natakam play

• Padya Natakam: As it is started from the Padya Natakam, The people of Telugu Theatre used to render the poems for a long time. Plays like 'Satya Harischandra', 'Kurukshetram', 'Gayopaakyanam' are the well known plays. poems like "chelliyo chellako". " Bava eppudu vachiteevo" are used to render by the every common man in every part of the village. The actors used to sing these many more times.

The interesting feature in Telugu theatre is the main roles are cast by two persons and named as "okatava (first)" "rendo (the second)", for example okatava krishnudu (first krishna), rendava krishnudu (second krishna). Most of the performances start at late nights and will continue till early mornings.

• Parishat Natakam Parishat is a traditional Theatre event conducted annually at different places in Andhra Pradesh. It spans about three to four days having a competition of plays for the Parishatnatakam groups spread across the state. The present baseline study reveals that fifty one Parishats were conducted in Andhra Pradesh during the year 2011 and out of them, 41 Parishats have been conducted in coastal region of Andhra Pradesh. Though only 10 Parishats are situated in the other parts of Andhra Pradesh, they play a crucial role in promulgating and spreading the theatre culture in the nearby towns and villages.

The average budget of each Parishat is in the range of Rs.2.00 lakh to 3.00 lakh per year. One of interesting findings is that 50% of the funding for all the Parishats is donated by individuals from the middle and above middle class communities. This indicates not only the active community participation on Telugu Parishat theatre but also the rootedness of theatre in the region. Each theatre group is paid an average remuneration of Rs.8,000 per performance by the Parishats and on a day three plays will be staged by three different theatre groups. In total each Parishat provides performance space for nine different groups. . January to May is considered as the best time for conducting Parishats since 95% Parishats are being conducted in open air theatre spaces. An average of 500 to 750 audience watches the Parishats at towns and cities. In contrast to this an average of 1,500 to 2,000 audiences is watching the Parishats situated in rural areas. The study has noted that in the towns, the number of audience coming to Parishats has been gradually decreasing. It is not because that the audience has lost interest, but the lack of time management and organizational problems within the Parishat systems. It has also been noted that Parishats did not reinvent their strategies along with changing times and thus have failed in generating new audiences. Thus there is an urgent need to infuse and equip Parishats such as to restructure themselves and make their existence relevant to the current societal context.
There are 175 Parishat theatre groups throughout Andhra Pradesh. Of these about 35 to 40 groups get a chance to perform in most of the Parishats, since the selection of the plays is governed by the principles of competition and elimination. The themes of the plays are often contemporary social problems connected with the middle class ethos. The set design, costumes and make up for these plays are mostly realistic and often monotonous in nature. Minimal lighting and music are used trying to create a mood for the audience. It is observed that set design, costumes, lighting and music are the four major areas which are most neglected in contemporary Parishatnatakam. Though most of the groups are conscious of this fact, they are compelled to reproduce the same old methods, since they are not exposed and trained in those fields. Even the area of playwriting saw a major downfall in terms of quality in the last three decades. It is not that the playwrights are less talented, but it is due to the constant pressure to pen a new play every year. Though a bunch of very exciting and thought provoking plays have come out in the last one decade within these problematic circumstances, they could not survive for a long time, since the Parishats seek new plays every year. Hence a strategic intervention is needed to improve the quality of plays produced in Parishats.

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