"I have no words to express my gratitude for organizers of this Opera . My special thanks to Naadim 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 OR KING NEEL NAAGA OR THE BLUE WATER SPRING OF VERINAAG KASHMIR CONSIDERED TO BE THE SOURCE OF RIVER VITASTA , 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."
So 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 . He came up to the stage shook hands with all artists and hugged Makhan lal Saraf affectionately. When the opera concluded , everyone in the hall stood up to give the artists a standing ovation by cheering them lustily for more than 15 minutes . The Music , the actors , Naadim Sahib's Poetic presentation and the costumes kept every one in the audience spell bound.As far as i remember it must have been late seventies and the opera was staged in Jam packed Tagore Hall srinagar . Mirza Afzal beg happened to be the chief Guest. I vividly remember the costumes of the artists designed by G R Santosh noted painter from Kashmir.
About his acting style Prof Jaya parimu informs ,
"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
just perfect. An outstanding actor."
That is Makhan Lal Saraf the living legend of Theatre in Kashmir. He belongs to second generation of Theatre artists of kashmir if one considers Moti Lal Keemu , Naadim sahib , Mohan lal Aima , Pushker Bhan , Ali Mohd Lone , Noor Mohd Roshan , Kashi Nath Bhan, Sudhama ji Kaul, Radha Krishen Barbazoo and S N Sumbli and many other pioneers who belonged to the first generation .
About Theatre Movement in kashmir , he informs....
“ We had a community theatre in city and
Paa'thhar in villages. we have a long history of theatre in kashmir. Our
Paa'thhar was totally based on Ancient sanskrit Drama techniques . You start
with a Prayer , You have a Sutradhaar and a Vidhushak.
In eary fifties , Prithvi Raj kapoor of Prithvi
Theatre Mumbai , formally inaugurated a Theatre premises at Shivala in srinagar
city . I still remember the stone that bears his name.
Autar ji Drama ,Theatre and acting was a much
detested profession in conservative society of Kashmir . I talk about a period
very close to independence ( 1947 ) as well . Can you believe me that drama /
Theatre actors were nicknamed as Raa’s Kath .
“Hayo Ya haa Chhuyi Raa’s Kath or “Look he a Raas
Sheep “
The nickname came from Sanskrit word Rasik (Rassa
) mentioned in Natyashastra as well 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. At that point of time ,the conservative kashmiri society,
did not accept or recognize their talent . Things have altogether changed now. “
When Sheikh Mohd Abdullah decided to start Inter state Cultural exchange concept , Makhan lal saraf along with 70 other artists from the state visited entire country to perform Plays like PIYA BAAJ PYAALA or TIPU SULTAN ( He Played the role of Tipu's Father ) and HIMALAYA KE CHASHME ( He played the role of Sherwaani ). One must 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 .
Born at Chinkral Mohalla in srinagar city ,he shares his birth place with shams faqeer the tallest sufi poets of kashmir.Totally self taught , he acknowledges the valuable guidance of R K Braroo( NSD Graduate ) and Pran Kishore in shaping the artist in him.
Saraf remained associated with RANGMANCH (Founder 1966), KASHMIR THEATRE ( Founder 1973srinagar ) AND BHOORANG ( Jammu as 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 Davuss , Taqdeer Saaz are considered trend setters .His acting in Hero Machama , Mangoo , Aknandun , Ba Chuss Tsoor ,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 , CHERRI TRUCH, KRUHUN SEERI , HAZAR DASTAAN, ME CHHUM AASH PAGHICH AND SEEMAB
Theatre may have given him the much needed intellectual satisfaction yet he did not live by theatre alone . Saraf worked as a section officer in higher education department of the state . I saw him many times at Amar Singh college where he remained posted for quite a long period.
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 much deserved respect of a Guru .
As actor, he has the ability to 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 , 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 focus towards him. In any role, you find him in the pursuit of perfection . He is a great master insofar as 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 some 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 course text in the Kashmiri
Department ,University of Kashmir . My best wishes for his long life and good health.
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 audience enjoying every dialogue and its delivery from Makhan Lal Saraf..
About this play Theatre artist Rajinder Tikoo adds ,
“When i witnessed
Prem Nath Vs Prem Nath"", i was astonished to see Saraf sahab with
same energy as he had two decades before ....he utilized full proscenium with
full energy such a big stage SKICC srinagar which is never meant for theatrical
ventures....Amazing it was.....”
Presently he is a little lonely man on account of the death of his wife. He misses his kashmir where from he had to migrate out in 1990 due to widespread militancy .Age is also not on his side.
Inspite of all these constraints, he is ever busy with his "Bhoorang Theatre" and other activities connected with Theatre in the state. Most of the third generation of Theatre artists from kashmir have either worked with him or have been directly trained by him. He did not say so to me.Many artists confirmed this to me in their private conversations .Entire fraternity of these artists give due regard to him as their GURU.
( Makhan Lal saraf . Second from right in first lane with Artists and writers of the State )
Not many of us know that he also wrote poetry for sometime in his youth.Those days he was known as Makhan Lal 'Mastana ' to his friends and well wishers.
He is recipient of many awards both within the state and outside .What more is needed to be eligible for a PADAM SHRI ? Can i ask this question?
Sunaa hai ho Bhi Chukaa hai Firaq e zulmat o noor ,
Sunaa hai Ho Bhi Chukaa hai visaal e Manzilo Ghaam ,
Badal chukaa hai Bahut Ahl e Dard Ka dastoor ,
Nishaat e vasal Halaal o Azaab e Hijr haraam,
Jigar ki Aag nazar Ki Umang , Dil Ki Jalan ,
Kissi Pe Charah e Hijraan Ka Kuchh Assar Hi Nahin ,
Kahan se Aayee Nigaar e sabaa kidhar Ko gayee ,
Abhi Chirag e sar e Raah ko Kuchh Khabar Hi nahin,
Abhi Girani e shab mein Kuchh Kamee nahin Aayee ,
Najaat e Deeda o Dil Ki Garhi Nahin Aayee ,
Chale Chalo Ki Woh Manzil Abhi Nahin Aayee.
( Faiz Ahmed Faiz )
We hear now that the light and darkness have parted ,
Also, now that there is a union of quest and goal,
That the lot of the afflicted is now changed ,
That the pleasure of union is now granted,
banished is the torment of separation.
Fire in the bosom , longing in the eyes , and heartburn,
nothing can soothe the anguish of separation.
Where did the sweet breeze come from?
Where did it vanish ?
The street lamp has no news yet.
Even the night's heaviness is just the same,
the moment of salvation has not arrived
for the heart and the eye.
So let us press on ,
The destination is still far away.
( Autar Mota )
Based on a work at
http:\\autarmota.blogspot.com\.
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