Jatra (theatre)

Though its birthplace lies in the religious landscape, replete with various Bhakti movements of Hinduism, by the end of the 19th century it was replaced by morally didactic content, and eventually became secular, when it gained entry into urban proscenium theatres during Bengal Renaissance.

The stage often had minimal or no furniture or props, it was rather seen as a neutral space, free to be given a meaning befitting the scene, this technique continued even when jatra started getting performed in proscenium theatres.

The modern version of jatra, features loud music, harsh lighting and dramatic props played on giant outdoor stages, and actors are hired for a season under written contracts.

Musicians sit on two sides of the stage, carrying Dholak, pakhawaj, harmonium, tabla, flute, cymbals, trumpets, behala (violin) and clarinet, all used to heighten the overall dramatic effect of performances that are already frenzied, plus most of the singing is done by the actors themselves.

[11] A generic character, unique to jatra and part of most jatra performances even today, is the allegorical figure called Bibek or Vivek (Conscience); it performs the function of a moral guardian, commenting on actions of actors and their consequences, sometimes it elaborates on the feelings of different characters, and often steps into a scene unannounced and presents an alternate or philosophical point of view, and all done through singing, something which is done by the chorus in a Greek tragedy.

[14] The recent origins of the jatra can be traced back to rise of Vaishnavism, and the Bhakti movement especially in Krishnaism, in the 16th century, propelled by the advent of mystic Chaitanya Mahaprabhu.

Historians also mention, the existence of Nata Gita, an operatic folk drama for in medieval Bengal, filled with singing, dancing and music sans dialogue, which provided an early model for the Krishna Jatra.

[15][16] After Chaitanya, his followers like Ramananda Rai and Rupa Goswami wrote plays based on the life of Sri Krishna, and many received royal patronage as well, like from the King of Puri, Prataprudradeva, which helped this form evolve further.

[6] During World War II, Indian People's Theatre Association (IPTA) used jatra to garner support of Communist Party amongst the Allies, when Germany invaded Russia.

Even after the war, noted directors like Utpal Dutt continued to use the jatra element in urban theatre of IPTA, as did Sombhu Mitra with his Bohurupee Company.

Further as productions are often put up within a month, a clear advantage over theatre and film, jatras remain topical by drawing upon current imagery of the populace, like when Phoolan Devi became notorious the 80s, a play staged by the same name gained immense popularity not to mention big revenue.