Rakta Abhishek, the violence of non violence?veteran playwright Daya Prakash Sinha'snew play left the Delhi theatre audience spell bound, with its very first opening at Sri Ram Center on November 7, 2006.
After a very long time, theatre came alive to its true purpose – that of guiding the audience to participate in the truth of existence (the story of human life, conflict and endeavors), the truth of experience (what events transpired), and then finally, the truth of transcendence in which the play'sremarkable ending helps the entire audience transcend an inner confusion and step into the light of clear knowledge, clarity of conviction, courage borne of wisdom, and finally the true course of action that serves Dharma, which is the ultimate foundation of the ultimate theater which is this life.
Two centuries before Christ, in the period of the rule of the last Mauryan King Brihadrath, defeated Greek statesmen were scheming to attack and rule India to avenge the defeat of Alexander and Selucus. Unfortunately, Brihadrath, internally weakened and rendered almost due to the inadequate and disturbed understanding of the doctrine of ?Ahimsa? was ill-equipped to defend India'ssovereignty. His blind attachment to non violence seeps into his military strategy and critical decision making skills. His scheming Greek advisors would have succeeded in influencing Brihadrath to dismiss his army in the cause of non violence but for the timely intervention of his Commander in Chief Senapati Pushyamitra Shung who organises a military coup and kills Brihadrath in broad daylight and saves India from foreign onslaught.
The core theme of the play Rakta Abhishek has never been explored before. This play raises many questions in the mind of the audience. How violence is intrinsically connected to non violence? Why does one, always, and invariably lead to the other? Be it at the individual level, the collective field, or the cosmic dimension, why does life swing between the two opposites? This swinging would not occur if non violence was the only and highest truth, the one and only path to tread and philosophy to live by.
Perhaps the truth lies beyond the two choices and it is established in the womb of wisdom that is guided within the recesses of the quiet mind. Only one course of action dictated by following either the dictate of violence or non violence is not the only option, no matter how much either of them is hyped, defined, publicised, celebrated and underlined.
According to playwright and philosopher Daya Prakash Sinha, each is appropriate in the appropriate situation. There cannot be a blanket preference for non-violence, as a belief, policy, creed, religion, path, and direction; when the theatre of life requires the judicious use of violence. As for the question of Dharma, at least true Dharma that benefits all beings -sometimes violence needs to be resorted to, to uphold Dharma. That is why Lord Rama and Lord Krishna and others also used violence from time to time.
Under the guidance of master teacher Pattanjali, Senapati Pushyamitra, makes a conscious and deliberate choice to tread the path of violence for the well being of his people. His journey is one that emerges from meditation and leads into military action. It is easy to dismiss the military coup organised by Senapati Pushyamitra against the overly idealistic and confused last Mauryan King Brihadrath, and killing him as a violent act of ambition and anger. However, Daya Prakash'spen and insight forces us to ponder if Pushyamitra was really a villain or a sage in the garb of a violent military man: a pure soul in Yoga between violence and non violence.
Another notable point about the play Rakta Abhishek is the fact that the wheel of life continues in an epic fashion, connecting the past with the present, vividly and intensely. History lives on today amongst, us alive, potent, and hungry as before because the human dilemma between the ideals and practical demands, philosophy and reality, non violence and violence, and action and in action continues ad infinitum.
The thunderous clapping at the end of each fast changing scene points to the connectivity and spontaneous flow between the script, the actors, and the audience. This flow is the bliss of theatre. Daya Prakash Sinha, the director has indeed delivered the goods.
Jay Prakash Singh as King Brihadrath is brilliant portraying the role of a well intentioned but confused and weak leader. Harvinder Kaur as Antonia the Greek seductress was convincing, spontaneous and tremendously present. Rohit Tripathi as the scheming Greek camouflaged in Buddhist robes all set to divide Indians in Buddhist and Vedik camps successfully aroused the hatred of the audience. Jitender Barsiwal in the two roles of Greek Kind Menander and sage Pattanjali was equally convincing in both. Pravin Bharti as Batuk the Buddhist solder, ready to lay down his life for his motherland no doubt moistened every eye by his intense portrayal of the character sketched by the playwright.
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