Final Solution by Mahesh Dattani

This blog is in response to a task given by Vaidehi ma'am and Alpa ma'am. Here is a link from where you can visit Vaidehi ma'am https://vaidehi09.blogspot.com/2021/09/film-screening-mahesh-dattanis-final.html. 

In this blog, I will be discussing several thought-provoking points. I'll be sharing insights from my firsthand experience of performing live drama for the first time. By reflecting on this experience, I aim to shed light on how it has deepened my understanding of the world of drama. Join me as we explore how participating in live drama can lead to a better appreciation and comprehension of this art form.

Final Solution by Mahesh Dattani

About Author:- 

Winner of the Sahitya Akademi award in 1998, Mahesh Dattani is one of the foremost Indian playwrights writing in English. Born to Gujarati parents in Bengaluru on 7th August 1958, Dattani studied in the local Baldwin Boys’ High School, an English medium Christian missionary school where his only brush with theatre came in the form of a typical Christmas pageant in which he performed as an angel without dialogues. 

(Short introduction of Author)

He then went on to study at St. Joseph’s College in Bengaluru and it was during his college years that he was introduced to Bangalore Little Theatre which significantly contributed to his subsequent immersion in theatre in its varied forms. Dattani wrote his first play in 1986 and has since continued his stellar journey in theatre and films, not just as a playwright, but also as an acclaimed actor, director, and screenplay writer. While his choice of language, his themes, and set-designs set him apart in various ways from other contemporary or older Indian playwrights, what links him to his predecessors is a shared vision of the social responsibility of the artist and a commitment to serious theatre. His plays therefore offer piercing insights into various modes of exploitation and marginalization, ingrained in different urban spaces, both within and outside the family and operating along both material and discursive axes. It is this consciousness that enables Dattani to explore subalternation in urban spheres, especially along the lines of gender and sexuality.

Dattani is fully conscious of this radicalism and his responses to several questions regarding his choice of such subjects make us aware of his commitment to serious theatre and his sense of responsibility as an artist. As he explains to Erin B. Mee:

"My own political stand came because I started doing theatre, not because I had something political to say and I used theatre as the platform – just the reverse. Since I’ve realized the potential of theatre as an agent, if not for social change, at least for reflection, I can’t be frivolous about it any more. Unless I have something strong to present, I wouldn’t write." 

After reading Edward Albee's play "Who's Afraid of Virginia Woolf?" early in his life, he became interested in writing. He was also influenced by Gujarati playwright Madhu Rye's "Kumarni Agashi" and developed an interest in play writing.

About Play Final Solution:- 

Here is basic summary of play which is divided into 3 act.

(Video summary)

Act one:-

In the first scene of the play Final Solutions, a newlywed named Daksha (or Hardika) writes in her journal (March 31, 1948). She records her experiences in her new home in the journal. She has negative views about her in-laws. India remains confined within the house's four walls despite having achieved freedom. She enjoys the music of Shamshad Begum, Noor Jahan, and other artists. She even wished to pursue a career as a singer like them, but she could not because of family obligations. She had the opportunity to meet a Muslim girl Zarine, who shared her love of Noor Jahan and Shamshad Begum's music. They eventually became a close friendship. The action now occurs in the present (in a Gujarati town), and she is an elderly woman. A Hindu god's idol is broken. According to rumors, Muslims intentionally damage it, and as a result, Hindu and Muslim crowds alternately chant their respective slogans, causing conflict between the two populations.

Smita, the granddaughter of Hardika, is on the phone with Tasneem's family after Tasneem just informed her (Smita), possibly her own family as well, that a bomb was set off in her hostel. Ramanik, Smita's father and Hardika's son takes the phone from her daughter and tells Tasneem's family that she is safe and disconnecting up.

Since the dogs have been set loose and there is a lot of anxiety outside, Hardika instructs her daughter-in-law Aruna (Smita's mother), to inspect all doors and windows thoroughly. In the meantime, two Muslim lads named Javed and Bobby are fighting by the roadside. Suddenly, some Hindu guys appear and begin asking and searching for them. After discovering a scull cap in Bobby's pocket, they immediately recognize them as Muslims. The crowd is following Javed and Bobby as they flee as they are being killed. When they go to Ramanik's front door, they begin to knock. Finally, Ramanik unlocks the door. They immediately rush in and close the door. Ramanik must save their lives, they beg. The crowd comes to Ramanik's door. They warn Ramanik to turn over Javed and Bobby to them, or they will break down the door and enter. Ramanik, however, rejects this.

Ramanik gets assaulted by the mob, throwing rocks and sticks at the home. Muslims are not welcome at Aruna's home, so she makes her husband remove them. Ramanik declines strongly. Ramanik starts a conversation with Bobby and Javed. Bobby is excellent; however, Javed is highly aggressive throughout the talk. When Ramanik inquires about their academic progress and learns that Javed is a school dropout, he immediately criticizes him. When Smita arrives, she recognizes them both.

Act Second:-

Aruna queries Smita about her connection to both of them. Smita reveals that Bobby is her fiance and that Javed is Tasneem's brother. Smita forcefully defends herself when Ramanik and Aruna criticize her for knowing them by stating, "There's no harm in that." Javed does not reside with his parents, and it is also made clear. Then Ramanik inquires as to how he may meet his sister. In contrast to them (the Hindus), according to Javed, he loves the members of his community. Javed apologizes when Aruna expresses her outrage. Ramanik's home is attacked with stones by the mob. Ramanik gets warned by Javed, who says, "Those are your people." Ramanik makes an effort to protect himself. He also describes how a Muslim mob murdered his grandpa shortly after the split.

Ramanik gives them milk. Javed shouts, "It must feel good to be the majority. They have complete freedom to do whatever they like with them (Javed and Bobby)," as he thinks. Ramanik, who is still sympathetic, describes the origins of the conflict. There were rumors that some Muslims stoned the chariots during the Hindus' Rath Yatra, causing the god idols to crash and break into pieces and even killing Pujari.

Curfew was imposed in their town as a result of the incident. Bobby and Javed receive pillows from Smita. Javed responds, "I'm used to it," to her request that they sleep on the floor because they have no other space. At this point, Smita begins questioning his true reason for visiting Amargaon. Bobby claims that he arrived in quest of employment. Smita forbids her father from accepting Ramanik's offer of employment at his clothing store. She explains to Ramanik that Javed was fired from home because he was working for a terrorist organization.

She further claims that Tasneem is who informed her of this. Since she promised Tasneem that she wouldn't reveal Javed's true identity, Javed accuses her of breaking her friendship. Smita confesses her error and flees after becoming mute.

Act Third:-

Ramanik begins by inquiring about Javed's participation in terrorism. Javed shouts expletives in a rage. Javed receives an angry slap from Ramanik, and Bobby calms them. Bobby then recalls how Javed accidentally touched a letter belonging to his Hindu neighbor, who had severely mistreated Bobby when they were children. After a few days, Javed flung bits of cow meat into his home out of rage. Javed was brutally abused by the person when they went to his home. Bobby continues the tale by stating that Ramanik's community helped to make him famous because, before that occurred, Javed was regarded as the local hero. Javed and Bobby choose to go.

Ramanik threatens them by stating he will contact the police because he wants Javed to take his job at all costs. Javed laughs loudly at first before explaining that he was given the go-ahead to murder the Pujari in the name of jihad. As soon as he got to the chariot, he attempted to stab Pujari, but the latter pleaded for forgiveness, causing him to give up. He let go of all his desires and tossed the knife aside, but someone else picked it up and killed the Pujari. Ramanik, touched, praises Javed's bravery. Smita appears and expresses regret for revealing him. After some time passes, Aruna also arrives and considers carrying water after making sure it is safe to walk outside. Smita advises enlisting the assistance of Bobby.

Smita's idea is rejected by Aruna, who is rigid about holy things, leading to a fight between the two women. Smita encounters Aruna's unquestioning beliefs after exposing them. Aruna is somewhat disturbed by her daughter's strange behavior. She enters the bathroom amid the commotion. Smita, Bobby, and Javed go outside to bring water.

Through their conversation, it becomes clear that Smita and Bobby had a romantic relationship but were forced to part ways because of issues in the neighborhood. Tasneem, the sister of Javed, later became engaged to Bobby. All three pals open up and start making jokes, even throwing out one another with water. As tensions between the two families develop, Hardika (Daksha), who remembers how her husband had physically and verbally abused her for visiting Zarine's home, reprimands Javed and wishes that his sister will also have hardships like her father (who was murdered by Muslims). Ramanik begs her mother not to hold them accountable. After Aruna exits the bathroom, Bobby enters the little temple suddenly. Despite Aruna's protests, he gently takes the idol in his hands, speaks about developing community harmony, and then places it back correctly.

Then, they both go. Later, Ramanik confesses to Hardika how he, his father, and his grandpa set fire to the father of Zarine's store to get it at a bargain (out of racial hatred) and how he is now repentant for his actions. He is unwilling to move back to his shop. Thus, no answers are offered in the play's conclusion to these societal problems that have persisted for a long time.

Points To Ponder:-

-This thinking task is based on my experience of studying the play through live performances and watching the movie.

Questions / Answers:-

1.)What is the significance of the title "Final Solutions" and what is the final solution of the play?

Ans:- 

The title "Final Solutions" holds deep significance in the context of the play by Mahesh Dattani. In Mahesh Dattani's play "Final Solutions," the title serves as a metaphor that reflects the larger themes explored in the narrative. The play delves into the complexities of communal tension, religious prejudice, and the cycle of hatred and violence that can emerge within a society. The "final solution" in this context may refer to the resolution of these issues, but not necessarily in a positive or conclusive manner. 

The play does not present a singular "final solution" in the traditional sense. Instead, it portrays the challenges and struggles faced by characters from different religious backgrounds in the context of a deeply divided society. The narrative focuses on the interactions between a Hindu family and a Muslim family, highlighting the impact of communal violence and the difficulty of finding a peaceful resolution.

By using the term "Final Solutions" as the title, Dattani prompts the audience to reflect on the consequences of unchecked prejudice, intolerance, and the dangers of allowing hatred to fester. The absence of a definitive resolution in the play's narrative underscores the idea that there may not be an easy or clear-cut solution to the complex societal issues it addresses.

In short, the title "Final Solutions" in Mahesh Dattani's play serves as a thought-provoking choice that ties into the broader themes of communal tension and religious prejudice. It encourages the audience to contemplate the implications of these issues and the challenges of finding meaningful resolutions.

2.)What was the difference you observed in the movie and play you performed?

Ans:-  When we were performing the drama, we hadn't watched any movies or other works based on 'Final Solution,' so we didn't have a reference for the expressions required. We had to rely on our imagination and act according to the written play script from the book.

In the film, the chorus is incredibly powerful and impactful. While our chorus during the performance was good, our resources were limited, and as a result, its impact could have been even greater.

3.) Share your thoughts on understanding drama through the drama-based pedagogy or involvement in theatrical practices.

Ans:-  Yes, We should learn play through drama-based Pedagogy. Understanding drama through drama-based pedagogy and involvement in theatrical practices is a dynamic way to engage with texts. It encourages active learning, empathy, and perspective-taking by embodying characters' emotions and viewpoints. This approach nurtures creativity, critical thinking, and interdisciplinary learning, while also fostering cultural awareness and addressing social issues. Through collaboration and performance, participants build confidence and communication skills. Overall, drama-based methods offer a well-rounded and immersive understanding of the human experience and its complexities.

I played the role of Hardika, a 50-year-old grandmother. Her father had died in riots, and she held a rigid mindset that attributed her father's death to members of another community. Due to this mindset, she believed that every person from that community was a terrorist.

4.) What kind of skills do you develop while undergoing the preparation process for a performance and how?

Ans:-  During the preparation process for a performance, I developed this skill's:

Interpretation Skills: Analyzing the script and characters enhances your ability to understand complex narratives and motivations.

Empathy: Stepping into characters' shoes fosters empathy and understanding of different perspectives.

Memorization: Rehearsing lines and blocking improves memory and recall abilities.

Communication: Practicing dialogue and expression hones verbal and nonverbal communication skills.

Collaboration: Working with cast and classmates enhances teamwork and cooperation.

Creativity: Exploring character nuances and improvisation nurtures creative thinking.

Confidence: Facing an audience boosts self-assurance and public speaking skills.

Time Management: Balancing rehearsals and personal commitments improves time management.

Adaptability: Handling unexpected changes in rehearsals cultivates adaptability.

Attention to Detail: Focusing on character traits and staging refines attention to detail.

Before the performance, we all learn Bhavas/Rasas and other essential skills that enhance our expressions and imagination. We engage in various exercises that improve our acting abilities.

I trust you found this blog enjoyable to read. Thank you for your visit and for reading until the end.

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