Premiered in 1972, the play traces the tragic downfall of Chandrakangnan, a studious boy driven to murder after enduring relentless bullying by street thugs.
By Usham Rojio
The second day of Celebrating Heisnam Kanhailal 2025 begins with a memorial lecture delivered by Prof. Anuradha Kapur. In her memorial lecture on January 18, 2025, Professor Anuradha Kapur paid homage to the influential contributions of Heisnam Kanhailal and Heisnam Sabitri to Indian theatre. Drawing from her rich experiences and reflections, she highlighted the profound impact their theatrical works have had, not only within the cultural landscape of India but also on a global scale.
Professor Kapur began her address with a thought-provoking question that invited the audience to contemplate the essence of theatrical artistry: How does one embody and convey ‘soul’ (or thawai) in performance? This query set the stage for deeper exploration into the nuances of emotion and spirit in theatre, emphasizing the connection between performers and spectators.
Through her memories and anecdotes involving Kanhailal and Sabitri, she underscored the unique qualities of their theatrical vision, which transcended mere entertainment to evoke fundamental human experiences. Their works, characterized by rich symbolism and emotional depth, resonated powerfully with audiences, creating a shared space where feelings could be expressed and understood.
Kapur’s lecture served not only as a tribute but also as an inspiration for theatre practitioners and cultural advocates in Manipur. By revisiting the legacies of Kanhailal and Sabitri, she encouraged the audience to reflect on their own creative practices and the transformative power of theatre. The event celebrated the profound ways in which art can capture the essence of the human soul, urging practitioners to continue pushing boundaries in their artistic endeavors.
In her conclusion, Professor Kapur reaffirmed the importance of remembering and honoring pioneers like Kanhailal and Sabitri, who have shaped the landscape of Indian theatre through their creativity and commitment to exploring the complexities of human experience. Their legacy, she suggested, should inspire future generations to pursue their own artistic paths with courage and authenticity.
After the lecture, Oja Kanhailal’s Tamnalai (The Haunting Spirit) was staged. The play was first premiered in 1972. It tells the story of a boy, Chandrakangnan, who undergoes a tragic transformation. It is about a studious and innocent boy who, after facing constant humiliation and bullying from street thugs, ends up committing murder. The play captures his descent into violence and the psychological toll that this humiliation has on him. His transformation is symbolic of how a person, under extreme pressure and torment, can lose their sense of self and become something entirely different. Popular film actor Bonny Gurumayum played Chandrakangnan on the 18th January 2025 performance at Chandrakirti.
In Tamnalai, the boy’s psychological spirit becomes “haunted” by the trauma and violence he has suffered and inflicted, suggesting a cyclical nature of violence and how deeply personal trauma can affect the broader social fabric. The themes of identity, societal pressure, and the harshness of social life play a central role in the narrative.
Heisnam Kanhailal’s work is known for its exploration of human emotions, pain, and conflict, often depicting the internal struggle of characters in the face of societal challenges. In this case, the boy’s tragic arc shows how personal humiliation can lead to a destructive path, making the play a poignant commentary on social injustice and the consequences of neglect and cruelty in society.
Heisnam Sabitri’s performance as the mother in Tamnalai is a landmark in the history of Indian theatre, and it became an avant-garde moment when the play was first staged in Imphal in 1972. Heisnam Sabitri, a renowned actress and collaborator with Heisnam Kanhailal, brought an intense emotional depth to the role. Her portrayal of the mother was ground-breaking, as it blended traditional theatrical techniques with experimental elements, challenging the conventional norms of performance in Indian theatre at the time.
The play’s avant-garde nature stemmed from its unconventional approach to acting, staging, and narrative. Heisnam Sabitri’s physicality and emotional expression in her role as the mother were key components that set the performance apart. The mother’s character in Tamnalai is not just a figure of grief and loss, but also an embodiment of the emotional and psychological complexities tied to her son’s transformation and the societal trauma around them.
Sabitri’s performance, marked by its rawness and intensity, helped set a new standard in Indian theatre, one that was more experimental, introspective, and emotionally immersive. It also contributed to the play’s broader impact, as it addressed deeper social and psychological issues while pushing the boundaries of traditional performance techniques. Through her portrayal, Sabitri brought a profound and haunting quality to the work, making it an unforgettable experience for audiences and a significant moment in the evolution of modern theatre in India.
The role of the three teachers in the play can’t also be ruled out. The use of the three teachers in Tamnalai as a Greek chorus is an innovative and striking theatrical device. Their role in the play adds a rhythmic, almost chant-like quality to the narrative, as they engage with the mother (played by Heisnam Sabitri) and probe into the tragic events surrounding her son. The teachers’ physical movements, synchronized and rhythmic, enhance the emotional intensity of the performance, helping to convey the psychological and emotional depth of the story.
The teachers, functioning like a Greek chorus, allows the audience to understand the unfolding tragedy not just through the mother’s personal perspective but also from a broader, more detached viewpoint. As they ask questions and interact with the mother, the story unfolds in flashback, with each of their inquiries serving as a cue to reveal different layers of the boy’s journey. This technique is both narrative and symbolic—it serves to examine the social forces at play and the collective responsibility in the tragedy, while also heightening the sense of inevitability that pervades the story.
The rhythmic movements of the teachers, often in unison, create a sublime and meditative effect in the play. They function not only as interrogators but also as symbolic figures representing society, memory, and the passage of time. Their movements echo the haunting nature of the story, mirroring the cyclical nature of violence, trauma, and remembrance. This unique theatrical approach, combining physicality with narrative, transforms Tamnalai into a deeply immersive and impactful experience, blurring the line between personal tragedy and collective societal experience.
The role of the three thugs in Tamnalai is deeply disturbing and plays a crucial part in the play’s emotional and psychological impact. Their constant humiliation, bullying, and sinister laughter create a chilling atmosphere that lingers throughout the performance. These thugs are not just mere antagonists but embody the oppressive societal forces that push the boy toward his tragic fate. Their actions symbolize the cruelty and inhumanity of the world the boy inhabits, and their presence serves as a constant reminder of the violence and degradation that shape his transformation.
The thugs’ laughter is particularly haunting because it’s not just the laughter of mockery, but an almost ritualistic form of torment. It serves to break down the boy’s sense of self, leaving him vulnerable to violence. Their relentless bullying acts as a catalyst for his descent into rage and, ultimately, his act of murder. This unrelenting cruelty is what haunts the boy’s psyche, making it possible to interpret Tamnalai as a play about how deeply ingrained societal violence and oppression can affect an individual’s mental and emotional state.
Perhaps, the title Tamnalai (The Haunting Spirit) can indeed be seen as derived from these thugs. Their actions and the trauma they inflict on the boy haunt him long after the events have passed. Everyone’s spirit becomes trapped in the psychological aftermath of their violence, unable to escape the haunting memory of the torment the family faced. This haunting, then, is not just a literal ghost, but also a manifestation of the unresolved trauma and emotional scars left by the brutality of society. The disturbing role of the thugs, therefore, adds an essential layer of horror to the play, emphasizing the cyclical nature of violence and how the specter of past trauma can continue to haunt both the individual and the collective consciousness.
The restaging of Tamnalai in Imphal serves as a powerful reflection of the contemporary crises in Manipur, particularly in light of the issues of vigilante justice and the humiliation faced by many individuals in the region. The rise of vigilante actions often stems from a perceived failure of formal justice systems. In Tamnalai, characters may echo the fears and frustrations of those living in a society where traditional measures of justice are subverted. By dramatizing the consequences of such actions, the play can shed light on the dangers posed by vigilante actions and the breakdown of societal norms.
The play may also explore how individuals are subjected to humiliation, particularly in contexts where social norms are challenged or violated. This reflection on personal trauma and public shame resonates with the experiences of many in Manipur, where public perception can often dictate an individual’s fate. The staging acts as a means to generate empathy, allowing audiences to confront uncomfortable realities. By bringing these issues to the forefront, Tamnalai encourages viewers to reflect on their roles within their communities and the broader implications of vigilante justice.
(Usham Rojio teaches at Visva-Bharati (a Central University), Santiniketan, West Bengal. He is also a theatre worker and co-author of the book Heisnam Sabitri: The Way of the Thamoi.)