Drama (Letters)

Expressions researched:
"drama" |"dramas" |"dramatic" |"dramatical" |"dramatically" |"dramatics" |"dramatist" |"dramatists" |"dramatization" |"dramatizing"

1967 Correspondence

Letter to Kirtanananda -- San Francisco 7 April, 1967:

I have given a note of direction to Hayagriva for writing a Drama on Lord Caitanya and if he can deliver us a nice Drama for staging in your different parts of the State it will be a great stride for our mission and I hope it will help us financially a great deal. Just you encourage Hayagriva to write this Drama very nicely in Poetry so that they can be sung in western tone all over America and Europe and staged everywhere to cover our expenses.

Letter to Hayagriva -- New York 6 May, 1967:

You have nicely done ____ Lord Caitanya Drama 1st Act. It is nicely done literature but when playing you will have to make it cut short otherwise it will take too long a time. I have given it over to Rayarama for reading.

1968 Correspondence

Letter to Gurudasa -- Allston, Mass 23 May, 1968:

A few days ago I received one letter from you in which you desired to send me one manuscript for Nimai Sannyas drama, written by some Mr. Chatterji. Generally these dramas are sentimentalism. Those who are devotees of Lord Caitanya, they do not discuss much about the Lord's renouncing the householder life, but there are certain persons who floodlight the renouncement of Lord Caitanya in a materialistic sentimental way. I have seen such drama, written by Mr. Diliproy, and that was nearly nonsense. Sri Caitanya Mahaprabhu decided to accept this renounced order of life in a moment, and the business was finished in a day. But these people, in order to create a scene, they adulterate the Lord's renouncement in so many ways. so I guess in the drama of Mr. Chatterji similar such things may be included. Any drama or book written by unauthorized persons should not be indulged in. (In this connection I may mention that I have seen one copy of "Narada Pancaratra" sent here from San Francisco, and it is not good. Please stop circulation of this book, which is not authorized.)

Letter to Hayagriva -- Montreal 10 July, 1968:

At the present moment, I am just organizing a Sankirtana party and if you come here, then we can make a rehearsal of the Caitanya 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 -- Montreal 12 August, 1968:

Just on Saturday, several devotees have arrived from San Francisco: Mukunda, Janaki, Gurudasa, Yamuna, Syamasundara., Malati (and their little child, Srimati Sarasvati devi), and Saradia, all of them have come here for two weeks to practice together as our Sankirtana party, then they will all go to London and begin preparations for our center there. They are all ready for opening up a center there, so we are going to try to make it as successful a venture as Krishna desires. While they are here, we are having rehearsal of Kirtana daily, and I want also that they shall practice rehearsal of your play, about Lord Caitanya's activities. So if you can send a copy of your drama as soon as possible, they will begin rehearsing how to do it.

1969 Correspondence

Letter to Sacisuta -- Tittenhurst 19 September, 1969:

Sometimes we hear that people are going to church to confess their sinful actions for being excused, but as soon as he comes out of the church, he begins the same drama again. This is like the bathing of the elephant, who immediately throws dirt again on his body. We should not follow such examples. Lord Caitanya accepted Jagai and Madhai on condition they would not commit further sinful activities. So all our students should be careful in the matter of violating the four principles and at the same time must carry on the chanting process rigidly.

1970 Correspondence

Letter to Tamala Krsna -- Los Angeles 12 January, 1970:

You wanted an urgent reply so I am sending this letter by express delivery. Here in L.A. things are going very nicely. Last night I was present in the Temple. Visnujana played a nice short drama about Kali Yuga and its entrance. It was very nice. There were about 100 guests besides our own men. Gargamuni is taking care of me very nicely. Hope this will meet you alright.

Letter to Upendra -- Los Angeles 24 June, 1970:

The actress girl, Janne, has arrived here. She has presented me one ballpoint pen, and she has also transferred travelers checks to the amount of $500 to the Society. She appears to be very nice intelligent girl, and we are trying to engage her for some dramatical performance on the basis of Lord Caitanya's pastimes.

1971 Correspondence

Letter to Vrindaban Candra -- Bombay 13 April, 1971:

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 Caitanya inaugurated these Vaisnava dramas, it is true, but where to obtain such copies of these plays I do not know.* While performing such dramas, always the actors must be Vaisnavas. 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 Nayanabhirama -- Bombay 30 April, 1971:

Your newspaper and magazine clippings are very nice. They arrived on a day when our life members were meeting and they were appreciated by all. Your ideas for new dramas sound nice, so you can put them into action. And Princeton sounds like an ideal place for our temple, so why not open it immediately?

Letter to Nayanabhirama -- Bombay 22 December, 1971:

Please accept my blessings. I beg to acknowledge receipt of your letter of December 8, 1971, and I have noted the contents with pleasure. I am especially pleased to hear that our KC drama program is being developed by you nicely. We have got unlimited stock for such dramas, so go on in this way, improving more and more, and Krishna will give you direction so that one day, very soon, your all dreams will come true and you will be acting our KC dramas on the Broadway.

Letter to Nayanabhirama -- Bombay 22 December, 1971:

So this drama-playing is very good presentation for attracting their attention and displaying Krishna Consciousness very beautifully. Make everything very simple, without too much fancy costumes, and the real message will come out very nicely.

I am encouraged to hear from you that our Delhi pandal festival was seen on TV in America and other places. We can become famous for such shows, and at the same time utilize them for giving people good information about what is the real goal of life and how to achieve it. So in combination with the others you go on thinking how to improve these KC plays and dramas and how to give the public more and more of Krishna Consciousness. That is real preaching work.

1972 Correspondence

Letter to Madhudvisa -- London 8 July, 1972:

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.

Letter to Madhudvisa -- Amsterdam 29 July, 1972:

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 Caitanya. Read TLC on the stage, just like Caitanya Mahaprabhu is giving instruction to Sanatana Goswami, and the actors may speak little philosophy, without need for special costumes or other things. Then kirtana.

Letter to Nayanabhirama -- Los Angeles 18 September, 1972:

Yes, I did not see your drama in New Vrndavana about the advent of Lord Krsna. But I have heard from others that it was done very nicely, so I am very much pleased. These kinds of dramas about Krsna, Krsna's pastimes, and also Lord Caitanya's pastimes, are very much desirable for presenting to the public widely. So if you can organize your traveling party to present such dramas all over your country and other places that will be very much appreciated. Perhaps you can work together with Visnujana for presenting our road show opera to the public also. I had opportunity to see that opera in Pittsburgh and it was very well done, with a lot of drama and dancing as well. You may keep me informed from time to time what is the progress of your play-acting group, Vaikuntha Players.

Letter to Jayadharma -- Ahmedabad 13 December, 1972:

Please accept my blessings. I beg to acknowledge receipt of your letter dated November 10, 1972, and I have noted the contents, along with the drama-script from Srimad-Bhagavatam. It is very nice. This kind of play-acting is wanted. Now introduce it to your country-men very nicely presented. Emphasis should be given to the words of Bhagavat, they are spiritual and will have powerful effect if someone only hears them with attention, do not be very much enamoured 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.

1973 Correspondence

Letter to Jagadisa -- Bombay 5 January, 1973:

But if you do all these other performances of aratrika, a drama, like that, perhaps it will appear like it is our program and not the program of the musicians. If there is confusion, if the public is thinking that we are something show or commercial performers, that will not be proper idea. But if the musicians and dancers want to give one concert and donate the proceeds to us, we shall gladly thank them.

Letter to Nayanabhirama -- Calcutta 28 January, 1973:

Also as you are senior devotee you must set a nice example for the others to follow. Here also in India we are making drama, and at our Bombay Pandal on the last evening we had one drama about Krsna and the gopis in which the gopis gave the dust of their feet for curing Krsna's headache. This was very much appreciated by the audience. So in this way we can present the philosophy of Krsna Consciousness very nicely for everyone to relish.

1974 Correspondence

Letter to Gurudasa -- Melbourne 1 July, 1974:

You can also arrange to have the Her Govinda dramatical players and our own players as well. There should be abundant prasadam for whoever comes all day long. The kitchen should go on. So see there is sufficient stock of rice, attar, ghee, etc. The life members should be especially cared for and invited. We shall manage our own affairs. If they come that is good but if not we shall manage. From our side everything should be done nicely.

1975 Correspondence

Letter to Nandakisora -- Tehran 14 March, 1975:

I think it is best if you consult with Prajapati prabhu on these points. He is in charge of the dramas, so take his advice on these matters. Keep yourself always engaged in Krishna's service following very strictly the rules and regulations so that Maya will not be able to discourage you in your attempt to become Krishna Conscious.

1976 Correspondence

Letter to Aksayananda -- Calcutta 13 January, 1976:

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. But the puppet shows should be stopped. It is nonsense.

What are those Bengali dramas that Nitai is working on? He should work on arcana-paddhati, not divert his attention here and there. He should make Hari-bhakti-Vilasa into short cut, not more than twenty pages. He can consult Nrsimha Vallabha Goswami for help in this matter. This should be his first consideration now.

Letter to Nitai -- Mayapur 24 January, 1976:

Please continue to work on the Arcana-paddhati and finish it. We can not be sure that Pradyumna will come in time. Also, you can go on translating the drama of Girish Ghosh. Everyone here has appreciated it. As you translate the scenes, there should be people rehearsing it.

Letter to Kacoriaji -- Vrindaban 4 October, 1976:

I suggest you approach Tamala Krishna Gosvami at our New York branch. (340 W. 55th St., N.Y. 10019, N.Y.) You may go and join them there, they have a dramatic group, and if your ideas can be developed, I have no objection, that will be very nice.

Letter to Dr. Chatterjee -- Vrindaban 6 October, 1976:

Your suggestion is very good—if the verses from Srimad-Bhagavatam and Bhagavad-gita are presented in classical art it will be something wonderful—the whole world will appreciate. We already have a dramatic party in New York, and their performances are very much appreciated. Indian classical songs are appreciated here and in foreign countries also. This program of presenting the Bhagavatam in classical song is a good idea.