MAKHAN LAL SARAF: A
LIVING LEGEND OF THEATRE IN KASHMIR.
"I
have no words to express my gratitude to the organisers of this opera. My
special thanks to Nadim Sahib and my thanks to all actors. I shall be failing
in my duties if I do not add words of appreciation for the character Neel Naaga
played by Makhan Lal Saraf. My sincere gratitude to this talented artist for
this superb performance. I happen to be from the district where Neel Naag is
located. Historically, this spring is a link of profound importance in the
story of our great River Vitasta." said Mirza Afzal Beg( in his
concluding address after witnessing the opera ), the then Deputy Chief Minister
and also a close associate of Sheikh Mohammed Abdullah. As
far as I remember, it must have been the late seventies of the last century and
the opera was staged in packed Tagore Hall, Srinagar. Mirza Afzal beg happened
to be the Chief Guest. And when Sheikh Mohammad Abdullah decided to start the
Inter-state cultural exchange concept, Makhan Lal Saraf along with 70 other
artists from the state visited the entire country to perform plays like Piya Baaaj Pyala, Tipu Sultan and
Himalaya Ke Chashme. One needs to read newspaper reviews of
that period to know how well the troupe from our state was received and how
well the talent of our actors especially Makhan Lal Saraf was appreciated.
That
is Makhan Lal Saraf, the living legend of theatre in Kashmir. He belongs to the
second generation of theatre artists of Kashmir if one considers Moti Lal Kemu,
Pushker Bhan, Ali Mohammed Lone, Kashi Nath Bhan, Sudhama Ji Kaul, Radha
Krishen Barbazoo and S N Sumbli and many others as belonging to the first
generation. About
‘Theatre Movement’ in Kashmir, Makhan Lal Saraf informs this:-
“ We
had a community theatre in the city and Pa'thar in the villages. we have a long
history of theatre in Kashmir. Our Pa'thar was based on ancient Sanskrit drama
techniques. You start with a prayer, You have a Sutradhaar and a Vidhushak. In
the early fifties of the last century, Prithvi Raj Kapoor of Prithvi Theatre,
Mumbai, formally inaugurated theatre premises at Shivala in Srinagar city. I
still remember the stone that bears his name. Drama, theatre and acting were
much-detested professions in conservative Kashmiri society. I talk about a
period very close to independence ( 1947 ). Can you believe that drama/theatre
actors were nicknamed ‘Raa’s Kath’? “Hayo Ya ha Chhuyi Raa’s Kat" or “Look
he a Raas Sheep”.The nickname came from the Sanskrit word Rasik (Rasa )
mentioned in Natyashastra but Kashmiris attached Kath to it meaning a sheep.
And our great artists Sudhama Ji Kaul, Jagan Nath Saqi and Radha Krishen
Barbazoo could not get a match /get married because of their association with
drama/theatre. Then, the conservative Kashmiri society did not accept or
recognise their talent. Things have altogether changed now.”
Born at Chinkral
Mohalla in Srinagar city, he shares his birthplace with Shams Faqeer, the
tallest Sufi poet of Kashmir. A self-taught artist, he acknowledges the
valuable guidance of R
K Braroo( NSD graduate ) and Padam-shri Pran Kishore Kaul in
shaping the artist in him. Saraf remained associated with Ramgmanch (founder
1966), Kashmir Theatre ( founder 1973 ) and Bhoorang ( founder member 2008 ).
He also acted in Kashmiri films like Maanziraat and Mehjoor besides
doing a notable role in a TV serial by Sham Benegal. His productions, Dr
Faustus, Kuss Log Daavass, and Taqdeer Saaz are considered trendsetters. His
acting in Hero
Machama, Mangoo, Aknandun, Ba Chuss Tsoor, and Aaraam Haraam Hai is
a class in itself. Some of the TV serials written by him enjoyed peak
popularity. To
quote Pazar Yeli Mood, Pagaah Sholi Duniya ,Gulam Begum Badshaah , Cherry
Trutch, Kruhun seeri, Hazaar Dastaan, Me chham aash Pagahitch and Seemaab
. About
his acting style, Prof Jaya Parimu says this:-
"Having
seen him act in several one-acts or dramas; I have watched him closely during
"Vitasta "opera days. His entrance on stage, with his perfect skills,
poise and confidence to perform in front of the audience is masterly. His
voice, emotions, and movements are perfect. An outstanding actor."
In
acting, Makhan Lal Saraf has something special that sets him apart from his
peers. This something special brought him to the higher pedestal of theatre
where he commands the much-deserved respect of a Guru. As an actor, he can transform
beyond recognition. In any role, the audience always sees the character rather
than Makhan Lal Saraf. He can transform his good physique into a distorted and
unrecognisable version of himself even without the use of prosthetics. Done
beyond his audience’s expectations, he keeps changing his posture, the centre
of balance and his speech patterns as he performs. This technique makes his
performances powerful and believable for audiences and critics alike. Saraf
demonstrates presence, confidence and magnetism as he makes his entry on the
stage. He drags the audience's focus towards him. In any role, you find him in
the pursuit of perfection. He is a great master insofar as the understanding of
human behaviour is concerned. Possibly this exceptional quality is the biggest
tool that has honed his acting skills. For many actors from the younger generation,
he could be a school to learn facial expressions, body language, dialogue
delivery, gestural language and audience connect.
With
more than sixty years of experience on the stage whereat he produced, directed
and also scripted many plays, Saraf is defacto a living legend. Author of some
well-researched books on theatre and drama that include books like,
" From
Actor to Artist ( English )" and
" Drama
Movement in Kashmir ( Kashmiri ) ", Saraf enjoys the
unique distinction of being the first theatre artist in Kashmir whose book was
taught as a course text in the Kashmiri Department, University of Kashmir. He
has the credit of having produced and directed works of reputed playwrights, on
stage, like Ali Mohammad. Lone, Pushkar Bhan, Sajood Sailani, GR Santosh, Moti
Lal Kemmu, Bansi Nirdosh, Avtar Krishen Rehber and Hriday Kaul Bharti.
His
versatility was again on display in" Prem Nath Versus Prem Nath", a play
wherein he acted in a lead role along with Shadi Lal Kaul, another talented
actor of the state. In 2014, the play was staged in Jammu and Srinagar. We saw
fully packed auditoriums with the audience enjoying every dialogue and its
delivery from Makhan Lal Saraf. Another play, ‘Mool ( roots )’ became quite popular in
2016. The play was written and directed by Makhan Lal Saraf. He performed the
lead role of Niranjan Nath Bamzai in this play. In 2018, he gave a splendid
performance in “Poshgondh “, a play that portrayed the ground realities of the
disintegration of Kashmiri Pandit families after the forced migration from the
Kashmir valley.
As an
actor and writer, he commands an enormous fan following and love in the entire
Kashmir valley. Presently he is a little lonely man on account of the death of
his wife. He misses his Kashmir wherefrom he had to move out in 1990 due to
widespread militancy. Age is also not on his side. It has played upon his
health and for the last three years, he has not been seen in theatre
activities. Most of the third generation of theatre artists from Kashmir have
either worked with him or have been directly trained by him. The fraternity of
these artists gives due regard to him as their Guru.
Not
many of us know that he also wrote poetry for some time in his youth. Those
days he was known as Makhan Lal 'Mastana ' to his friends and well-wishers. He
is a recipient of many awards both within the state and outside the State.
(
Autar Mota )
PS
(1)
In
Kashmir, we also remember “KATH “ as a common Kashmiri word used for satire and
description of some not liked person/ personality. Like ‘yaava kath’ or a
person who tries to look young and fashionable. ‘Kashtwaarie kath’ or a
shabby-looking person not worth being presented .’Zomba Kath’ or a
short-statured sheep not worth purchase and ‘Bechha Kath’ or a begging sheep
for a person who always begs for favours and material benefits from others. For
beauty and height, Kashmiris use the word ‘Kazaakh teer’ or sheep and goats of
Kazakhstan. One vividly remembers how in the early sixties of the last century,
Kashmiris quickly attached ‘Kath’ with the name of the then interim Chief
Minister/Prime Minister of J&K who took over when Bakshi Ghulam Mohammad
had to step down from his chair. Nicknaming and lampooning were favourite amusements
of Kashmiris. Many Kashmiri surnames are a result of this Kashmirian trait.
(2)
A
prayer to a deity was a part of traditional folk theatre. The prayer was done
by way of singing accompanied by music. This used to be an introduction to the
drama.
(3)
Sutradhaar
used to come at the beginning of the play/drama and introduce the play to the
audience. Now Sutrdhaar is present all along the play. He acts and does
multitask. He is a bridge between the actors on the stage and the audience.
(4)
A
Vidhushak is a jester, a clown or a comedian,so essential to build audience
interest apart from giving entertainment value to the drama/ play.
.
.jpg)
.jpg)
