopeyou will bearwith me. Wemayperhaps saythat the presentIndiantheatrein differentparts ofthe countryhas takenshape,particularlyintechniqueofpresentation, underthe influenceofthe European theatre. Weallknow that duringthe periodofforeignrule, Indiantheatrehadrecededtoa positionnot ofdignityorhonourand had witheredfor wantofproperencouragementand inspiration. Though avigorous regeneration ofourtheatre, asmaybeexpectedtofollow thepoliticalemancipationofthecountry,hasyet to setin,Indiantheatrecertainlylooks as though it has awakened after a long slumber and is being imperceptibly admitted into society to regain its position in the national life ofthe people. Some acceptthis develop mentwithgrace.whilesomeothersconsiderittobeanecessaryevilofmoderntimes-the result, atany rate, is that the numberofits opponents is dwindling. Whenwe try topenetratethe past andto find out whatkindoftheatre was prevalentin Assam before the present forms were established, mostly in towns, we find a type of populartheatre commonly known in Assam as Bhaonaperformed in almost all the khels .Much helphasbeentaken inthepreparation ofthispaper fromAnkiaNat, publishedbytheDepartment ofHistorical andAntiquarian Studies, Assam, and editedbyDrBirinchi KumarBaruah,M.A.,Ph.D.,ofthe GauhatiUniversityandfrom thechapterontheAssamesetheatre inthebookTheRedRiver and theBlue HillbyShriHemBaruaji, Principal, B.Baruah College,Gauhati. Iexpressmythanks toboththeseeminent scholars.-C.K.p. Sangeet Natak Vol.XXXVIII,No.2. 2004 ASSAMESETHEATRE 37 (villageunits)withpopularenthusiasm;ithaditsrootsthereasacommunityfestivaland hasbecomeaninseparableelementofAssamesefolklife. ThefatherofAssamesetheatreisShriShankaradeva(A.D.1449-1569).Itishewhofirst wrotethe drama. conceivedthe dance.composedthesongs andtunes,andharnessedall theseforcreating the Bhaona, adopting a technique whichhas not yet been replaced bya better one. Possessed of acreative genius andmasteryof everyartthat makes aliving theatre,Shri Shankaradeva gavethistheatre form thestampofreligioussignificanceand popularizeditinthe wholeregion.The useofpaintedscenery.asearlyasinthefifteenth century.wascertainlyauniquethingforAssam,possiblyforthewholeofIndia.Scenesfor plays werepersonallypaintedbyShri Shankaradeva;hewrotethe Chihna-jalra,apageant inpaintedscenes.HischiefmotivewastopopularizetheKrishnalegends.especiallythose connected withthe central figure of Krishna.This pattern of theatre has maintained its .popularity formore thanfivecenturies.Someartists, under theimpactofmodemideas, occasionallyventuretogivethese Bhaonas acoatofnewcolour. buttheessential frame work remains unchanged.The inexhaustibleIndianepics.whichhavebeenthecommon pool forproviding themes and inspiration to authors inandoutside India, provided ShriShankaradeva toowith plotsforhisdramas.Inanagewhenprintingwasunknown. this great Vaishnavitereformerrecognizedand usedBhaonaasaneffective mediumto reach and preach to his people.Hiswere all one-actplays(AnkiaNat), and, whenelabo ratelyperformed, tookalmostthe entire night. In the context of the brief theatrical performances of the present day, these Bhaonas seem lengthy,although the Nat itself,as a written piece ofwork,isvery short. Itis made lengthy inthe produclion with the purpose of prolonging theentertainmentforthe whole night.Visualizingtheperiodfivehundredyearsago.whentheseplayswerefirstcreated.we havetoadmitthatafullnight'sentenainmentwasinthenaturalorderofthingsnotonlyin Assambut perhaps elsewhere too. It iscustomary foraSutradharaofBhaonatorepeatin prosethedialoguealreadydeliveredinversebytheactor.Thepaceoflifethosedaysbeing slow,theaudiencewouldgenerallytaketimetocomefromtheirdistantvillagesandwould not ordinarily feel inclined to leave the show until daybreak. Very oflen these theatrical performances continuedalso during the day. These sequels wereperhaps primarily in tendedfortheamusementofchildren.Therewasprovisionformeatsbetweenthedayand the night shows.The actual performance was preceded by a big orchestra, played by at leastadozenof whatinAssamesearecalledgayan-bayans,singersandinstrument-play ers,foradurationofatleasttwohours.Theforcefulrhythmoftheorchestracouldbeheard milesaway.andevenintheabsenceof microphonesandloudspeakers, thesurrounding populationwhichformedthe audiencecouldprepareand proceedtothe placeoftheperfor mance.The useof masksinthe make-upof characterslike Ravana, Vibhishana,Jatayu, Bakasur andothersis animportant feature of Bhaonas. The khanikara (make-upman) eitherpossessessuchspecial propertiesandlendsIhemtothe khettroupe.orthese remain thepropertyofthe khelitself.Themake-upmanfits thesemasksontheparticularcharacter J8 CHANDRA KANT PHOOKAN inthechoo-ghar(greenroom)before the beginning ofthe performance, JUSIbefore theshowbegins,theSutradharaaddressestheaudience afterthecustomof Sanskritdramasandintroduces thecharacters with humility,seekingthe blessingsofGod. A comic character (Bahua), whom it would not be wrong to call a clown, occasionally appearsintheshow,veryoftenjustbeforetheentranceofthe King, toprovide comicrelief totheaudience.Rakshasasordemons arepainted black;devatas orgods,yellow;Krishna, Arjuna,Rarna,DraupadiandSitaarepaintedgreen(shyama).Thisorganiccolourmake-up, however. isbeingslowlyreplacedbymodemcosmetics.What isunderstood asactionin thedrama isexpressed through symbolicgesturesaswell asdances withmudras,and the pathosisveryoftenexpressed insong(vilap).Throughoutthe play,the Sutradharaactsas thedirector.Theorchestrahands, the chorussingers,and othermusicians arecompletely integrated intheperformance,somuch sothattheyare asessentialasanyother Bhaoria. Since these plays were performed in the namghars of Assamese village khels, where naturallyalltheactors werenotliterate, the roleofSutradharahad tobe takenby someone whocould read thedramas and could prompt. Opendirection and prompting are accepted inBhaona asnecessary aids. Theroles ofSutradhara,who had to bea literateperson,and of Krishna,to whomvery often allthe actors hadtobow low, were commonlytakenby a Brahmin or a man ofsuperiorcaste, conforming to the social code ofthe time. Wiw We spreadofliteracy,theserestrictionsorlimitationsaredisappearing,andthe roles arebegin ningto be distributed tosuit Wenatural taleotofactors. Thoughitisnotpossibletospeak with authority about whatkindoftheatrehadexisted in Assam before Shri Shankaradeva created the Bhaona, it may safely be said that the miniaturefolkplayknowninAssamasOja-pali, withmusic,dialogue,andbodymovements, musthaveexisted andgiven stimulustothe productionofBhaonasby ShriShankaradeva. ShriShankaradevaandhisgreat disciple,Shri Madhabadeva,createdBhaonasand used thisforceful mediumtobringthetenetsofVaishnavismtothe people.Therepervadesinthe BhaonasaSenseofausterity;actingbywomenisinadmissible. Bhaonasareperformedinthenamghar,generallyatwo-roofedthatchedstructurewhich combinesthestageandtheauditorium.It isabigmultipurpose houseusedasaprayer-hall, aseatofjusticewhere localdisputes are settledandmatters of current interestdiscussed. Attached to the namghar is the manikut where, upon a wooden throne-simhasana-an imageofVishnuiskept. Only aselectfew canenter themanikut, Though born out ofreligious motives,the Bhaona also beganto serve the purposeof recreation.Italsogainedanadditionalimpetus when the Ahom kings selectedBhaonafor the amusement of royal courts and patronized its performances with elaborate arrange ments onimportantoccasions. Satradhikars have made the most vital contribution to this theatre by having carefully preserved thetradition ofthe Bhaonain theirrespective satras".Theirpersonal participa- ,.Satras are vaishnava monasticestablishmentsorAssam.each headed byaSatradhikar. ASSAMESE THEATRE 39 tionintheBhaonahaslentprestigetothetheatre.Itiscustomaryformanyofthemtowrite dramasanddirectperformances,aswelltogiveevidenceoftheirartisticaccomplishments beforeformalaccessionto theirtitleofpriesthood. In theearly nineteenth century.when Assamwas passingthrough aseriesofpolitical catastrophes,culminatingultimatelyintheoccupationofthecountrybytheBritish,Bhaona Jostagooddealoftheparticipationofthepeopleonaccountofthecontinueduncertainties that prevailed. It also lost the patronage ofthe Ahom kings who lost their sovereignty. Assam came to be a British possession in 1826 and along with this naturally started the dominanceof thingsEuropean,particularlyEnglish-beitlanguageoreducation, custom orcostume.mannersormodes. During the last decade ofthe nineteenth and the first decadeofthe twentieth century, the new theatre carne to Assam through the Calcuna stage and sJowly began to establish itself in the different towns ofAssam. With the introduction of English education, the influencebecamemoreandmoredirectand,asaresult,theBhaonarecededtothevillages, leaving to hernew, fashionable sisterundisputed domainof the towns, At thisstage, occasionalamateurperformancesofnewplayswereheldinimprovisedplayhousesonthe occasionoffestivalslikeDurgaPuja, whichslowlybecameacustom,Intheleadingtowns ofAssam.asortofsemi-permanentbuildingfordramaticperformancescameup.adjoining the compound of the Durga Puja mandap. The reason for the popular enthusiasm for holdingtheatricalperformancesduringtheDurgaPujacouldbetheimmigrationofBengalis, whowerenowcomingtoAssamingoodnumberstofilluppostscreatedbythenewrulers intheirnewadministrativeset-up. A numberofAssamesewritersMOteplaystomeetthedemandofamateurgroups,but translationofBengalidramas was considered an easierjob.TheBritishhavingintroduced Bengalias thecourtlanguage inpreferenceto Assamese, theinitiativeto writeplays in Assamescperhapsreceived asetback. Thereisnoprofessionaltheatre inAssam,andthereforeactingasaprofessionhasyet togrow.Theamateurtheatresocietiesthatwereformedinalmosteverytowntoproducean occasional drama,particularly on the occasion ofDurga Pujaor other festivals,grappled with the entire problemrelating tothe modemplayand itsproduction. It istheseamateur dramatic clubs that have directly inspired the creation ofmodem dramatic literature in Assam.'Appetitecomeswitheating'.astheFrenchsay.butmanyAssamesedramas were created inthereverseprocesswhenaclubresolvedtoholdaperformancewithout even havinga play to stage.Such theatresocietiesfell that thefirsthurdleinthe path oftheatre was lackofsuitable plays.Somemembers,outoftheirzeal to fulfil the demand, oftheir clubs,wrotedramas,and veryoftenthecharactersintheseplayswere modelledwithaneye On the local actors. Butoccasionalamateur performancescannothelpmuchtocreatea theatre. becauseitcannotsustaina setofartists permanently, whichis essentialforthe growth and developmentof theatre. Again,therehasbeen occasionalparticipationinthisorthatplaybyafewgirl" buttheir 40 CHANDRA KANT PIiOOKAN numberscouldbecountedonone'sfingers-theideaofparticipationintheatreby women hasyetto find favourin Assamese society.The absence of women from thetheatreis creatingarealdifficulty.Tolookforafairboyinplaceofagirltoappearinafemalerole is the practiceofmostofthetheatresocieties.Butontheotherhand,youngpeople,whoare attractedtothestageforthesakeofleisurelycultivationofthedramaticart,arewelcoming womentothedramaticclubs; therefore,itwillsoonbetimeforAssarnesewomento say whethertheirinterestinthestageispermanent oronlytemporary.Perhaps,withinadecade or1\\'0, Assamesewomenwilltaketheirnaturalplaceintheatreastheyaredoinginsocial life.Theirinterestinthisartisatpresentfartootrivialtovitalizethetheatreintherealsense. HoldingaperformanceisreallyastupendousjobinAssam.Mostoftheplayhousesare, 10 say the least, inadequately equipped. As some of them have no electricity, lighting arrangementshavetobetemporarilymade,seatshavetobeborrowedeitherfromofficesor from schools, and dates of performances, therefore, are fixed preferably on Saturdays, Sundays oronholidaystosuittheconvenienceofthemanagementandoftheactors who comefromdifferentwalks oflife.Thesecretaryoftheclub orafewenthusiastshavetobe onthe lookout fora 'squeakingCleopatraboy' to play thepartofthe heroine. Onaccountoftheamateurcharacterofthesocieties,theartsthatcontributetoasmooth production have yettobe harnessedto thetheatre.The theatre elsewherehas calledtoits aidotherartslikemusic,painting,andarchitecture,andisalsoavailingofthetechniquesof severalcrafts.Aproducer, therefore,musthave athisdisposal today, besidesactingtalent, agroupofspecializedworkersinthesearts, workingtoacommonrhythm toachievethe sameobjectandtoproducethesameaestheticeffect.Thoughattimessporadic successes are achievedinamateur performances, surpassing themostoptimistic expectations, the totaleffectisgenerallymissed. Theatre has passedthroughmany vicissitudes andhas, in thepresent century, with stoodtheassaultofthecinema.Asamediumof entertainment.itisperhapsless popular but certainly more lively than her rival. In Assam, the taste for theatre is growing and audiencesare also widening,butthe presenttheatre societiesareincapable of properly utilizing opportunities for thegrowthof theatre. Thereis no spacious playhouse inany town inAssam. Andsuchis the state of playhouses in Assamthattheenthusiasmfor producingaplay isveryoftenlostinthedrudgery oftiringpreliminaries. Becausethetheatrehasaninherentforceandacapacityforattractingspectators,itscall isgenerallyrespondedtobypeoplewhofilluptheauditoriumasadmiring audience.Afew of them venture further and seek to express themselves before the footlights. Since the dramaticthemeisalwaysatreatmentofhumanlife,thefewwhofacethefootlightsasactors arethemostessentialhumanelementsoftheatreneededtocreatetheillusionforwhichthe entirecommunityexpectantlywaits.Thereis againagroupof quietworkerswho sweat unseenbehindthecurtainandhelpinthecreationofthisillusion.Attractedbythe inherent forceofthe theatreand undaunted by the limitationsofthe present Assameseplayhouses, anumberofyoungpeople,mostlyfromcollegesand universities,arefillingup theranksof ASSAMESE THEATRE 4t theatre workers andvitalizingthe theatre movementin Assam withnewblood. These young theatreenthusiasts, in search of a plot or a theme,do nothesitatetogo beyondthe orbitoftheir own regionaltheatre.Theylook intoobscurecomersoftheirown home and far beyond, and whenever they come upon something usefulfor the theatre, whetheritisasimplefolk tune orastorybyforeign writer, theymakeanearnestattemptto mould, incorporate, and adaptitfor theirown audience. This iscomparativelyeasy today becausetheworldisbecomingsmallerandtherearefacilitiesforaneasierflowofideas.But the sense ofselection ofthese enthusiasts and theiracquired craft ofmoulding things to suit their ownrequirementshavecombinedto give acertaincolourtotheir work. Strictly speaking, they do not deserve the creditoforiginalcreation, but from the point ofutility, these are as good as Hindustan cars, moved byMoms motive power. WhileAssamese Bhaonais morelike an arena theatre, the open-airtheatre is notvery commoninAssam. Closesttoanopen-airtheatreinAssamiswhatiscalledHazari-bhaona the theatre of a thousand. On a suitable occasion, when the climate is congenial, ten or twelve khelsselectanextensivefield asthe venue andeach khel performsaBhaonaonthe same nightunderdifferentpandals. makingitpossible for alarge audience to witness the performances. Through the centralizationofthe khe!sfor a night, Hazari-bhaonafulfils, though in a differentway, the objects ofan open-airtheatre-s-onepurpose ofwhich is to entertainamuchwideraudiencethanispossiblewithin thefourwallsofanauditorium. For thepurposeofholdingsuch Hazari-bhaonas,thereisapermanentorganizationinAssam,a committeeofthe leadingrepresentativesofkhels, which determinestheplaceandthetime ofaHazari-bhaonaand also worksout aprogrammeconvenientto thedifferentkhels and the people. Dozens of small shops spring up around the pandals of Hazari-bhaona to entertain visitors for the night with betel leaf, tea and refreshments. Such agathering of thousandsofpeoplein acarefree,merry moodmakesfor agalanight. When we compareculturalactivities inManipurwith those inAssam, one feature can notescapeourattention. Whilethe dance andtheBhaonahavebeen existing inruralareas of Assam as living heritage, to be only occasionally referred to and boasted about in discourse,inManipurthe heritageofdancehas supplementedthemodemtheatre winning theenthusiasticparticipationofallpeople,bothmaleandfemale.Thetwoplantsofculture, oneinthe valley oftheBrahmaputraandthe otherintheovalvalleyofManipur,seemtobe ofthesame origin,thoughtheformerisgraduallyrecedingfromthenational scenetosmall pockets in the countryside, while the latter is flourishing in towns, drawing the sap of inspiration from the enthusiasm ofthe people. One wonders ifthis is so because ofthe participationofwomeninManipurandtheirbeing barredbytraditioninAssam. Assam has yet to establish a permanent theatre. At present, there is neither a profes sional troupenoracentralplayhousewithregularperformancesbythebestoftheavailable talent. As someone rightly described the Assamese theatre, it is an amateur's art and a leisure-time enterprise. The absence ofa permanent theatre in the State makes an artist uncertainabouthiscareer. Insteadofcultivatinghisgift. theartist whomighthaveadorned 42 CHANDRA KANT PIIOOKAN the Assamese stagefeels painfully obliged to seek work and security in some sphere of activitywherehisdramatictalentisleastrequired.Thus.forwantofscope.whatcouldhave beenavaluable assetto anindividual becomes aheavyliability. acause forfrustration. TherearescoresofinstancesinAssamwheretalentedpeoplehavetakenpremature leave ofthestageandarestrugglinghardtofitintoadifferentvocation,forwhichtheyareleast suited. The only wayto prevent such waste of talent is for the State to give the theatre academic status and prestige. Such an unhappy state of affairs in the realm of theatre might be prevailing in other Statesalso.Totakecareofthecultural requirementsofthepeopleisthe naturalduly ofa government,the urgency of whichis heightened bythe imposition of amusement taxes. Instancesof financialgrants, howevermeagre, indicatethedesire of theGovernment to encourageculturalactivities,includingthetheatre,through non-official organizations,asis evidentfromtheestablishmentoftheAkadernis,bothattheCentreandintheStates.Buta clearer declaration of policy should be made to emphasize the sense of urgency of the situation. Itmaybeilluminatingtoknowhowmuchsupportthetheatrehasreceivedfromthestate inEuropean countries, inorderto make appropriateprovisions fortheatre in ourown country.Hereareafewfigures: Country Annualamount (inRupees) France nolakhs Belgium (acountrysmallerthanPunjab) 10lakhs TheNetherlands 121akhs Denmark (populationJessthanonethirdofPunjab) .. 271akhs Norway .. 21->lakhs Sweden .. 61akhs Russia .. Theatreshavebeennationalized. Therewere222amateurdramatic clubsbeforetheRevolution.and 95,600in 1939. The theatre hasattained a position of prestige in the West and, consequently, it has attracted new talent to vitalize the art. But in India, and particularly in Assam, such a situationhas yettodevelop. . Musictopleasetheear,settings toestablishthe location, actingto carry convictionof reality,techniquesoflightingandotherstagecrafttocreateeffects,andabovealladirector topresentthestorywithperfectprecision-all this hasyet to be introduced in most pro ductionsinAssam.In an unsuitableplayhouse, veryoften, audiences are obliged to gaze at the blankcurtain longer than they are able to see the acting forwhich they pay.The amplifiedcannedmusicofgramophonerecords,replacingtheliveorchestraofthetheatre, ASSAMESE THEATRE 43 createssuchvexationthattherightmoodforappreciationoftheperformanceisveryoften lost. Dramatistsfigureprominentlyontheworldliteraryscene.Duringthetwentiethcentury. nineNobelPrizesforliteraturehavegonetodramatists. Incomparison, wefindatotally differentsituationinAssam,wherethetheatre,beinginawitheredstate,hasfailedsofarto awaken ortoattractthetalentthatcouldmakeitalivelychannel ofcommunication. The Assamesetheatrehasbeenasortoffeeblesoliloquy.Ithasnotsucceededincallingtoher aid the sister artsof music anddance. the skills of the architect, themechanicandthe painter,andthustobereallyamultipleart,fittobecalled'theorchestrationofanumberof distinctarts'. Therehasbeen,however, anewendeavourbytheGovernmentofAssamtoinvigorate thedramaticartbysanctioningasumofRs 1,40,000toseven leading dramatic clubs,atthe rate ofRs 20,000each, on the stringentconditionthat alike amount beraised bytheclubs as well toqualifyforthe grant.Itisdifficulttosayhow many ofthese clubs can fulfil this condition. Anotherendeavourhas been to establish the AssamCentralTheatre (ACT), under the auspicesofAssam SangeetNatakAcademy(AssamKala Parishad). The AssamAcademy tookthis decisionin May 1954,and has set upaBoardofManagementforACT with the Education Minister asChairman andtheFinance Minister asTreasurer. TheBoard also includes otherrepresentatives, suitable persons withknowledgeofdramaandexperience oftheatre. The AssamSangeetNatakAcademyhas drawn upaConstitutionfortheBoard ofManagementofthe AssamCentralTheatre, which, initspreamble,states: TheCentral Theatre shouldbefederal inpattern sothatthetheatre societiesbytheir affiliationmayderivestrengthandvitalityfromawell-knitfederalorganization,with outhavingtosacrificetheirownindividualismandcolourinfavourofuniformity, The mostimportant requisite,however,of theAssamCentral Theatre is that itshould correspond tothecollectiveneedandappreciationofthepeople. Withall these ideas and objects, as set forth in the Constitution,the Board of Manage menthasdrawnupaplanandaschemewhichhavebeensubmittedtotheGovernmentof Assam and also to the Sangeet NataleAkademi, urging the former specifically to allot a spaciousplot ofland in the town ofNowgongand sanctionasum ofabout Rs 17,00,000. ThereactionoftheGovernmentandtheSangeetNatakAkademitothisproposalareawaited. ThemodemAssamesedramaactuallystarteditscareeratthebeginningofthetwentieth centuryandthus,initspresentform, hasnotcompletedeventhefirst centuryofitsexist ence-aperiodfar too brieffor the normal growth ofaliterature and moreparticularlyof dramaticliterature,whichrequiressimultaneousdevelopmentinpracticaltheatre.Tradition growsslowly.Itwillalsoberelevant torememberanotherfactor-that is,inAssamthe oldertheatreform,theBhaonaoffivehundredyears,hasbeenmoreorlessabandonedas 44 CHANDRA KANT PHOOKAN obsolete by the educated, and the modem theatre form has been planted on the stage in imitationofotherregions withoutfull knowledgeorexperienceofthe newfonn. Assam's stage, both during the time ofShri Shankaradeva and the present period, has beenthepreserve ofmenalone.Butplaywrightswhoconceivethe themesofdramascould notavoidcreatingfemale charactersas well. Asaresult,not onlyinAssambutperhapsall over India, menhavehadtoplay women'sroles on the stage. Previously, this denialofthe right ofwomen toappearbefore the footlights was easyto enforce, because the producers of theatre were also very often the privileged leaders of society. The audience was also accustomed to the convention and willing to be preached to, instructed, and even be corrected. But the present audience pays for the theatre and has thus imperceptibly ac quired therighttobeamusedandentertained.Thisaudienceis not preparedtosee aclean shaven young man dupingthemwithawig and aveil. Itgenerallyrespondsto the theatre with laurels and applausebut, when outraged, may also assert their right and mayinstead send catcallsto the actors for daringto dupethem. The early Assamesedramatists wrote dramas mostlyon themes taken from mythology and history. Other theatre enthusiasts translated similar dramas from the literatures of neighbouringparts ofthe country, to be producedthroughthe newly formed theatresoci etiesinimprovisedplayhouses.Some oftheoriginalAssamesedramasweregoodliterature but unsuitable for the stage, and might survive as pieces ofliterature longer than some plays that had an immediate success on the stage. But no drama will do for all time, and theseplays,inspiteoftheirformernovelty, areout ofdate for the modemstage. Theyhave nothingto sayto the fastidious modern audience and have therefore outlivedtheirutility. The presenttendencyofthe audienceis to see theirown suppressedmindprojectedon the stage through theme and action. They desire to see their own life as it is lived in everydaypursuits mirroredintheplay.Theyrelishaplay and enjoyit whentheyfind their own problems transferred to the stage effectively. Their predilection for such plays has resultedin agreaterattentionbeingpaid to social dramas, which are becoming more and more popular. These audiences even seek a reportrayal of ancient characters which, as entertainment,offers afeastofmiracleand mystery. Theywantto hearcleverdialoguesof heroes and heroines that would not only delight them but would also make them feel the power oftheir own language. They want to heara tune difficult to compose but easy to imitate, tobeabletowhistle them whenthey returnafterthe show. Maybe,inpracticallife, theyfeeltheinadequacyoflanguageasamediumofexpressionoftheirconfusedideas and consequently seek in the theatre an echo and apictorial representation oftheir mind and ideas. Theseand many othertendenciesdevelopingin the modemaudiencesnowsubscribing tothetheatre, and replacingtheold aristocracythatearlierpatronizedthe art. have created agrowingdemandfor social dramas.whichcan reflectthejoys,sorrows,andproblemsof the common man. The Assamese theatre, unfortunately, has not so far been able to fulfil even a part of this new demand. This constitutes one reason, besides of course many ASSAMESE THEATRE 45 others, for its comparatively slower development. It is not intended to say that Assamese literaturehas no socialdrama,but adequatenumbersofpublisheddramas,offeringawide range for selection inthe showrooms ofbooksellers, are not coming forth. The numberof socialdramasis actuallyvery small, and Assamese theatrehasyet toattain thestage when itwillbethetruereflectionofourlife.Butthecauseforthismay also bethatitisatpresent passing through a period oftransition, from budding toblossoming. Actorsasaclass must drill themselvesand toiltofitintotheirrolesbefore theytaketheir make-upandfeel glamorousbeforethe footlights. Butcansuch asetofartists be available in a society where theatre is just an amateur art and a leisure-time pursuit? Can a busy contractor,atiredofficeroranofficeassistant,apreoccupiedlawyer,corning fromdifferent walksoflife andforming aheterogeneous group,fulfil the duties ofaconsummate actor? Definitely,that isexpectingtoo much. Theatreisneitherabusy man'sleisureactivity nora lazy man's business. Then. isit necessary toreplacethe amateurtheatre'societies with professional troupes? No. Amateursocieties have fostered the public taste for the art and introducedthe ideaof theatrical-club life to a very wide circle ofpeople. Their active participation in creating theatre during the present period, going back to more than half a century, has been a preparation for the nextphase. In the nextphase,orinsubsequentphases oftheAssamese theatre, amateursocietiesshouldcontinuetoexist, and perhapsthey will. Whatisurgently necessaryistoraise thepotentialitiesoftheseclubs soastomake them capableofoffering a more comprehensive entertainment to the people whose need for such diversion and escapeisgrowing.The historyofmostofthese clubswillrevealthe accumulatedsacrifice ofagroupofpersonsoveranumberofyears. Butnow, when thefunctionsofGovernment coveralmostall spheresofnationallife,culturalactivitiescannaturallyclaim attentionand actionby the state whichcan helpbyremovingthefinancialhurdlesstandinginthewayof healthygrowthofthedramaticclubs.This would perhapsmake theflowofcreativeenergy tothese clubs smoother.Inbrief.theAssamesedramaticclubsneed tobesubsidized.more urgently so because. alternatively, there are no professionaltroupes inAssamto keep the flag oftheatreflying. It is generally in a city that a commercial theatre can hold regular shows and collect subscriptions from a numerouspopulation.but in the absenceofacity inAssam, floating acommercialtroupeisconsideredhazardous.EventheleadingheadquartertownsofAssam, whereAssamesetheatremaylegitimatelyexpectareception.do nothold outagood pros pectfor atouring theatre.Theill-equippedplayhousesneedagooddeal ofproperty.both for the stageandthe auditorium,tobereallyfitfor aperformance.The whole affair, when worked out in detail-from borrowing chairs to arranging electrification where it is not provided,besidesthe usualtroubleofarrangingtemporaryaccommodationforthetouring troupe-issodiscouragingthatone isapttogive itupassomethingfartoostupendous,let alone beremunerative. Assessing a problemor asituation isnecessaryforany solutionto the problem,or any