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Regd.- S/1l/51827 NGO DARPAN- WB/2017/0152824
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    Ashwatthama -The War Machine Teaser

    The play production begins with an invocation comprising of a ‘shloka’ from the Upanishada followed by the depiction of the stepping of the troupe into the final phase of the militant training session where the children of the decadent land of the Mahabharata seek to look back at the annals of our past. Then portrays elephant Ashwatthama’s death by the Pandavas, the pre-planned announcement to anxious Dronacharya about his son Ashwatthama’s death by Yudhisthira and followed by the killing of shattered Dronacharya by Dhrishtadyumna. Ashwatthama decides not to take up his sword after hearing about his father’s death; Duryodhana makes him understand which led Ashwatthama to choose the way of violent revenge.

    As he had voiced against religious hypocrisy of an Imam of the Middle East, the Bangladeshi blogger assassination takes place where Ashwatthama merges into the scene making it surreal. The post Urubhangam period of Duryodhana is followed by the argument where Kritavarma wants to continue with the war at any cost as per the order of Duryodhana but Kripacharya is against war and the further intervention of Ashwatthama in the treacherous battle; the argument ends where Kritavarma plays a dominating role. Kritavarma conspires to kill the Pandavas in the dark whereas Kripacharya disapproves showing his rage but is bound to lead the initiation ceremony of Ashwatthama being the General of the Kauravas. The princes of the kingdom practice their archery skills where child Ashwatthama is also seen practicing behind in the dark which continue depicting the never ending battle between the superior and the inferior.

    The play visualizes the Pakistani army school terrorist attack created into a surreal space again with the entry of Ashwatthama. Anxious Ashwatthama knows about the mishap which has occurred with Duryodhana mourns the one after another unwanted deaths caused by him but suddenly becomes aware of the presence of Kripacharya and commits of no further war in future. He decides to take revenge by launching his brahmasheer weapon targeting Uttara’s womb where the one and only successor of the Pandavas (Abhimanyu’s son) was being nurtured. A muslim pregnant woman’s womb was slit open by Hindu religion preachers when we see Ashwatthama walking into the scene again making it surreal altogether; the animal instincts triggered again by the Gujarat Riots a decade back.
    Ashwatthama and he surrenders in front of the Pandavas with the debodied heads of their sons. Meanwhile, Sri Krishna curses Ashwatthama that he will have no escape from the world and he would live for thousands of years to come until creation comes to an end which is constant. A small glimpse of the military training of the Pandavas is seen where they again be alert for any attack in days to come. We come to an endless end to finish the play in real time and here we use ‘Madhumati-Suktam’ from the Upanishada to pray for all happiness of living beings.

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