The Dumb Dancer by Asif Currimbhoy

 Introduction:  “The Dumb Dancer”,  a highly acclaimed Psychological play of an Indian playwright Asif Currimbhoy, is a fascinating story of a Kathakali dancer’s emotional plight in the competitive world. The central characters in this play seem to be affected with Schizophrenia. The text has elaborate footnotes and numerous illustrations to explain to a foreign reader the history and tradition of Kathakali dance. The play was written in 1961 and was staged in 1965 in United States later it was staged at the British Drama League Festival. The kathakali dance with the accompaniment of drums, cymbals, gongs and songs can easily hold the foreign audience spellbound. Currimbhoy recalls its effect on the audience when it was staged at the British Drama League Festival: The timing and the tone of the play were just right. Everything was bizarre to the point of fascination and the audiences were absolutely thrilled. I don’t think we will ever forget the experience.”

Discussion: “The Dumb Dancer” is a story of a Kathakali dancer Bhima, who plays the mythological role of Bhima and over identifies himself with the role to the extent of forgetting his own identity in this world. He gradually turns insane and becomes a patient in a mental asylum. Bhima, the kathakali dancer is under the delusion that he is the real Bhima of the Mahabharata, who had avenged the humiliation of his beloved wife Draupadi by killing Duryodhana. He becomes mentally deranged at the thought of his having become a murderer, the victim in his insane fantasy. Dr. Prema, the psychiatrist who treats him, becomes so strongly involved emotionally with his problem that, instead of curing him, she herself becomes insane. While treating him she gradually starts identifying herself with Draupadi, the beloved wife of Bhima and slowly turns insane.

The play begins with a scene in the operation theatre of a mental asylum where ‘a dance sequence from Duryodhana’s slaughter’ is enacted with the sane on one side and the insane on the other side as its audience. The surprising thing is Bhima, a Kathakali dancer but an inpatient in the hospital plays the role of Bhima. No one knows this fact till Prema, the doctor who is treating Bhima reveals it to Dilip a house surgeon. Through the conversation between Prema and Dilip, one comes to know the illness of Bhima and his over identification with the mythological character Bhima to the extent of forgetting his real identity. “Your patient is a Schizophrenic who calls himself Bhima and identifies himself with a mythological character in a historical play. The case is not an uncommon one.” When Dr. Dilip asks Dr. Prema why she had allowed the patient to enact the violent scene, Dr. Prema explains that she gives him a shock therapy which would bring back to his real-self. To give Bhima a shock treatment Dr. Prema wishes him to go through the performance again, as close to reality as possible.

Act II is a flash-back which takes us to the training center where Bhima is exposed to the strict and rigorous training in kathakali center. He often lapses into contemplation and tries to identify himself with Bhima of “The Mahabharata” who stands for courage, strength and ferociousness. He is very ambitious to achieve perfection in his art. In “thundering accents” he recites a few verses from the vow of revenge from “The Mahabharata” and performs the kathakali dance. His competency with a co-student, the singer Madhu a blind one, his intimacy with Guru’s daughter Shakuntala, his mental illness in the budding stage which from time to time is corrected by Guru, his fierce act of cutting his tongue to become greater than Madhu and also the greatest in the art field, he gradually turning insane and becoming a patient in asylum are seen in the second act. The verses chanted by Madhu, a blind pupil in the kathakali training centre, and a rival to Bhima are intended to give the background of the play. In a moment of elation, Bhima asks his Guru if he will ever attain the greatness of Madhu at all. The teacher says ‘No’. Then Bhima becomes upset and insists his Guru to explain why and how Madhu is greater? Then the Guru says, perhaps Madhu’s genius is due to his blindness, as those who lack one of the senses develop an unerring accuracy in another. He advises Bhima to – get back to work ‘since there can be no greatness without sacrifice. He also tells Bhima that his speech interferes his practice. Bhima who wants to excel Madhu is instructed by the Guru to practice dance ‘silently’. He grows restless, contorts his body into an agonizing dumb dancer and cries out. The dumb dancer…the dumb…dancer …These words electrify the situation and express the mental agony of Bhima. Immediately, he recedes into darkness, cuts his tongue and emerges again into the flickering light and throws his severed tongue at the feet of his Guru.

The III Act consists of Prema’s efforts to bring Bhima back to normalcy. She wants to place a dead corpse with torn abdomen in the place of Duryodhana to give a kind of shock therapy to Bhima to bring him back to normalcy. As a part of shock therapy, Dr. Prema keeps the corpse with a mask of Duryodhana on it when Bhima is playing the role of roudra (ferocious) Bhima getting ready to kill Duryodhana. Dr. Prema’s fascination for Bhima grows stronger and stronger and she slowly starts identifying herself with Draupadi, the beloved wife of Bhima. Her identification is interrupted by Shakuntala whom Bhima identifies as Draupadi. She feels jealous of her. Sensing that she is drawn very much towards the dumb dancer, Dr. Dilip wonders at her behaviour and asks her to come out of this illusion. In the final scene, Dr. Dilip finds Dr. Prema standing with her tresses dripping blood, on her head with the hands of Bhima who stands impassive. With wild eyes she declares that she has killed Shakuntala for her complete identification with Draupadi. The play ends with Prema turning insane, identifying herself with Draupadi. Prema, the superintendent of the mental asylum murders Shakuntala, her rival in order to own Bhima. In her ecstasy of identification, she puts Bhima’s arms around her, making his hand caress her hair.

The drama symbolically displays the indispensable struggle between the real self and the self that is projected and takes the audience to the inner depths of mind to show that alienation is an indispensable factor in the human life. Bhima the kathakali dancer and Prema the psychiatrist who treats him are the characters that show this inner struggle which in turn turns them insane. Through these two characters Currimbhoy presents the conflict between the real-self and the projected self in human mind which leads to the contemplation of human existence. Bhima feels comfortable in the dark and feels it difficult to come into light. This symbolically presents the conflict of real self and projected self in Bhima and he retreating himself into the inner depths of mind to find the real identity. As the degree of identification grows he forgets his existing identity in the world and becomes insane in the eyes of society.

Prema is another rare and sensitive individual who is aware of the conflict between the natural self and the image projected. Dr. Dilip comments on the tension in her mind. The more she thinks in terms of exercising her psychiatric skills the more she grows restless and is drawn towards Bhima. She tells Dilip about the restlessness in her mind. She develops emotional intimacy with her patient and even feels jealous of Shakuntala for her hold on Bhima who considers Shakuntala as his Draupadi and is very tender to her. Such behaviour is against her professional ethics as dictated by the society in which she lives.

Thus the play highlights conflicts in man. Currimbhoy uses one of the moods in the Kathakali dance “Distraction” it is the mood that symbolizes the man growing mad by lapsing into the inner depths of mind. When Shakuntala asks Bhima to show the mood Distraction, he immediately recedes into darkness and tells he can’t come out of it. He invites Shakuntala to come into it. Shakuntala rejects as it is a terrifying world full of darkness and so many masks hanging on the wall. Shakuntala goes back but Prema ventures, she goes into it comes with the mask. She is comfortable in. Inner depths of mind are a vertex. Once you get into it, there is no point of returning. For Prema “Distraction reaches higher than Sanity.”

The element of suspense makes the play more and more interesting. In the very opening scene one does not know why the pantomime is tried and why the psychiatrist is very anxious to make clinical assumptions about the dancer. The audience may be very much interested to know why Dr. Prema asks Dr. Dilip to conduct a shock therapy. The audiences are kept in suspense in act III where the nurse tells Dr. Dilip that a scalpel is missing. After the conduct of autopsy, one hears a scream in darkness and Dr. Prema tells Dilip that she has killed Shakuntala because she thought that she stood as a snag in reaching Bhima. In the end, she goes to Bhima and puts his arms around her. A faint echo Draupadi… Draupadi is heard and we do not know who has called out the name. Thus suspense engages the audience throughout the play.

Currimbhoy uses some effective theatrical devices in the play. He uses kathakali dance as a powerful dramatic device. Light and shadow, music, and masks are used to draw the narrow line between the two worlds – the sane and the insane; conscious and subconscious; external and inner life. By using all these modern theatrical devices and experimenting with the form and content Currimbhoy displays the universal questions related to human behavior and existence. And the play has attracted a great deal of critical attention, an interest which is certainly due to Currimbhoy’s attempt to combine the theatrical code of kathakali with western dramatic form.

Conclusion: The central characters in the play suffer from alienation. They dramatize man’s need for belongingness and the sense of identification. Thus, the play “The Dumb Dancer” portrays the frustration of the kathakali dancer, Bhima to achieve perfection in his art, his sense of insecurity, and his inarticulate groping for identity in the competitive world. And Dr. Prema identifies herself with Draupadi but in the process she finds Shakuntala as an obstacle, and to make her identification complete, she murders Shakuntala. The play ends with the sane psychiatrist turns insane.