Many people have not mapped the internal life of middle class India as Mohan Rakesh has. One of the leading supporters of Nay story (new story)The movement, which flowed the scene of Hindi literature in the 1950s and 1960s, discovered the moral architecture of the middle class burial when a feudal India was moving towards modernity after independence.

This week, the National School of Drama Reportery staged a suitable tribute to Rakesh in his centenary year by staging its prestigious game. Aadhe adhure With the same prominent artists, Pratima Kannan and Ravi Khanwilkar. Both performed it three decades ago under the direction of Tripurari Sharma.

Like most of Rakesh’s works, Aadhe adhure A working woman’s aspirations and desires a working woman associates the shape of a patriarchal society.

A product of his time, Rakesh attracted from personal experiences, and also placed his female hero Savitri under investigation. Unlike his mythological names, he is not ready to sacrifice himself for a husband, who finds out his professional frustrations by finding a blame in his character. As the statue says, some “relationships become a habit” you cannot do without. The theater was first staged by the theater stallwarts Om Shivpuri and Sudha Shivpuri, the play has opened a place for a deep conversation about gender and social obstacles over the years.

Some progressive writers and feminist voices feel that, in the end, the play confirms the male agenda for the women’s cage. Others find depiction of a woman’s struggle, caught between traditional roles and personal aspirations, reliable. It is in the middle of emotional takeaairs which keeps the play and its characters relevant after more than five decades.

It is woven very tightly, veteran theater critic Diwan Singh Bazali says that directors do not take freedom to make it Twicked. “The dialogues are constructed in a way if you remove a break or a preauble, the reference will change.”

The statue recalls that when Tripurari Sharma gave Savitri a little more nuances in expression, “it made a pulsing, because, the audience used to take a little negative image of the character with him”.

Set into a relaxed family on the verge of destruction, the play manifests partially expressed bitterness and dissatisfaction of each member. Savitri is working to earn enough money to save her brood from her work husband Mahendra’s diagnostic methods and suspected financial decisions. Mahendra feels injustice by his wife, which, he believes, always coaches rich, more powerful men. His elder daughter Binny wanted to impress his mother with Manoj, which we have been told. Dissatisfied, she often returns home to find the cause of her marital crisis. Bratish teenage daughter is unaware of discord in the daughter family. Son Ashok is unemployed, but is in his slim boss Singhania company to take help of his mother to help his mother.

The prickly half statements suggest that the characters are full of resentment, but do not express it, to maintain the thread of kinship. In a match of anger, when Mahendra leaves home with his influential friend Juneja, Savitri also looks for an old flame, release with Jagmohan. However, family responsibilities and Jagmohan’s vague sweet talk does not allow him to make his mind. Meanwhile, Ashok, with the help of Juneja, brings his father back home. But not before Junja, it punches the holes in Savitri’s character. The physical abuse of Savitri at the hands of her friend turns into a demon inside the four walls. The fact is that an actor plays the role of four men in his life, Savitri claims that all men are the same in their understanding about the emotional needs of a woman.

“Even today, when a female goes against the criteria set by men, her objectives are questioned,” the statue said. According to him, Savitri pulled a line in his conversation with men in her life. “She has to fulfill the ends, because her husband does not contribute. In our society, women look at their husbands and hope to be decisive. This has not changed. Today’s woman may not have waited for this long and perhaps, proceeded with Jagmohan but, in life, relationships become a habit. Mahendra also returns to him. ,

The name, Pratima and Ravi, known in TV and film circuit, took an end to their commitments for the play. “When the proposal came, I was scared because we have become accustomed to cut and retake. The theater demands too much energy and presence of mind. But when NSD Director Chittaranjan Tripathi stressed that we stopped all our commitments and dedicated three months to production, ”says Pratama.

This is the complexity of characters that stimulate Ravi. “I contacted four characters in the same way as I had done, but years of practice and life experiences allowed me to add to the performance. It is like a painter who is returning to one of its best works to add some more colors. ,

Describing the performance as an authentic depiction of the play, Anita Rakesh, wife of Mohan Rakesh, says it attracts her family experiences. “Savitri is based on my mother. I am Binny and Rakeshji Manoj is, ”she says.

When Anita broke Skewiness Song: “Woh sham kuch was strange, this sham kuch is strange.