In memory of Habib Tanweer at the beginning of his centenary | countercurrents

This is the centenary rendition of playwright, director and actor Habib Tanfer. He was born on 1 September 1923 in Raipur, Chhattisgarh. Habib Tanfir's father, Hafez Ahmed Khan, was a resident of Peshawar (Pakistan). Habib Tanvir completed his education in Raipur. After that, he graduated from Nagpur College in 1944 and MA from Aligarh Islamic College. After that he went to Mumbai. There he was connected to the IPTA and affiliation of Progressive Writers. He also joined All India Radio in Bombay as a Producer. He wrote poems and acted in films. Furthermore, Habib Tanweer took the cost of the IPTA when the prominent playwrights associated with the IPTA went to jail facing the British. Habib Tanfir talks about a number of genres, expressions, identities, and the spirit of the stage all at once. The truth is, there are so many aspects to Tanveer's boyfriend's appearance and personality that it's unimaginable to combine them all. His character is great because of the different roles of the actor within the play. Regardless of his deep knowledge of the world stage, he has continued to work with rural actors, discovering his genre among many individuals without being associated with cinema.

Habib Tanveer arrived here in Delhi in 1954. In the same year, he wrote his historical play “Agra Bazaar” and captured everyone’s considerations. Agra Bazar is a revolutionary chapter in the Indian world of colour. Then in 1955, Habib Sahib went to England and was educated at the Royal Academy of Dramatic Art where he directed at Bristol Previous Vic Theater College for about three years, understanding theater and its nuances and attending to get acquainted with European theater closely. In addition, he stayed in Berlin for 8 months in the place where he observed the various performances of Bertolt Brecht. Theater wife Monica Mishra continued to perform under the banner of this group all his life. He has given a new dimension to modern theater by making use of Chhattisgarh people's dances, songs, music and folklore for the first time in Indian performances. He linked theater to social and political issues and tasks, and emphasized dramas that depended mostly on people's traditions, and that might be performed at very low value. Because of his early affiliation with the IPTA, he was completely influenced by the left, who remained to the top, so that the truth about his performance would be more evident throughout. He often needed to confront criticism, opposition, and even attacks by fundamentalists.

For Habib Tanweer, his dose of drama and theater was his home. He gave performances, opening the theater to a large number of people, and ensuring the participation of the usual individuals inside the theater. He used the rich customs of people's artwork as a means of his performance. Theater gave way to a new meaning. He gave a lovable and democratic form to the customs of the bourgeois theatre. He challenged the tendencies of the upper and middle class and bourgeois theater of that closed time and gave it a broader context for people's artworks. Through his theater, he emphasized the concept of what is local can be international. His genre and performance were watched and appreciated by all audiences. He slowed down in the experimental title, however he tried to update it into an important and effective additional type and it worked. To a large extent, Habib Tanver's holistic theatrical work is a forerunner of modern dramaturgy, which we continue our efforts to understand within the traditions of Indian theater. 'People' are not indifferent here, but it is an advertisement for your complete habits as well as being the primary mediator of your complete theatrical competence. That is why the image of Tanveer Sahib is not only advisory to India but to the whole of India, through which we see the religion, aspirations, struggles and goals of Indians. .

Along with the event and flourishing of Indian theater, Habib Tanfir also developed indigenous consciousness and language traditions. Habib Sahib believes that “individuals” lie at the center of Indian traditions and that only by belonging to “individuals” can an important theater be sought. This is the reason why he upheld India’s Courage to reach its level to as many individuals as possible, saying that “the customs of theater in India are still alive within the villages in their primitive glory and energy. They have the deep habit of the people. The persistence of this habit is important for contemporary theatre.”

Habib Sahib believes that, “We should always go deeper into our roots and develop our own personal kind of drama that might rightly be a repetition of our specific problems.” Often based on this, in almost all of his performances, he rejected preconceived notions of performances and introduced the rich traditions and treasures prevalent among the many 'people' within the title of modernity to create new experiences and new beliefs. It is used by lovers of bourgeois colors. The world was not interested. The new and elegant experience started by Habib Sahab with “Agra Bazar” and “Mitti Ki Gadi” is perfected in “Gaonche Naam Sasural, Mor Naam Jawai”. This new, folklore-oriented craft and theatrical introduction to viewers. theater world. Whether it is “Agra Bazar” or “the title of the village father in the legislation, or the title of the peacock son in the legislation” or “Charandas Chor” or “Hirmachi Amar Kahani”, Shur Kalareen Nain, any presentation, all their occasions and insistently we have strived to inculcate Individuals valued in India, as well as efforts to move artists into the mainstream. Habib Tanfir's shows were a penetrating mix of the latest Indian colours. Along with a sense of modernity, discussions with the modern script were freely present in his performance.

Lyrical music is a feature of Habib Sahib's performance. In an approach it can be noted that Habib Sahib has devised a method in which all kinds of drama can be presented on the stage in an efficient and elegant manner. His dramatic songs were very effective in this function. Songs from almost all dramas like Charandas Chor of Agra Bazaar, Dekh Rahi Hai Nain, Bahadur Kalin Kamdev Ka Apna, Basant Ritu Ka Sapna, Shajapur Ki Shantibai and many more. are examples of that yet cherish even at this time. The music of Habib Sahib's performances carried an expressive character in itself. Such colorful music was not discovered in the Indian theater area. Habib Sahib understands his accountability in the direction of the viewers, which is why he decided to present the viewers with a full-fledged theatrical style. A separate country, but this distinguished, world-renowned artist experienced apathy and neglect in his own city and personal state. Grieved by carelessness and neglect, Habib Tanveer took a sip of blood and fled to Bhopal in Madhya Pradesh. Over the years this gentle theater artist has been indifferent by the previous governments of Chhattisgarh but many theater lovers and theater related organizations arrange various applications in his remembrance yearly. In addition, his success is that he made a special place in the hearts of his followers by becoming an inspiration.

Other than theater, Habib Tanfer has also made his mark in TV series and Bollywood films. He has been honored with honors as Padma Bhushan, Padma Shri and Sangeet Natak Academy. He was a member of the Rajya Sabha in the seventies. He was the second playwright to become a member of the Rajya Sabha. Prithvi Raj Kapoor bought this honor before him. in Raipur. He will all the time be an inspiration to theater staff and audiences alike.

vikashmeshram mashram
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