Ekta Nagar (Kevadia), Oct 31 National School of Drama Director Chittaranjan Tripathy, who directed the 19th-century classic ‘Anandamath’ by Bankim Chandra Chattopadhyay into a play, said that works like ‘Anandamath’ teach us that “nation is paramount” and no other ideology, debate, or discussion takes precedence over nationalism.
Presented by the National School of Drama (NSD) Repertory Company, the theatrical production was conceived as a tribute to the 150th anniversary of Vande Mataram, written by Chattopadhyay in 1875, seven years before the novel ‘Anandamath’ was published.
Tripathy did the dramatisation, music, design, direction, composed the music and penned the lyrics of the play ‘Anand Math’, which was staged before Prime Minister Narendra Modi here on Friday evening on the eve of National Unity Day, celebrating 151st Birth Anniversary of first Home Minister Sardar Vallabhbhai Patel.
Asif Ali Haider did the dramatic adaptation of Chattopadhyay’s 19th century classic ‘Anandamath’.
“When you read works like Anandamath, you come to understand that the nation comes first. No other ideology, debate, or discussion takes precedence over nationalism. With that same sentiment in mind, this presentation was created,” he told PTI.
He said the play was primarily based on ‘Anandamath’ and took nearly two months to create, conceptualise, rehearse and perform.
The play brought Chattopadhyay’s 19th century iconic novel to life through music, brightly coloured digital backgrounds and gripping storytelling, which received massive audience response with chants of ‘Bharat Mata ki Jai’ and ‘Vande Mataram’ whenever they were used by characters in the play.
“In contemporary times, it should be done because the nation is our identity; we use its air, water to survive and thrive, so there should be no shortcoming in expressing our pride, admiration, and love for this nation,” he said.
Tripathy said the food that grows in this soil, the water that we drink, and the air we breathe are gifts of this land.
“The mother who feeds us our first meal also draws energy to feed us milk from the food generated from this soil. Everything comes from this motherland.
“In that sense, it is Mother India and everyone, regardless of which sect, religion, caste, or language a person belongs to, everyone living in India has immense love, faith, reverence, and respect for Bharat Mata,” he said.
Tripathy said this is the message that should be passed on to all generations in the years to come and it is a very significant and wonderful aspect of this production.
Tripathy said 99 per cent of that 80-minute play is from the Chatterjee’s novel, with contemporary relevance coming naturally from the text itself.
“It repeatedly conveys the message that as long as our country and Bharat Mata exist, we are safe and secure. Our identity is also deeply connected to our nation,” he said.
“Although the work is traditional in its origins, its message is contemporary. Therefore, we did not feel the need to add anything extra to it,” he said.
He said this message applies to every country. For example, if someone were French, they would say, “As long as France exists, I am safe and secure.”
Tripathy said Chatterjee was able to beautifully bring out grey areas in human psychology in the mind of every individual of that era.
“Every human being has certain inner conflicts, weaknesses, and emotional complexities that are not always clearly defined as right or wrong,” he said.
Drawing inspiration from the Bhakti movement and Jayadev’s ‘Geet Govind’ and a stanza from ‘Jagganath Ashtakam’ written by Adi Shankaracharya, Tripathy also used expertise of Chhau dancer and Padma Shri awardee Shashadhar Acharya, who choreographed the production.
Tripathy used a team of 300 participants, including actors, fine arts practitioners, designers, craftsmen and folk artists, contributing to an elaborate stagecraft and compelling theatrical presentation which drew a packed audience which cheered with thunderous applause and slogans of ‘Vande Mataram’ and ‘Bharat Mata ki Jai’ during the play.
Rajesh Singh, Chief of Repertory, the NSD did the scenic design in the play while the lighting design was done by Gyandev Singh.
Abdul Rashid Mehta, a noted action director from the Indian film industry, has directed the fight sequences.
The song ‘Vande Mataram’ from the novel was adopted as the National Song by the Constituent Assembly after Independence.
In a resolution adopted by the Constituent Assembly on January 24, 1950, it was decided that the composition consisting of the words and music known as ‘Jana Gana Mana’ would be the National Anthem of India, subject to such alterations in the words as the government may authorise as occasion arises.
It was decided that the song ‘Vande Mataram’, which played a historic part in the struggle for freedom, shall be honoured equally with ‘Jana Gana Mana’ and shall have equal status with it.
“The novel is intrinsically associated with Vande Mataram, the iconic song that became an enduring source of inspiration during India’s freedom movement. As the nation commemorates 150 years of Vande Mataram, beginning on 7 November 2025, the production stands as a theatrical tribute to the freedom fighters whose courage, patriotism and sacrifice shaped India’s struggle for independence,” a statement from the NSD said.
The Centre has made it compulsory to sing all six stanzas of the song at all official functions, with protocols similar to those of the National Anthem.
(PTI News)
