Trilogue Company made waves for its acclaimed play Tansen. There is no dearth of reviews that attest to its uniqueness and ability to amaze audiences in the theater space. So, the expectations of its next play, Meera: Beyond devotion, were high. Meera needs no introduction, as she is revered as a 16th century saint, poet, devotee of Lord Krishna and revolutionary for challenging social conventions against women. She has been the subject and inspiration of many artists. So, what does Trilog Company do differently? Was the play able to live up to the expectations and garner the same acclaim as the group’s previous production? We saw the play last week at Kamani Auditorium in New Delhi.
The play begins with a classical dance performance by the lead artist Ridhima Bagga tied with ropes and tied with a noose. Before getting into Meera’s story, she effectively proposes that if it’s difficult to dance at all tied up, imagine the hardships women face in a society that collectively calls them “bonds”. Or constrained by expectations of ideal womanhood. Furthermore, as Meera is introduced to the audience, we are prompted to self-inquire that Meera, who was educated, rational and knowledgeable in combat skills, and also interrogate the stories of her mentor. She fell in love with an idol of Lord Krishna. and devoted his life to his bhakti (devotion)?
In seeking the answer to that question, we see Ridhima Bagga transform into Meera, who dances in excitement at the thought of Krishna meeting her or the pain of not having her. It is difficult to take my eyes off Ridhima as her dance moves unnoticed and the beauty of classical music shines through her every step. What adds to the authenticity of the performances is that she dances to the tune of Meera’s own composed hymns. The play attests to Meera’s relevance in asking the audience to introspect on her definition of patriarchy and the fundamental concept of freedom.
After telling the audience about Meera’s story, Riddhima transforms herself into an artist who is trying to understand Meera. A woman who did not form a cult, was only a devotee of Krishna, yet millions of people are singing her poetry in devotion to divinity? The play becomes modern era-relevant as we are introduced to the artist’s husband Ridhima and the dilemma she faces as an artist: by devoting herself to her art (or her way of expressing herself) and Finding true happiness in your life by managing a household and meeting your husband’s expectations as a wife. A special shout out to Sudhir Rikhari for his brilliant portrayal of an educated and cosmopolitan man in a patriarchal world. The artists beautifully represent what Mira and her life looks like in this era. In this journey we get the answer we asked for.
The play does a wonderful job of highlighting the character of Meera. She was never intentionally trying to be a revolutionary. His devotion to Krishna attained perfection by providing him a medium to raise questions against patriarchy through his poetry. Sainthood could be considered as his refuge, but his faith in God was so strong that he did not need any recognition from the society. His devotion fulfilled itself. This interpretation makes the play unique, as it goes beyond the struggles that he faced in his life. The play beautifully narrates how even God was the only medium who helped him to attain himself, his inner self. This deceptively simple explanation comes easily to the audience as at one point the audience fails to notice the difference between Meera and Ridhima. His heartwarming portrayal of Meera and her devotion is so flawless that the emotions through her dance and expressions touch the audience.
This play is unique in many ways. For example, in the introductory scene, Ridhima (who is tied up in ropes) slowly separates herself as she begins to dance, telling the audience the importance of expressing herself in her journey to seek freedom. Tells. At one point, she is gasping for air, and this, when accompanied by her wonderful classical dance moves and dialogues, prompts the audience to seek her own perception of complete freedom. No less special is Ridhima’s reading of an Iranian poem on the plight of women in that society, which puts into context the global aspect of the issue of freedom, thus making Meera universal. And even how effectively the play mixes classical and western music to evoke feelings of love and devotion for Krishna through the former, while the latter gives the contemporary relevance of Mira’s freedom of expression. connect with the surrounding discourse. Viewers will be challenged to explore more such nuances and interpretations as the play inspires them to understand the art created on stage.
Meera’s concept of Ridhima, her impeccable classical Indian dance and the emotional connection she established with the audience (with a sprinkling of humour) demanded a 1-minute-long standing ovation. The Trilogue Company has lived up to its reputation of establishing a niche in the theater space, and this makes Merry: Beyond Devotion a must-see.
Payal Seth and Shweta Jha are PhD scholars at Bennett University and Master’s students studying Comparative Indian Literature at Delhi University, respectively.
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