ABSTRACT

Saang and Nautanki are two very significant folk theatrical traditions of North India that
are considered to be having the same roots. But the historical development of events have led
them to expand into two diverse genres that flourished significantly in their respective regions
These forms not only made their mark

but also created a strong impact on the society.

Conversely, the social conditions also shaped these forms in a distinct and interesting manner.
There are a number of publications available on Nautanki. We have dedicated publication
on the great Nautanki performer Padam Shree Gulab Bai, but Saang has not been so lucky. A
few scholars from Haryana attempted to describe the structure and texture of this form but it still
is difficult to find any single volume of the in-depth study of this form in English, comparable to
the standard that Kathryn Hansen has set in her celebrated work Grounds for Play: The Nautanki
Theatre of North India.
Our focus in this study is to find the creative, social, economic and other such reasons
which led to the development of these two major forms which have sometimes been considered
as one. We are happy to come out with reasonably significant conclusions about the target that
we had set for ourselves
In the first chapter, Folk Theatre of India: An Overview, we have primarily been
interested in outlining the framework of the theatrical arts with an emphasis on folk theatre of
North India. We are equally interested to know the major differences between folk theatre and
classical theatre or the modern theatre.

In the second chapter, Saang: The Folk Theatre of Haryana, we have tried to trace the
history, sociology and the aesthetics of Saang. Saang belongs to a larger genre named Swang
that migrated, over a period of time, to so many other places in north India; Nautanki is also one
of its offshoots. But in this this study, we have concentrated ourselves on the Saang tradition of
Haryana which still is continuing.
In the third chapter, Nautanki: The Folk Theatre of Uttar Pradesh, we have endeavored
to understand that how Nautanki, an offshoot of Swang got its vital component of music after
having an interaction with Khyal and gradually developed into a form that transcended its
boundaries by daringly accommodating female artist into its fold. It is also interesting to see its
relationship with Parsi theatre and with Indian film industry. Several steps seem to have been
taken for two reasons: (1) to safeguard the very existence of the form in the wake of changing
social developments; (2) to promote the commercial interests of the producers. Whatever the
case, it is interesting to see the growth and fall of this genre.
In the fourth chapter, Saang and Nautanki: A Comparative Study, before our
conclusions in Chapter 5, we have been able to distinguish these two forms on a number of
parameters and thus, their distinct existence has been established. For better understanding of the
reader, a chart has also been appended that gives a broader idea of the comparisons.
We are convinced that this study will help the students of folk theatre of India to have a
clearer view of the history and existence of these forms. We also believe that this study will lead
some discerning students of the subject to further approach these areas of creativity with new
insights._________________

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