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Indian Express
5 days ago
- Entertainment
- Indian Express
Why was a Manipuri girl singing Tagore as a farewell to theatre giant Ratan Thiyam?
Days before he passed away in Imphal, Manipur – a state riddled with ethnic conflict since 2023 – Ratan Thiyam, one of the most influential voices in Indian theatre, heard Rabindra Sangeet. In a moving tribute that has surfaced on Instagram, Gunchenbi, a young Manipuri girl and daughter of Manipuri dancer Karuna Devi and noted composer and vocalist Surajkumar Wangkheirakpam, is seen sitting on the floor near the foot of an ailing Thiyam's bedside at his home while singing Ore Ggihobashi, khol dwar khol, (O home dweller, Open your door), a noted song from Rabindranath Tagore's oeuvre. Thiyam passed away last month at Regional Institute of Medical Sciences at the age of 77. Gunchenbi sings the song plainly, as if not aware of the weight of the moment. And that's what's most powerful and dramatic about it. Tagore had used spring as a metaphor for spiritual awakening in Ore grihobashi, calling out the home dweller to open the door and savour the changing season, the fragrant blossoms. Gunchenbi also sang Bela boye jaye (The day is passing), which elaborates on the transient nature of time, the idea of seizing the present and embracing it all without any regrets. There is no microphone or any instrument, just Gunchenbi's innocent voice rising in crescendo. Thiyam and Tagore never met each other and were separated by time and geography. But Thiyam took a lot of inspiration from Tagore, exploring universal themes through local Manipuri idioms. A poet, musician and painter besides being a theatreperson, Thiyam was deeply inspired by Tagore's work. He created a striking illustration of Raktakarabi (Red Oleanders), Tagore's protest play about a tyrannical king who exploits his subjects, forcing them to toil relentlessly in gold mines. Tagore wrote the play in Shillong and Thiyam's illustration showcases the protagonist Nandini bearing the weight of what she mines on her head along with the others who are exploited by a king who compels his subjects to labour. Thiyam engaged with Tagore for a full-fledged play as well and created Raja (King of the Dark Chamber, 1910), the story of a benevolent king who does not like the way he looks and does not step out of his dark chamber, thus disturbing his queen as well as the people he governs and eventually becoming the story of man's search for meaning. It was staged a year after Tagore wrote it, on his 50th birthday. But the play in Bengali would go on to transcend divisions of region and language and in Thiyam's hands becomes the story of an anguished queen's battle with darkness. Born in Nabadwip in West Bengal when his parents, both Manipuri dancers, were touring the state, Thiyam also knew Bangla well. In a fractured Manipur, which has dealt with months of ethnic conflicts, Tagore's music on Thiyam's bedside, urging him to open the window for the blossoms, seemed far from the violence and the it's continued pain. But it was an apt farewell to a significant pioneer of theatre, a voice of reason whose ideas of inclusivity, social welfare and spirituality rose above all else.
Time of India
6 days ago
- Time of India
Two found dead in Bishnupur & Imphal West dists
Imphal: Two persons, including a minor, were found dead in separate incidents in the state on Aug 6. In Bishnupur district, a 15-year-old boy was found hanging at his home in Moirang Khoiru Makha Leikai, while a Regional Institute of Medical Sciences (RIMS) employee was discovered in a similar state at his official quarters within the RIMS complex in Imphal West district. The minor, a Class VIII student, had been living alone for four days. His father works as an auto-rickshaw driver in Imphal, and his mother is a farmer in Nambol. Moirang Police have registered a case and are investigating the circumstances surrounding the boy's death. His body has been sent to RIMS for autopsy. In the second incident, Sagolsem Sanatomba, 53, an attendant at RIMS's psychiatry department, was found hanging in his Type-2 Quarter B-15. Lamphel Police, with forensic experts, conducted a thorough investigation before transferring his body to the RIMS morgue. A case has been filed at Lamphel Police Station. Authorities are actively investigating both cases.
Time of India
24-07-2025
- Entertainment
- Time of India
Theatre legend Ratan Thiyam passes away at 77: Tributes pour in for the Manipuri maestro
One of India's most respected and admired theatre directors and playwrights, Ratan Thiyam, passed away in the early hours of Wednesday at the age of 77. As reported by The Statesman, the celebrated artist had been battling a long illness before he breathed his last at 1:30 am at the Regional Institute of Medical Sciences (RIMS) in Imphal . His demise has left a deep void in the world of Indian theatre, and tributes have been pouring in from all corners. A visionary who changed Indian theatre Ratan Thiyam wasn't just a theatre director. He was a true visionary who used stagecraft to blend Manipuri tradition with modern storytelling. A pioneer in combining classical Manipuri performance styles with bold, modern techniques, Thiyam brought stories to life using folk tales, ancient texts, and real-world issues that made audiences think deeply. Recognised for his contributions Thiyam's exceptional work earned him many honours. One of his most prestigious awards was the Padma Shri , which he received in 1989. He also collected several national and international awards throughout his life, proving just how far his influence had reached. Tributes from across the country As soon as news of his passing broke, emotional tributes started pouring in from political leaders, artists, and theatre lovers. Former Manipur Chief Minister N Biren Singh took to social media to share his heartfelt words, 'It is with deep sorrow that I express my heartfelt condolences on the passing of Shri Ratan Thiyam, a true luminary of Indian theatre and an esteemed son of Manipur . by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like American Investor Warren Buffett Recommends: 5 Books For Turning Your Life Around Blinkist: Warren Buffett's Reading List Undo His unwavering dedication to his craft, his vision, and his love for Manipuri culture enriched not only the world of theatre but also our very identity. His work carried the soul of Manipur, echoing its stories, its struggles, and its beauty. May his soul rest in peace and his spirit continue to live on in the works he leaves behind and in the countless lives he inspired.' Remembered for his cultural legacy Governor of Manipur, Ajay Kumar Bhalla also paid tribute to Thiyam's outstanding contribution to Manipuri culture and theatre. A post from the Raj Bhavan's official handle said, 'The Governor stated that his invaluable contribution to Manipuri theatre and culture will always be remembered. Heartfelt condolences to his family, friends, and admirers.' Meghalaya Chief Minister Conrad K Sangma expressed his sadness over the demise and praised Thiyam for using his art to uplift and honour the cultural spirit of Manipur. In his message, he said, 'Deeply saddened by the passing of Shri Ratan Thiyam, a visionary who redefined Indian theatre by blending contemporary form with the cultural soul of Manipur. Through his art, he not only elevated the cultural identity of his homeland but left an indelible mark on the landscape of Indian performing arts. His legacy will continue to inspire.'
Time of India
24-07-2025
- Entertainment
- Time of India
Ratan Thiyam: A Visionary Who Revolutionized Indian Theatre
Guwahati: Born on Jan 20, 1948, at Nabadwip in West Bengal's Nadia district, Ratan Thiyam, recognised as one of India's greatest theatre innovators, grew up in Imphal, surrounded by art and art-making, which profoundly influenced his life and work. His father, Thiyam Tarunkumar, was one of the most respected gurus of classical Manipuri dance, while his mother, Bilasini Devi, was a renowned dancer. Thiyam passed away at 77 at the Regional Institute of Medical Sciences (RIMS) in Imphal at approximately 1:30am Wednesday. Along with KN Panikkar, BV Karanth, Habib Tanvir, Bansi Koul, and Jabar Patel, Thiyam, affectionately known as 'Oja' (teacher in Meiteilon), was a major pioneer of the "theatre of roots" movement, developed during the 1960s-1970s. This movement sought to reclaim and integrate Indian classical, folk, and indigenous performance traditions with modern sensibilities, a powerful strategy for redefining Indian cultural identity. A graduate of dramatic arts from the prestigious National School of Drama (NSD), Thiyam was not only a powerful stage director but also a complete theatre craftsman and creative visionary. He was a multifaceted genius — a designer, music composer, choreographer, lighting expert, costume designer, architect, playwright, painter, and poet, whose brilliance extended across nearly every element of the performing and creative arts. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 15 most beautiful women in the world Undo Thiyam took Manipur and Indian theatre onto the global stage, creating a new theatrical form by synthesising diverse performance traditions from his homeland. His works showcase the seamless blending of elements from the classical Natya Shastra (Indian theatre style during the second century BC) and Western realistic theatre with Manipuri's rich indigenous performing arts such as martial arts (thang-ta), dance, music, and ritualistic gestures. Through this artistic strategy, Thiyam asserted the socio-political and cultural uniqueness of Manipur, positioning it as separate from the mainland's dominant cultural narratives. This gained him national and international recognition as a playwright and director. His celebrated plays, such as Chakravyuha and Uttar Priyadarshi, brought global acclaim to Manipuri theatre and Indian drama at large. His main contributions to Indian theatre innovations are profound and transformative, significantly shaping the direction of contemporary Indian performance. His influence reverberates through his unique stylistic language, institutional leadership, and continued advocacy for indigenous forms and social consciousness. In 1976, Thiyam established the Chorus Repertory Theatre in Imphal, which became a national hub for experimental, visually rich, and socially responsible theatre. The theatre trained and inspired generations of artists and encouraged the fusion of rural and urban motifs, traditional and modern directing techniques, and innovative stagecraft. His work is celebrated for its striking visual design, choreography, and music, combining scenic minimalism and grand imagery. His plays featured stylised movements, ritualistic gestures, symbolic props, and a deep focus on atmosphere that set new standards for Indian stagecraft, creating a holistic theatre experience. Thiyam's plays often explore profound themes. His Leima Yenlingai Khuna Kaba (1980) addresses the motif of corruption in society transforming into an instrument of religious terror, while Urubhangam (1981), adapted from the Sanskrit play by Bhāsa, focuses on Duryodhana's tragic story from the Mahabharata. Lengshonnei (1986), his adaptation of Bertolt Brecht's version of Sophocles' Antigone, reinterprets the Greek tragedy through classical and traditional Indian forms interwoven with tribal rituals. Another masterwork, Chakravyuha (1984), rooted in the Mahabharata (Drona Parva), is considered one of Thiyam's finest productions, where he presents a powerful meditation on war, entrapment, and the heroism of the young warrior Abhimanyu. Another acclaimed production, Urubhangam (Broken Thigh, 1981), adapted from the Sanskrit play by Bhāsa, is based on an episode from the Mahabharata, focusing on the tragic downfall of Duryodhana. Both Urubhangam and Chakravyuha reflect Thiyam's belief in the timeless relevance of epics, recontextualised to comment on modern dilemmas. One of his most internationally acclaimed works is Uttar Priyadarshi, an adaptation of a Hindi verse play by celebrated poet and writer Agyeya, where Thiyam retells the story of Emperor Ashoka's spiritual transformation. These works exemplify Thiyam's ability to blend ancient texts and diverse performing traditions into cohesive contemporary theatre, addressing social, political, and philosophical questions with a rooted yet innovative dramatic language. A towering figure in contemporary Indian theatre, celebrated for combining classical, indigenous, and modern elements in his plays, Thiyam's death marks the departure of one of India's greatest theatre innovators, whose lifelong dedication elevated Manipuri traditions to the global stage and enriched the country's artistic heritage.
Indian Express
23-07-2025
- Entertainment
- Indian Express
‘Theatre was his protest': Pune remembers Ratan Thiyam
Around 50 people gathered at the condolence meeting held at The Box in Pune to remember one of the most towering figures of Indian theatre, Ratan Thiyam. The event had eminent director Atul Pethe reading excerpts from a write up about Thiyam and playwrights Ashutosh Potdar and Satish Alekar and filmmaker and film educator Anupam Barve talking about Thiyam. Thiyam died at 76 at the Regional Institute of Medical Sciences (RIMS), Imphal. The condolence meeting recalled the influence of Thiyam, who had brought many of his iconic plays to Pune. Alekar shared many important incidents, facts and insights about Thiyam, his theatre and Manipuri tradition and culture. Thiyam's works seamlessly merged ancient Indian performance traditions with contemporary narratives. His death marks the end of an era in Indian performing arts. Thiyam was a recipient of the prestigious Sangeet Natak Akademi Award in 1987 and is remembered as a theatre guru who redefined the language of stagecraft in India. 'This is a massive loss to the cultural field of Manipur, and Indian theatre as a whole. A few years ago, we lost the other side of the coin, the director Heisnam Kanhailal. Now, with Ratan ji gone, Manipuri theatre has lost both its giants,' said Alekar, a Marathi playwright and co-founder of the Theatre Academy of Pune. Born on January 20, 1948, Thiyam was a student of Ebrahim Alkazi at the National School of Drama (NSD) in Delhi. 'He didn't replicate Alkazi's theatre. Thiyam created his own theatre with his own roots- Manipuri roots, which are distinctly different from Indian mainstream traditions,' said Alekar. In plays, such as Antigone, Urubhangam, Ritusamhara and Andha Yug, Thiyam developed a language of theatre that was spiritually intense, visually immersive, and politically resonant. 'Andha Yug was not just a play. It was a complete visual and sonic experience. The chorus was composed entirely of Manipuri performers. It became a tragedy of the people of Manipur told through a new angle. That was the genius of Ratan Thiyam,' said Anirudha Kuthwad, director and theatre educator associated with NSD and FTII. Thiyam often referred to theatre as a medium of protest, not mere performance. 'He believed in theatre as a tool to voice the pain of his people. He once said in a discussion, 'I see theatre as protest. I see the play as a protest.' And that's how he lived it,' added Kuthwad. One of his later landmark productions, When We Dead Awaken, an adaptation of Henrik Ibsen's work, was placed in the contemporary context of Manipur's turmoil, reinforcing his commitment to using myth to critique the present. Kuthwad echoed the sentiment, 'We may never see someone like him again. His devotion, his creative energy, even in his senior years was unmatched. He didn't just take Manipuri theatre to India, he took it to the world.' 'The government should take note of what Ratan and Kanhailal built. What Manipur needs right now is not more politics, but cultural intervention- classical concerts, traditional performances, contemporary plays grounded in reality. That would be the true homage to Ratan Thiyam's life's work,'said Alekar.
