The intense period of Mughal India and struggle of succession of throne marked the concluding day of the National Theatre Festival
The play, the Crowning of Dara, narrating the tale of the sons of Emperor Shahjahan, was staged here on Thursday at Antarang Hall, Bharat Bhavan. Directed by Tripurari Sharma, the play was performed by India Foundation, New Delhi.
The play begins with Dara’s own desire to succeed his father as Emperor of India, and the competing inclination within him to also venture into the realm of spiritual enquiry and search for mystical realization through a study of the major spiritual leaders of the time. He is convinced that there is a core unity in all religions and is inspired in his search by the great Sufi saint, Sarmad.
Further, this prince, having always lived in the comfort of imperial palaces, is no match for his younger brother, Aurangzeb, who is a shrewd military strategist with years of experience fighting and surviving in the Deccan. Aurangzeb is resentful of Dara being Shahjahan’s favourite and feels denied of the affection and understanding of his father. A devout Muslim and strong in his faith, Aurangzeb has the fortitude of a conqueror and the determination to become emperor. In parallel with the aspirations of the two brothers are the lives of their two sisters, Jahanara and Roshanara.
The play proceeds through different phases of Dara’s life in terms of The Conflict, The Path, The Assembly, The Betrayal and, finally, the illumination, and the Crowning. It ends with the execution of Dara followed by that of the great Sufi saint, Sarmad. Aurangzeb succeeds in taking both Dara’s life and crown from him. Even so, Dara’s life was one of extraordinary endeavour and achievement. Dara has helped mould this country’s fundamental principles of inclusion and respect for all human faiths. In this is the final crowning of Dara Shikoh, the Philosopher Prince.
The brilliant use of stage craft, light design and costumes added more charm in the presentation. Further, the matured acting skills and the next to perfect Urdu language made the play more zestful.