The Transformation of Indian Consciousness through the Play Aala Afsar by Mudararakshasa

Harshita Shukla

PhD Research Scholar

University of Lucknow

Lucknow, Uttar Pradesh, India

Abstract:

This research explores the transformation of Indian consciousness through the play Aala Afsar by Mudrarakshasa, Reflecting the socio-political dynamics and evolving cultural attitudes, Aala Afsar offers a satirical critique of bureaucratic corruption and societal issues prevalent in India. The play, an adaptation of Nikolai Gogol’s The Government Inspector, is examined for its thematic depth and resonance with Indian audiences. Mudrarakshasa effectively captures the absurdities and ironies of the Indian bureaucratic system, making the satire relevant and impactful. Aala Afsar critiques corruption, inefficiency, and hypocrisy in governance. The play’s humor and wit engage the audience and provoke critical reflection on societal norms and practices.

The reception of Aala Afsar and its influence on public consciousness by bringing attention to issues of corruption and accountability, the play contributed to a growing awareness and discourse on the need for systemic reforms in India. The research examines how Aala Afsar entertained, educated, and mobilized audiences toward a more critical understanding of their socio-political environment.

Through Aala Afsar, Mudrarakshasa’s incisive commentary on Indian bureaucracy and societal values is underscored, demonstrating the power of theatre as a catalyst for social awareness and change. This research will talk about the role of theatre as a powerful medium for social commentary and reflection, continuing to inspire and provoke thought within Indian society.

Keywords: Archetypal characters, Indian consciousness, Socio-political dynamic, Timeless theme

Introduction:

A pure nautanki Aala Afsar was first performed in 1977 in Bhopal under the direction of Bansi Kaul, the narrative revolves around the corrupt officials of Chitpur who are concerned of the Aala Afsar coming from Delhi to manage the local affairs, who accept the respect and bribes offered by the other officials and asks for a fee from the locals to solve their matters. About half of the play is written in pure Nautanki meter such as dohd, chaubold, baharetavil, and daur, following the tradition of Nautanki song forms such as thumri, bhajan, qawwali, and rasiyd are included (Hansen 81). While the play is written in Hindi and is an adaptation of Gogol’s The Government Inspector the rules do not change even after the change of the government, the relationship between bureaucracy and politicians, the characters being archetypal despite the location, is why the play is still well received.

This study aims to explore the transformation of Indian consciousness through Aala Afsar. It compares it with Gogol’s play to underscore the archetypal nature of its characters and the universal relevance of its themes. Additionally, it explores how Aala Afsar promotes Indian consciousness; this review employs postcolonial literary theory to examine the impact of this play.

Historical and Cultural Context of Aala Afsar:

Mudrarakshas, who goes by the name Subhash Chandra was an alumnus of the University of Lucknow and was known for being the voice of the marginalized. Nautanki has always had a profound impact on Indian consciousness, composed of Bandish, Birha, Nataka, Ragini, Charan, and Samvad with the Prastavana. Along with his subtle yet straightforward writing, his plays challenged audiences to think about the nature of authority and governance critically. This play was written during the post-colonial period mimicking the newly formed democracy of other countries going through its promises of equality and lack of accountability in the government. As Homi K Bhabha talked about in Of Mimicry and Man: The Ambivalence of Colonial Discourse:

Mimicry is also a sign of the inappropriate, however, a difference or recalcitrance which coheres the dominant strategic function of colonial power, intensifies surveillance and poses an imminent threat to the ‘Normalised’ knowledges and disciplinary powers (Bhabha 126).

This double vision and representation of colonial objects can be seen in the play, which depicts the universal reality of these bureaucracies, where the protagonist is a common man but the various officials, he encounters are corrupt at large, which leads to him being shifted to the commodification of power in a capitalist society. The change in behavior of people around him, when he acquires the position, reveals the way class consciousness is manipulated by the ruling class. The archetype of satire used in this play perfectly aligns as a tool for moral criticism, aiming to reform society. This play contributes to the genre of satire in Indian Theatre with a blend of humour and critique. As Frye suggests that

the drama emerges from the ritual side of myth and lyric from the epiphanic or fragmented side, while the epic carries on the central encyclopaedic structure (Frye 105).

Frye considers satire as an extension of comedy where comedy ends in reconciliation, satire tends to be more thought-provoking. By exposing human folly, and institutional corruption, this play uses satire as a mirror for both reflecting and shaping cultural consciousness. Political theatre helps in raising the issues of social problems for which any individual as well as the state might be responsible, “political theatre is largely performed by the middle- or lower-class intellectuals, for the middle class, or for the oppressed” (Sundar 134).

Indian playwrights have always had a strong perspective and more nuanced way of connecting with the live audiences and that’s what has made Nautanki still popular. M.K. Naik observes the detained status of the Indian English drama as follows: “A play, in order to communicate fully and become a living dramatic experience, thus needs a real theatre and a live audience…It is precisely the lack of these essentials that has hamstrung Indian drama in English all along.”

Aala Afsar not only conveys the social issues but also depicts the certain class that gets oppressed and is forced into corruption by the ruling class reflecting the ubiquitous nature of Marxist ideology, and simply creates its own space in the intermediality because, “Theatre does not simply occur in available space. It creates its own space, and alters what is already there. Performers and spectators separately and also jointly contribute to the transformation of space, creating a variety of spatial configurations during the course of the performance” (Awasthi 51).

Archetypal Characters of Aala Afsar and Gogol’s The Government Inspector:

An archetype character is a universally recognizable symbol or motif that represents a specific personality, such as the hero, the mentor, or the trickster. These archetypes can be found in various cultural narratives, myths, folklore, and literature, serving as fundamental elements that resonate with audiences across different times and places.

In Jungian psychology, these archetypes represent universal patterns and images that are part of the collective unconscious. Jung believed that we inherit these archetypes much in the way we inherit instinctive patterns of behaviour (Cherry).

According to Jung, archetypes are innate potentials that are expressed in human behaviours and experiences According to Jung's theory of the collective consciousness, archetypes play a central role. These archetypes are fundamental, universal experiences that are inherent to the human condition. They are believed to exist in a latent state until they are brought into consciousness, at which point they are shaped by individual and cultural experiences. These universal archetypes are evident across a wide range of cultural expressions, including narratives, artworks, myths, religious beliefs, and dreams. Their presence and influence can be observed and identified in the rich tapestry of human culture and expression throughout history and across different societies.

Despite being written in two different cultural contexts, both of the plays share thematic similarities, criticizing bureaucratic corruption and the characters reflect universal traits of greed, fear, and the desire for power. The Protagonist of Aala Afsar is a low-ranking officer who exploits the misunderstanding of others to take advantage of the situation by accepting bribes and favours, he is opportunistic but certainly not inherently powerful, while Ivan Khlestakov, the minor civil servant of The Government Inspector is more like a buffoon than a schemer and he too uses the mistaken identity at his advantage to live a lavish life.

The officials of both the stories are corrupt and panic-stricken at the thought of being exposed by the inspector, they are hypocritical and cowardly, driven by greed and fear of punishment and they will do everything to cover up their misdeeds.

The theme of mistaken identity and the universality of character despite the cultural and regional differences is what makes the stories more impactful and creates a consciousness among viewers across different cultures and periods, striking the mirror image of society.

In Aala Afsar, Mudrarakshasha has used the common worship song used in the Arti ceremony, Om Jai Jagdish hare (“Om, hail to the lord of the universe”) as om jai Aala Afsar (“Om, hail to the senior officer”) to mock the atrocities of the officials and the common people (Hansen 81).

On the other hand in Gogol’s The Government Inspector, the protagonist demands from the waiter who tells him that he is going to complain about him, he says “Complain of me! Why, consider for yourself, my good fellow—I must eat. If this goes on I shall become a skeleton. I really am very hungry, joking apart” (Gogol 20)

These characters and their comedic elements help to reveal the true personas hidden beneath societal facades. They also contribute to creating a rich and immersive theatrical experience for the audience. Theatre, in addition to being a platform for addressing universal social and cultural issues, also serves as a valuable source of entertainment and creative inspiration.

“These archetypes often appear in dreams, myths, literature, fantasies, and other imaginative sources. Several key archetypes are the persona (one’s social mask), the shadow (one’s dark or evil side), the anima/animus (one’s hetero-gendered aspect), the mother, the child, the wise old man, and, most important, the Self” (Leigh 106).

Theatrical Impact of Aala Afsar:

Mudararakshasa’s Aala Afsar has profoundly impacted the evolution of Indian theatre. The play masterfully employs Sanskrit dramatic conventions such as dramatic irony and intricate character development, setting a benchmark for subsequent theatrical traditions.

The theatrical tradition of Nautanki, which is part of the Saangita tradition, has deep artistic and historical connections with other performance forms such as Sang or Swang, Bhagat, Khyal, and Maach. However, Nautanki has developed its own distinctive features, particularly in its musical style. Over its nearly century-long history, Nautanki has thrived in various centers including Saharanpur, Muzaffarnagar, Moradabad, Meerut, Hathras, Etawa, Etah, Kanpur, Lucknow, Kannauj, Manipuri, Agra, and Mathura. At the beginning of the 20^th century, the most active centers for Nautanki were Amaroha, Kannauj, Kanpur, and Hathras, each of which developed its own unique style of performance and singing.

“In India, the rich heritage and vibrant culture are particularly evident in rural areas. Many of the social issues that plague Indian society have their origins in rural India. Despite the increasing prevalence of electronic media, traditional theatre continues to be the primary mass medium in rural areas. Therefore, it is imperative to recognize the influential role that theatre plays in addressing and combating these social challenges” (Kasturi and Vardhan 5).

Furthermore, its exploration of political and ethical themes through a compelling dramatic narrative has laid the foundation for future works in Indian theatre that tackle similar issues. Aala Afsar’s portrayal of multifaceted characters and moral dilemmas has significantly contributed to the advancement of dramatic storytelling in India, serving as inspiration for playwrights and theatre practitioners to explore political and social themes in innovative and thought-provoking ways.

Conclusion:

The plays Aala Afsar by Mudararakshasa and The Government Inspector by Nikolai Gogol offer rich and multifaceted insights into the deeply entrenched influence of corrupt bureaucracy and the evolving societal consciousness. Aala Afsar, set against the backdrop of 10th-century India, delves into profound ethical dilemmas and the winds of societal change, leaving an indelible mark on Indian theater. Conversely, The Government Inspector, a satirical portrayal of bureaucratic failures in 19th-century Russia, incisively critiques governance deficiencies with sharp humor and insight. Despite their disparate historical milieus, both plays resonate with universal themes of governance and morality, displaying the enduring relevance of dramatic works in addressing fundamental aspects of the human experience across different cultural and historical contexts.

Theatre and Nautanki have historically served as conduits for the expression of dissent, the dissemination of social values, and the assertion of cultural identity, deeply intertwined with the daily lives of common people. Aala Afsar, for instance, casts a critical eye on bureaucratic inefficiencies and the corrosive influence of corruption that afflicted post-colonial Indian society, reflecting the disillusionment of the masses with the promises of independence. Through its adept use of satire and humor, the play not only entertains but also serves as a potent mirror to society, prompting introspection and a rigorous appraisal of the socio-political landscapes of the time.

The burgeoning Indian consciousness, as epitomized in Aala Afsar and similar works, embodies a resurgence of indigenous cultural forms that had been marginalized or co-opted during the colonial era. By reviving and revitalizing Nautanki, Mudrarakshasa and his contemporaries reaffirmed the significance of these folk traditions as vessels of Indian identity and resistance. The play encapsulates the resilience of Indian culture, showcasing its capacity to adapt, evolve, and confront contemporary issues while remaining firmly rooted in tradition. Aala Afsar, steeped in the rich tradition of Nautanki, not only enchants audiences but also serves as a conduit for incisive social and political commentary. The play encapsulates how theatre can be a potent instrument for raising awareness, challenging established norms, and nurturing a collective sense of identity and self-worth among the masses. In this context, Mudrarakshasa’s oeuvre transcends the realm of mere literature, instead emerging as a cultural artifact that captures the pulsating rhythm of a society grappling with transition, as it endeavors to assert its identity amidst the vestiges of colonial rule and the trials of modernization.

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