NAAGMANDAL – The Play

THE PLAY…..

The play Naagmandal, crafted by Girish Karnad, intricately explores the theme of identity crisis and primal human instincts, emphasizing the significant role played by the alternation of day and night. The narrative centres around Rani, a young woman with dreams, who, upon marrying Apanna, discovers herself confined within the four walls of the home. Apanna, her husband, locks her away, devoting most of his time to a concubine, subjecting Rani to isolation and fear. His consistently harsh behavior restricts her freedom and prohibits any inquiry.

In search of a solution, Rani befriends a blind elderly woman from the village through the window. Following the woman’s counsel, Rani attempts to win Apanna’s affection by preparing a herbal medicine mixed with milk, as provided by the blind woman. The mixture turns red and overflows.

Out of fear, Rani disposes of the residue under a banyan tree, unwittingly attracting a king cobra from an ant-hole. The snake becomes enamored with Rani, transforming into the likeness of Apanna at night and expressing love. Upon discovering her pregnancy, Rani eagerly anticipates sharing the news with her husband. Rani faces brutal accusations and physical assault from her husband. Apanna threatens to take her to the village court. In the subsequent night, the snake informs Rani of the ordeal she will face. He (snake) reveals that the village elders will compel her to disclose the truth by holding a hot iron rod which she must denay. Instead she must insist upon telling the truth by holding the snake at the ant-hill. If she tells lie, the snake bounds to bite her. When the village gathers, undeterred by the imminent challenge, Rani boldly holds the snake, truthfully recounting her encounters. She reveals that- She has come into physical contact with only two male beings since arriving in this village – her husband and, secondly, this black king cobra. If this statement is false, then she invites the snake to bite her. To utter astonishment of the villagers, the snake envelops her protectively. The villagers, perceiving her as a goddess, implore Apanna to worship her and spend rest of his life in her care. The story concludes with an air of ambiguity, leaving the fate of the characters unresolved.

DIRECTOR’S NOTE…..

Upon receiving the invitation from Black Pearl Theatre, Delhi, to direct Naagmandal for their repertory, I felt a surge of excitement. Not only was I thrilled about engaging in a creative process for the next couple of weeks, but the play itself served as a tribute to two revered figures in our country, to whom I am forever indebted – Mr. Karnad, the playwright, and Sri B. V Karanth, my mentor in the realm of theatre . My enthusiasm stemmed from the fact that I had previously undertaken this play in 1994 during my struggling days in Delhi. Despite the absence of songs in the play, Karanth ji penned five lyrics and composed them with enchanting creativity.

Taking on Karnad’s work always presents a challenge for me, as he dissects human relations and introduces new dimensions with each rendition of his plays. In Naagmandal, his charismatic portrayal of the transformation between day and night has pushed the boundaries of creativity, a facet I always relish when delving into Karnad’s works.

Commencing rehearsals with a dedicated group of repertory actors, I approached the production with a fresh perspective, having completely set aside memories of my previous staging of Naagmandal. A play, I believe, must be approached with novel ideas each time, given that time is a constant variable, and Naagmandal seamlessly incorporates this temporal dynamism.

Recalling Karanth’s music proved to be a reliance on my memory alone, as no recordings were available. Throughout the production, I endeavored to remain faithful to its original music, as it stood as my homage to the divine soul of Karanth. The rest of the production was reimagined, taking into account contemporary times and societal values.