Rajasthani Theatre Art :

Rajasthani theatre as a popular theatre form was formed in the late nineteenth century. Rajasthani language was spoken in the north-western state of Rajasthan. This is supposedly the ancient language of the eighth century. But as a matter of fact it did not develop any theatrical traditions apart from folk styles away from the courts, such as Khyal, Tamasha, or Rasdhari, and puppetry famous as Kathputli. Only as late as 1900, Rajasthani drama came into existence under the influence of Parsi theatre. 

History :

The beginning of the twentieth century brought in the era of social reforms and the national movement. Many social and historical plays written for the Parsi theatre became very popular. Some were banned and the playwrights imprisoned by the British government. Taking the cue from Parsi theatre, authors writing novels and short stories in Rajasthani also took to theatre. They thought it as a powerful weapon of propaganda against social and political evils. Through their plays, they tried to force society to react and eradicate these problems. Shiv Charan Bhartiya, who was the first Rajasthani dramatist, published Kesarvilas in 1900. 

This was followed by Budhapa ki sagai i.e. 'Old-age Betrothal' in 1906 and Phataka janjal or 'Snare of Future Trade' in 1907. In his introduction to Phataka janjal, Bhartiya wrote that his main aim was to show social evils to the Rajasthani people. Bhagwati Prasad Daruka wrote Vriddh vivah natak i.e. 'Play of Elders' Marriage' in 1903, dealing with old men wedding young girls, and Bal vivah natak i.e. 'Play of Child Marriage' in 1918. Other notable plays included Gulab Chand Nagauris Marivadi mausar aur sagai janjal i.e. 'Rituals of the Dead and Snares of Betrothal' in 1923 and Balkrishna Lahoti's Kanya bikri i.e. 'Sale of Girls' in 1938. 

Performance :

It can be well presumed that the work may have remained unstaged because in those days it was difficult to find actors speaking so many tongues. However, these playwrights neither could achieve their purpose of social reform nor could they develop a Rajasthani theatre. Most of them were not closely associated with theatre and were ignorant about the needs of the stage as well. Almost all their plays are unstageable, with too many small scenes and occasionally very long speeches. In Phataka janjal, one character expounds for eleven pages. The Parsi theatre did not take up these plays for two reasons. As for example first, they were unsuitable for professional theatre and, second, it was a national theatre movement that gave importance to Hindi and Urdu. It did not cater to drama in regional languages, although it influenced most regional theatres and later the films. 

Thus most Rajasthani plays were just staged sporadically by amateur groups and failed to reach the masses. They remained in published form to be read. Today, several young dramatists are writing in Rajasthani, notable among them Arjun Dev Charan, and directors like Bhanu Bharti have conducted research into such local forms as the Gavari, performed by the Bhils. But as yet the efforts to develop a Rajasthani theatre have not met with much success. 

Tamasa Theatre Art :

Tamasa, the youngest form of Rajasthani theatre, was invented by the Bhatt family from Andhra Pradesh. Tamasa is the youngest form of Rajasthani theatre. The literal meaning of 'tamasa' is entertainment. It was invented by the Bhatt family hailing from Telengana in Andhra Pradesh. They were known as Kirtankars or Kirtan singers there and came to Jaipur along with Kanwar Ram Singh. He was the son of Mirza Raja Jai Singh, who as a Mughal commander in the reign of Aurangzeb. Many confuse the origin of Rajasthani Tamasa with that of the Tamasha of Maharashtra, but this is a fallacy. 

History :

Maharaja Ram Singh II of Jaipur was a great patron of music and theatre. He founded the Gunijan Khana where musicians and dancers were permanently employed. In 1876 he built Ram Prakash Theatre, on the lines of the Victorian auditoria constructed in those days all over India, and established a company like those of the Parsi theatre. This used to tour Jaipur regularly. The Bhatts, singers at the Gunijan Khana, were assigned to the Ram Prakash company. In the later part of Ram Singh's life and especially after his death, the theatre virtually came to an end and the company was disbanded. It was then that the Bhatts, who were enamoured by Parsi theatre. This adopted that style of performance and started putting up plays in Brahmapuri, where they lived, and at Amber in Jaipur district. 

Performance :

The texts of Tamasa are almost all from Parsi theatre, such as Hir-Ranjha i.e. 'Hir and Ranjha', Gopichand, and Laila-Majnu i.e. 'Laila and Majnu'. There is also the same mixture of prose and poetry in the dialogue, spoken or sung in the Parsi style. The only difference is the language. This Rajasthani language has the flavour of the dialect spoken in Jaipur. Yet the influence of Parsi theatre is so great that a lot of Urdu is judiciously mixed with the Rajasthani. The music has a classical touch, and shows take place in the open and in the round. 

Tamasa performances are not very frequent. Young members of the Bhatt family who are involved in urban theatre have started writing new Tamasa plays with modern content. It is an interesting experiment and a genuine effort at continuity, yet the danger is that most of the younger generation has not learnt music professionally and very few can sing. Without the music it will be very difficult to keep the tradition of Tamasa alive.