Srila Prabhupada's Instructions on Dramas, Theatrical Performances

In the course of my service with the festival tour, I've often wondered what Srila Prabhupada would suggest if he were organizing the stage presentations for the public. So I did some research and found the following excerpts of letters, conversations, and purports via two sources, Kaunteya Prabhu's Super Sunday guide book, and Radha Damodara Prabhu and Dasharatha Suta Prabhu's compilation of the below quotes for their work, Krishna Conscious Play Scripts, on the Internet at:
http://www.cedarpost.com/krsnaconsciousplays/

Here goes.

"By prasadam, by chanting, by drama, somehow or other bring them. That is our mission. Congregational chanting. Always festival, and we shall spend for that. Immediately arrange. If there is scarcity of money, I shall pay... I came here to see that, not to sit down in a room
peacefully. So there also we shall inform the meeting that we want to propagate this Krishna consciousness movement town to town, village to village, by attracting them with musical demonstration of sankirtana, dramatic play, movie, prasadam. Somehow or other they should come to the temple, to the pandal and congregationally chant Hare Krishna maha-mantra, hear Bhagavad-gita, Bhagavatam. For this purpose, whatever expenditure is required, that you should collect and spend. This is the scheme of Hare Krishna movement." –Room conversation, Hyderabad, December 10, 1976.

Srila Prabhupada encouraged devotees to perform dramas during Sunday programs. “I am pleased to learn that the Columbus center is improving gradually,” he wrote in 1969, “and now you have begun to perform plays for the guests at the Sunday feasts.” –Letter to Bhadra Bardhan, 4 December 1969

At that time drama was in full swing at ISKCON Los Angeles. In his book Servant of the Servant, His Holiness Tamala Krishna Maharaja wrote:

“Throughout the week we would rehearse plays dramatizing Krishna and Lord Chaitanya’s pastimes. While in college I had taken an interest in drama, and now I found that this could be dovetailed in the service of Krishna. In Seattle I had sat with Srila Prabhupada for several mornings at his house as he described the life of Lord Chaitanya, which I was writing as a drama for our devotees to perform. Srila Prabhupada very much appreciated our dramatic performances, as did all the guests. Although the plays were not very sophisticated—two devotees covered by a bed sheet became a cow—they were an enjoyable way of digesting the philosophy, and when Srila Prabhupada was in Los Angeles, generally after each play he would speak about the subject which had been dramatized.”

Several years later the tradition was still alive in Los Angeles, and the newly printed books offered more subjects for new plays. In 1975, during a walk on Monday morning, Srila Prabhupada spoke of the Sunday drama:

Srila Prabhupada: That play yesterday, last evening I saw. It was very nice. … Now we have got Caitanya-caritamrta and Bhagavatam. If such demonstrations are done very nicely, it will be very much appreciated even by the public.

Gurudasa: Yesterday at the Love Feast they did “Pralambasura” and the guests loved it. Wonderful.

Jayatirtha: They applauded.

Srila Prabhupada: They must love it. It is very nice, very nice. Organize this very nicely … and all over the world this will be appreciated. And now we have got so many books. From the book you get subject matter and make a playwright in all languages. It will be very nice.” –Morning Walk, Los Angeles, 10 February 1975.

Traditionally, by watching dramas, even simple people while having fun could imbibe spiritual knowledge and values. In the First Canto of Srimad-Bhagavatam Srila Prabhupada explained:

“Even one hundred years ago in India, all dramatic performances were centered around the superhuman activities of the Supreme Lord. The common people would be verily entertained by the performances of dramas, and yatra parties played wonderfully on the superhuman activities of the Lord, and thus even the illiterate agriculturist would be a participant in the knowledge of Vedic literature, despite a considerable lack of academic qualifications. Therefore, expert players in drama, dancers, singers, speakers, etc., are required for the spiritual enlightenment of the common man.” –Srimad-Bhagavatam 1.11.20, purport.

Lord Chaitanya Himself took part in dramas during His grihastha days: “Sri Chaitanya Mahaprabhu used to perform dramas with Adwaita Prabhu, Srivasa Thakura, and other devotees in the house of Chandrashekhara.” –Sri Caitanya-caritamrta, Adi-lila 10.13, purport.

In this purport, Srila Prabhupada set high standards for actors:

“Dramatic performances were also enacted during the presence of Sri Chaitanya Mahaprabhu, but the players who took part in such dramas were all pure devotees; no outsiders were allowed. The members of ISKCON should follow this example. Whenever they stage dramatic performances about the lives of Sri Chaitanya Mahaprabhu or Lord Krishna, the players must be pure devotees. Professional players and dramatic actors have no sense of devotional service, and therefore although they can perform very artistically, there is no life in such performances. Srila Bhaktisiddhanta Saraswati Thakura used to refer to such an actor as yatra-dale narada, which means “farcical Narada.” Sometimes an actor in a drama plays the part of Narada Muni, although in his private life he is not at all like Narada Muni because he is not a devotee. Such actors are not needed in dramatic performances about the lives of Sri Chaitanya Mahaprabhu and Lord Krishna.”

Yet in a letter Srila Prabhupada authorized minor parts for non-devotees: “While performing such dramas, always the actors must be Vaishnavas. Outsiders may help but devotees should have all the major roles.” –Letter to Vrindaban Candra, 13 April 1971.

Apparently Srila Prabhupada wasn’t much fond of elaborate outfits: “Make everything very simple, without too much fancy costumes, and the real message will come out very nicely.” –Letter to Nayanabhirama, 22 December 1971.

Srila Prabhupada stressed “catching their ears” more than catching their eyes:

“Emphasis should be given to the words of Bhagavatam, they are spiritual and will have powerful effect if someone only hears them with attention. Do not be very much enamored by fancy costumes and stage decorations, they will only distract. Real acting art is to know how to speak. The greatest dramas, even in your western culture, they can be played without any extra equipment. Just like your Shakespeare—sometime I saw they were playing one drama, I think Hamlet or something like that, and only two men were there on the bare stage and everyone was praising. So the art is catching their ears. Now in that spirit go on with your work and try to do something wonderful.” –Letter to Jayadharma, 13 December 1972.

Srila Prabhupada supported the use of recorded tapes instead of having the actors speak live:

“Srila Prabhupada: We have got so many boys and girls. They can play simply. And they haven’t got to speak. This system is very nice. Let them play. What is this called, system?

Hridayananda: Narration.

Srila Prabhupada: No, there is…

Jayatirtha: Like pantomime.

Gurudasa: Mime.

Srila Prabhupada: Even they play with tape. The tape is going on, and they are playing.” –Morning Walk, Los Angeles, 10 February 1975.

Srila Prabhupada also spoke of having a narrator off-stage while the players perform, especially in the case of a language barrier: “Dramas are alright if you can perform them nicely. Even if you don’t speak them in English, they can be rendered into Hindi on the microphone while the drama goes on.” –Letter to Aksayananda Maharaja, 13 January 1976.

Srila Prabhupada warned that Krishna’s personal pastimes should be presented carefully, otherwise better to show something else:

“So far these plays are concerned, they are not meant for ordinary people and if they laugh, then that is a great offense. Just like in your play “Putana Killed” there was so much laughing. So these plays are not meant for the public showing unless they are very nicely done. The audience must give grave attention. If they laugh, that is the greatest offense. Lord Chaitanya never played before ordinary men. Only before devotees. But for you to put on such plays for devotees only is not so practical. So plays of Krishna Lila should be avoided, unless it is very gravely performed.” –Letter to Vrindaban Chandra, July 23, 1971 Brooklyn.


"There are many professional chanters who can perform congregational chanting with various musical instruments in an artistic and musical way, but their chanting cannot be as attractive as the congregational chanting of pure devotees. If a devotee sticks strictly to the principles governing Vaishnava behavior, his bodily luster will naturally be attractive, and his singing and chanting of the holy name of the Lord will be effective. People will appreciate such kirtana without hesitation. Even dramas about the pastimes of Lord Chaitanya or Sri Krishna should be played by devotees. Such dramas will immediately interest an audience and be full of potency. The students of the International Society for Krishna Consciousness should note these two points and try to apply these principles in their spreading of the Lord's glories." –Caitanya-caritamrta, Madhya-lila, 11.95, purport.


"Regarding the dramas, my point is not to deviate from gravity and compromise or distract from the situation. Keep this point in vision and continue. That is a very good proposal to stage one play based upon Lord Chaitanya. Read Teachings of Lord Chaitanya on the stage, just like Chaitanya Mahaprabhu is giving instruction to Sanatana Goswami, and the actors may speak little philosophy, without need for special costumes or other things. Then kirtana. There must be always kirtana. Dialogue, kirtana; then again dialogue, again kirtana; again repeat; like that. No humor should be there, just philosophy and kirtana. If it is successful, then the same dialogue-kirtana may be followed by other sankirtana parties in Europe and America." –Letter to Madhudvisa, July 29, 1972, Amsterdam.


"Regarding your question of dancing-show, whatever it may be, it may not deviate from the real Krishna Consciousness program. We are Hari-kirtana men, that's all. We can attract people by some gorgeous show, but inside there must be strict purity and seriousness, otherwise, we shall be attracted by the gorgeous show only. There are two energies always working simultaneously, and Maya means when we diminish the spiritual energy, then automatically we become attracted to the external dress of Maya. So I do not care very much for these plays and dramas unless they are coming directly from the Vedas. If we can recite from Bhagavad-gita the first chapter without any need for elaborate scenery or stage-props and gorgeous dresses, that is best. Just like your Shakespeare. Macbeth may be recited by two men, without anything else, and simply by their acting ability and the meaningful words alone, they can very easily capture the entire audience and give them real substance. We have so many stories, like Jagai-Madhai, Krishna departing for Mathura, like that. Satire will not help us. Our message is very grave, and because it is the Absolute Truth, it will work without any artificial presentation." –Letter to Madhudvisa, July 8, 1972, London


"Plays will be very successful and Vrindaban Chandra is very expert in this connection. One thing, though, is that nice plays should be written for showing in the villages. The plays should be done seriously so that they will not laugh." –Letter to Kirtanananda, November 6, 1971 Calcutta.


"You have got so many books. Either chant Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare, or read books, discuss amongst yourself. Don't waste your time by so-called drama and play. It is simply waste of time. Don't waste your time in that way. If you have got inclination to enjoy some drama, then you should take hint how that drama should be written or played. Don't manufacture. You are not so expert that you can manufacture things. That is illegal... So don't waste your time. Simply always pour in, give aural reception to the message of Urukrama." –Srimad-Bhagavatam Lecture, Los Angeles, June 17, 1972. (720617SB.LA)

About Hayagriva’s “Lord Chaitanya” play:

"I am just organizing a Sankirtana party and if you come here, then we can make a rehearsal of the Chaitanya drama which you have already made. My idea is, Sankirtana with some dramatic demonstration, by the members, will be attractive to the people in general. So I am trying to concentrate the idea at the present moment here in Montreal, because in the temple, we have got sufficient space and if the Sankirtana party is successful here, as we shall try to make some experiment in the local expo grounds, then we shall make a program to go to Europe, starting from London, and make demonstrations of this drama and Sankirtana in different places. I do not know how much you will appreciate this idea, but if you think it proper, you may come and join us here." –Letter to Hayagriva, July 10, 1968, Montreal.

Srila Prabhupada tells a story of how he once played the role of Adwaita Acharya in a Chaitanya Lila drama in his youth:

Gopala Krishna: The drama was very appreciated last night. Samayadi was watching it with us, and he said he would like to arrange a big program in his house.

Prabhupada: Old Samayadi or his son?

Gopala Krishna: His son. He liked the drama very much.

Lokanatha: It has become one of the main attractions of the public, this Vaikuntha Player performance. After... two nights after the program, I inquired from the public on the microphone, "Do you like this drama?" Immediately everybody raised their hands: "Yes!"

Prabhupada: They were asking me whether they are professional men. "No, no, these all my disciples."

Gopala Krishna: They're actually much better than any of the professional men.

Prabhupada: Oh, yes. We played Chaitanya-lila in our younger days. So we brought one very famous man, Amritlal Bose. He is one of the three chief men who started theatrical performances in Bengal. Amritlal Bose, Girish Chandra Ghosh, and one some Pathan. This Amritlal Bose was a big author also, for writing comic books. And very expert lecturer. So somehow or other, we contacted him, and we used to call him, Dada-mahashaya. Dada-mahashaya means grandfather. He was of our grandfather's age. In the evening he was drinking. Very luxurious.

So when he came, he said, "Yes, I will give you direction. You are all aristocratic family. But you must know that what is the difference between this professional and this aristocratic family." So he explained that "Chaitanya-lila, in the public theater, anyone can pay eight annas." That eight annas was third-class ticket. Eight annas, one rupee, two rupees and five rupees. "So they can see Chaitanya-lila. Then where is the difference between your playing and their playing?" So he explained that "There must be some difference, that the public, after seeing your playing, they should appreciate so much that they will agree they will never see. So I want to train you like that. Are you prepared?" His first condition. So we were boys at the time... "Yes, sir. Yes. Whatever you say." Then he said, "Then I take charge of training you."

"So his next condition was that 'You cannot play unless I say it is all right.' So we practiced for more than one year. Still, he did not say that "You are all right." He did not say. By force, practically, that 'Now we shall play, sir.' 'All right, you can play, but it is not to my perfectional ideas.'

So I had the part of Advaita Acharya. So on the stage, when we saw, all the public, they are crying, the audience. Regularly crying. We could not understand how they are crying, because we are dry; we have learned how to play, that's all. But he has trained in such a way that we could appreciate everyone was crying by seeing Chaitanya, everyone was hanker to play, act. So it was due to training. He trained in such a way that we could not understand how we are playing, but the audience, they appreciated so much. Every one of them was crying.

And another effect was... Because sometimes there were need of proxy. Some player has not come, and the rehearsal is going on. So the result was that each and every one of us learned the play of others. There was no scarcity of duplicate."

"So that was the first and last of playing in dramatic drama in my life.

Chaitanya-lila. We had own club, Indian, Indian, like that... That was the point he stressed, that "You are from the selected aristocratic family of Calcutta. You shall play, and the public theater is also playing. What should be the difference?" That was his point. So that he gave us. They were so gorgeously played. And we received so many invitations: "Please come and play in our house." –Room Conversation, Bombay, March 30, 1977 (770330RC.BOM)



"So you have got some talent for writing and producing dramas and now Krishna has given you the opportunity for dovetailing your talents in His service. Very good. When I go there I shall be very glad to see these dramas enacted. Yes, I acted the part of Advaita Prabhu in one such drama. I organized that theater performance in my youthhood. My friends were trained up and we performed and it was very much appreciated by the highest class of men in Calcutta. We were invited to many places to perform the drama. Lord Chaitanya inaugurated these Vaishnava dramas, it is true, but where to obtain such copies of these plays I do not know. I shall try to find out in Calcutta when I go there. While performing such dramas, always the actors must be Vaishnavas. Outsiders may help but devotees should have all the major roles. So you may perform such plays conveniently. It is a very nice program, but do not sacrifice other programs on account of it." --Letter to Vrindaban Chandra, April 13, 1971 Bombay

You can find more instructions on drama performances and concrete guidance for theatrical projects in the book Krishna Conscious Play Scripts (included in the Bhaktivedanta VedaBase, FOLIO), a “collection of eighty-eight transcendental dramas assembled and presented for the pleasure of His Divine Grace A.C. Bhaktivedanta Swami Prabhupada,” by Radha Damodara Prabhu and Dasharatha Suta Prabhu.

Also available on the Internet at:

http://www.cedarpost.com/krsnaconsciousplays/

The Great King Ambarisha

sa vai manah krishna-padaravindayor
vacamsi vaikuntha-gunanuvarnane
karau harer mandira-marjanadishu
shrutim chakarachyuta-sat-kathodaye

mukunda-lingalaya-darshane drishau
tad-bhritya-gatra-sparshe 'nga-sangamam
ghranam ca tat-pada-saroja-saurabhe
shrimat-tulasya rasanam tad-arpite

padau hareh ksetra-padanusarpane
shiro hrishikesha-padabhivandane
kamam ca dasye na tu kama-kamyaya
yathottamashloka-janashraya ratih

Translation & purport by His Divine Grace A.C. Bhaktivedanta Swami Prabhupada

Maharaja Ambarisha always engaged his mind in meditating upon the lotus feet of Krishna, his words in describing the glories of the Lord, his hands in cleansing the Lord's temple, and his ears in hearing the words spoken by Krishna or about Krishna.

He engaged his eyes in seeing the Deity of Krishna, Krishna's temples and Krishna's places like Mathura and Vrindavana, he engaged his sense of touch in touching the bodies of the Lord's devotees, he engaged his sense of smell in smelling the fragrance of tulasi offered to the Lord, and he engaged his tongue in tasting the Lord's prasada.

He engaged his legs in walking to the holy places and temples of the Lord, his head in bowing down before the Lord, and all his desires in serving the Lord, twenty-four hours a day. Indeed, Maharaja Ambarisha never desired anything for his own sense gratification. He engaged all his senses in devotional service, in various engagements related to the Lord. This is the way to increase attachment for the Lord and be completely free from all material desires.

Purport

In Bhagavad-gita (7.1) the Lord recommends, mayy asakta-manah partha yogam yunjan mad-ashrayah. This indicates that one must execute devotional service under the guidance of a devotee or directly under the guidance of the Supreme Personality of Godhead. It is not possible, however, to train oneself without guidance from the spiritual master. Therefore, according to the instructions of Shrila Rupa Goswami, the first business of a devotee is to accept a bona fide spiritual master who can train him to engage his various senses in rendering transcendental service to the Lord.

The Lord also says in Bhagavad-gita (7.1), asamshayam samagram mam yatha jnasyasi tach chrinu. In other words, if one wants to understand the Supreme Personality of Godhead in completeness, one must follow the prescriptions given by Krishna by following in the footsteps of Maharaja Ambarisha. It is said, hrishikena hrisikesha-sevanam bhaktir uchyate: [Caitanya-caritamrita, Madhya 19.170] bhakti means to engage the senses in the service of the master of the senses, Krishna, who is called Hrishikesha or Achyuta. These words are used in these verses. Achyuta-sat-kathodaye, hrishikesha-padabhivandane. The words Achyuta and Hrishikesha are also used in Bhagavad-gita. Bhagavad-gita is Krishna-katha spoken directly by Krishna, and Shrimad-Bhagavatam is also Krishna-katha because everything described in the Bhagavatam is in relationship with Krishna.

Excerpted from Shrimad-Bhagavatam 9.4.18-20.