'Shivaratri' propounds Basavanna's ideals: A review

A thing which we do not need, even if it is wealth, is akin to stone; when there is no equality between the work done and the pay received, it is corruption..." thus spring up pearls of wisdom from the lips of a sex worker, who was greatly influenced by Basavanna's philo-sophy, in the play 'Shivaratri,' invi-ting wide applause from audience.
"If gold is valued by the upper caste, the working class values the soil. Desires and temptations surround gold and to get it, vile acts are carried out; but commo-ners surround soil and here, work gains importance," propounds the play written by Jnanpith awardee Dr. Chandrashekar Kambara.

Pic. by Hampa Nagaraj

'Shivaratri' was staged by the artistes of city-based Nirantara Foundation last evening at the University Fine Arts College under the direction of renowned theatre director Chidambararao Jambe. The play, though started late, pleasantly surprised the audience with the entry, or more appropriately, rising of the village deity of Kalyana in flowing robes encompassing the stage. The two men on the sides of the stage swaying throughout the play added to the intrigue.
The drama starts with Shiva Sharana Mugda Sangaiah sear-ching for the house of a sex wor-ker Savantri, to worship Lord Shiva with Kamakshi, also a sex worker. It gains interest with the entry of King Bijjala to Savantri's house seeking Kamakshi's company, only to find Sangaiah worshipping Shivalinga on the bed. The theft of an expensive pearl chain from Bijjala's palace and its subsequent finding its way to Savantri's house through Sangaiah runs parallel to the meeting of Bijjala and his former Minister Basavanna at Savantri's house and their dialogue on Sharana philosophy and Bijjala's follies.
The story flows smoothly without any hiccups, and gives a different dimension to Kalyana, portraying the continuing struggle to eradicate caste system and accept Basavanna's philosophy wholeheartedly by all, irrespective of their vocation and beliefs.
The presentation of the play was quite appealing to the audience, but the audibility of the dialogues was less in the back of the theatre. The play saw a huge response with tickets being sold out and extra chairs put up for the public. Dr. Chandrashekara Kambara's presence delighted the audience who did not expect to see the Jnanpith awardee himself. The Foundation needs to take up more such experiments, so that Mysoreans get a chance to watch good plays.
The play gives rise to two valid questions: Is Basavanna's philosophy forgotten by his very followers, as there seems to be no end to casteism and obstacles to inter-caste marriages even now? Are Basavanna's ideals lost?