In the Foot-steps of the Jina - The Stage Version of Atimukta and Nagila

Summary

P.C. Das Gupta reviews two theatrical adaptations that breathe new life into Jain legends and demonstrate the enduring power of religious art. The plays—Atimukta and Nāgilā—were scripted by Sri Ganesh Lalwani and performed in Calcutta in 1974 and 1975 by students of the Jain Sikshalaya. Atimukta recounts the story of a young prince whose chance encounter with the monk Gautama awakens a longing for liberation; despite his parents’ pleas he accepts initiation, lives as a homeless ascetic and ultimately achieves self‑realisation. The production employed flashbacks, lyrical songs and restrained stagecraft; costumes and sets evoked the splendour of a royal court while underscoring the theme of renunciation. The author praises the direction of Rajendra Sharma and Durga Vyas, the music by Robi Biswas and choreography by Yogendra Narayan, and singles out the performances of Kumari Vijay Lakshmi Bachhawat as Atimukta and Kumari Bina Jain and Kavita Mahrotra as the prince’s parents. The second play, Nāgilā, explores the tender love between the poet Bhavadeva and his wife Nāgilā and the sorrow of their separation when Bhavadeva follows his brother into monastic life. Scenes depict the poet buying a blue flower and bangles for his wife, his struggle to reconcile love with spiritual duty and their moving reunion twelve years later. Directed again by Rajendra Sharma, the production balanced romance with spiritual aspiration; Kumari Padma Saraogi’s portrayal of Nāgilā combined grace with emotional depth, while the supporting cast conveyed the colours and customs of medieval Bengal. Das Gupta situates these plays within a broader revival of Jain performing arts, noting that such stage versions render ancient narratives accessible to modern audiences and inspire contemplation of the Jain ideals of non‑violence, renunciation and inner freedom.