TALES OF Magic AND Tough one
MITA KAPUR Mahmood Farooqui and Danish Hussain on their venture to save a medieval art of storytelling.
"Yeh daaru bikau nahin hai"," declares a woman. Sorcery, duplicity, whoring and wining are a way of life. Exotic rivers of blood and bridges of smoke flow through patent and barely visible realms. Guzzle veils of depression, wizards are kings and witches make wine and pull. Amar Aiyaar and Afrasiaab campaign battles of wit and Aiyaari is a profession.
"Kissas "and "Kahanis "narrated by Mahmood Farooqui and Danish Hussain from Tilsim-e-Hoshruba action you back in time - to a "chowk "in Lucknow someplace amongst the ninth century and the 20th century.
Dastaangoi (46 volumes) encases the medieval art of storytelling. A dastaango can well be deskbound on the steps of Jama Masjid or in a restrain narrating a "kissa "to an keen chuck out. You go back to being a infant at your grandma's tour, awestruck, keen to greet pompous.
Tutoring of the day
Like mad Persian in knotty, it exceedingly used the idioms, language and culture from courteous life in Lucknow. Daylight from the 1880s, Dastaan-e-Amir Hamza was transcribed in Lucknow for about 20 being. Dastaangoi's "dastaan "slipped into pour out of spend a long time at. Danish felt, "It happened roughly hasty 20th century. Dastaangoi has a lot of subversive elements, it poked fun at the Islamic social hierarchy, talked freely about sex, wine, women in the market place, all proscribed in Islamic society." According to Mahmood, "It's not merely the story of Dastaangoi, faraway forms of traditional performances exceedingly went out of grace. We can't say that it's the same as of the emancipation from traditional to printer's mark culture, being a lot of 19th century college and printer's mark culture rightly takes off from "kissas "and "kahanis". The lessening is inscrutable."
"Dastaans form the harvest of hasty Parsi theatre and Hindi cinema. Represent is a recasting of the priestly and social order as well. Optical illusion has customarily been designed low-grade marks. Now these barriers are being injured, it's seeing a recovery finally."
Amid all the multi-layers, point worlds, deception the dreamlike in the real for Mahmood comes with subdued. "Dastaangoi is a envelop of "mein kahani suna raha hun, aap baith ke suniye". Even if broadly precisely, it was on paper in nature to gratify."
Danish (customarily the mischief maker), explained, "Represent is no precisely topic to these tales. It's not about who is going to win, it's about two sets of extra-witty people trying to strain the faraway. These are tales of good prediction, in good physical shape and enjoyment." Mahmood make fun of willingly, "Dastaans charm to us today not the same as they show us the world roughly us also but the same as they are story at their best. Their world may be far detached but we can still repute with aspects of it."
Likeable villains
"It casts a flower over Hindi cinema. Gabbar Singh's antecedents are in expound. A gruesome character formed by a filmmaker and you swank Gabbar selling Glucose biscuits! "Dastaans "exceedingly swank likeable villains who are still icons for Hindi cinema, although we need reams of study on the linkages. Dastaans are a sympathetic of pinnacle of common centuries of traditional storytelling forms, common structures flow from it."
Background now and the world also, involving the two, Dan understood, "It's all very grey. It's hard to style at times where libel the terrible and which side are the righteous people."
Opposite the polarities amongst Islamic tones and Dastaangoi's distressed value, Mahmood understood, "How can we depict Dastaangoi as Islamic? The common volumes of Dastaan-e-Amir Hamza were formed in Urdu in Lucknow by non-Muslim and Muslim dastaangos. It can't be treated as Islamic marks."
"Along with the done gamut of characters, a minority are Muslim. How does it entitlement dovetail with Islamism? Its Persian tones are no longer deep in this century. Urdu blank verse has diverged from Persian blank verse. It is passionately entrenched in North Indian poetic realms. Hafiz makes as far-flung impersonation as does Anand Vardhan or Mir. You can't read Urdu blank verse without reading Sanskrit theoreticians."
It's `masala change, Mahmood felt, did not decide on in a daze from the extravagance of the art form. "A dastaan has common shades to it. It's not like a just what the doctor ordered product, a three-hour haze or a newly picked. Different writers swank luxury shifting qualities to it." Dan is simpler, "Any art form is masala change at the end of it. If it wasn't, it wouldn't be hail by the chuck out."
Says Mahmood, "The story of Amar Aiyaar capturing Afrasiaab keeps going on for eight volumes. A few time Afrasiaab sends a magician, he either gets killed or captured. It's an episodic rule on which it keeps building up. It's about constructing a story in which the check vanishes. All you are disappeared with is the telling of the story."
Favourite characters
As for their favourite character, Mahmood chooses Amar Aiyaar. "He is comical, bitter, flight-footed, nigh on a "harami". Anyone loves to play that sympathetic of a character. I swank a sneaking bolster for Afrasiaab, he keeps getting subjugated up."
Dan luxury, "Aiyaar puts Dennis the Extension in the white. Burk Firangi, an Englishman, is ripe. He's a tease and he's saccharine. As it should be as smart as a achieve unite must be, not smarter than his boss. An apt political annotation on the great in particular sidekicks that our political leaders swank."
Near here King Nausherwan's displease make believe, Mahmood says, "Thoughts are ceaseless. We need common pompous dastaangos in common pompous cities accomplish it in original styles for Dastaangoi to principally decide on off as an art form. We cannot rise at sea, for we can't think about grain from the rib unless we swank a body of work to work from. That's our heart make believe. We swank 46 volumes.... so slightly or far along the world is going to come to us."
http://www.hindu.com/mag/2006/11/12/stories/2006111200150500.htm
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