You must have heard of the Four Noble Truths, the Eightfold Paths and the spiritual journey of Gautama Buddha. But have you heard the echoes of longing, sorrow and resilience in Yashodhara? Naraseeha, a man-lion, metaphorically referred to as a person of great strength and courage, decodes the meaning of Naraseeha Gatha—a hymn that not only answers the curiosity of Rahul, son of Gautama Buddha, but also vividly lays down the age-old tale in the expression of Yashodhara, his devoted wife.

In the theatre arena of Girish Manch, organised by Baguiati Sahajiya Natyasanstha and written and directed by Prasanta Sen, the play Naraseehagatha was seen and applauded by the audience. Translated from the original text of Pali, the play encapsulated the life of Gautama Buddha by navigating through various stages of his life, such as the Four Sights, his yearning to know the truth, the great renunciation and his return to the palace. But it doesn’t end here. It also delved deeply into the emotional turmoil his family endured in his absence. The most crucial part of the story is that of Yashodhara, his wife. The play beautifully puts into light her devotion to Siddhartha, her simple life in his absence, and her attaining enlightenment while being surrounded by worldly affairs. A mother by destiny, an ascetic by choice.

The voice modulation of the artists and the clarity of their speech were impeccable. Their expressions spoke volumes that words possibly never could. The anguish of his father, King Suddhodana, and the silent support of his mother, Queen Maya, who eventually accepted her son’s path, were portrayed with a delicate balance of emotion and restraint. The poise in Buddha’s face, as enacted by Prasanta Chatterjee, was on point. The playful use of the uttariya, i.e., the shawl, throughout the scenes added layers to the performance and made the scenes more realistic. The graceful movements of the dancers and the melodious voices of the singers transported us back to that time.

Brought to life by more than 30 artists, the artistry of the play goes far beyond. It involves the seamless transition of the scenes and props and the smooth setting of the lighting and music. Some noteworthy moments that captured the audience’s attention included Buddha cutting his hair, symbolising the end of his materialistic life and the beginning of his spiritual journey; Yashodhara leaving behind her queenship to follow the path of her husband; and the voice that guided Buddha to pursue his spiritual journey. All these scenes, portrayed through shadow play, had stunning visuals.

When speaking with the director, he mentioned how the entire play was self-funded. The production cost touched almost Rs 1 lakh. This includes the costumes, which were made by the team itself. The minute details, such as Buddha’s snail-accorned hair and the devilish design of the Staff of Dandopani, did not go unnoticed.

The question might arise: Did the play do justice to the original verses of Naraseehagatha?

Yes. The hymns of the poetry were interwoven into different scenes from beginning to end. It all came together when the conversation between Yashodhara and Rahul was enacted. The questions Rahul posed about his father were finally answered by Yashodhara through the lyrical poetry of Naraseeha Gatha. Portrayed by Mahua Sarkar (Yashodhara) and Aritra Roy (Rahul), the scene was very emotional and heart-touching.

When one of the audience members was asked to recall his favourite moments from the play, he highlighted the Yudh Abhyas scene of Debdutta and Dandopani, the encounter of Buddha meeting Rahul and Yashodhara individually, and the dance by Raj Nartakis. “I really loved the character Debdutta. His evil laughter was so authentic. The actor played the role of a villain really well,” said Abir Bhakta, a student who came with a friend to watch the play.

The director’s next project is to translate and recreate this play for the Hindi-speaking audience after receiving requests from the monks from the Maha Bodhi Society who were invited to the play. The play emphasises that enlightenment can be achieved both within and outside of familial responsibilities. Yashodhara’s journey demonstrates that one can attain spiritual awakening while fulfilling domestic duties, offering a powerful and relatable message. The major takeaway from this play, in the words of the director, is that “to get enlightenment, it is not necessary that one has to leave his family and his domestic life. A proper search of truth may lead him to the path of enlightenment.”