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| Incarnation after death dominates scheme of things in End Game | | NITF-2020 | |  Early Times Report
Jammu, Feb 6: Set as the aftermath of the Second World War overlapped with the new human brutalism of possible nuclear annihilation, Samuel Backett’s End Game bring fresh life to a tale of imminent doom.
Nothing stirs outside. In a bare room, Hamm, old and blind, is locked in a stalemate with his servant Clov. Also there are Hamm’s parents-dustbin-dwelling. The concept of fringe theatre has been copied around the world and Samuel Beckett’s End Game is the strongest concept of such performances that started in 1947 and =gained momemntum throughout the world.
The two men have a conversation about change and death. Hamm wonders why Clov simply doesn’t walk out the door and never come back, but Clov insists he must stay because no one else is out there. At another point in the conversation, Hamm wonders why Clov doesn’t kill him, and Clov responds that he doesn’t know the combination to the locked cupboard.
Hamm’s parents Nagg and Nell showed dumped in trashbin are other two characters who are in the same state of affairs as their son and have their unique illogicality towards life and their remaining years.
The play ends to an open mystification as to what next, until death descends.
Produced in the ongoing Nutan International Theatre Festival NITF-2020 organized by Lakshya –Tha Aim and Nutan Prayas Manch , End Game , the fifth in the series falls into the category of theatre of absurd since it is a despairing play about hopelessness. The play was produced by Rangyatri, Jammu and turned out to be a treat to watch.
Mushtaq Kak , a senior theatre director from Jammu and Sangeet Natak Akademi awardee has also served in his tenure as Director Shri Ram Centre producing some of the finest plays in his career.
Endgame that basically projected the human conditions is an attempt where nothing happens once. The sense of despair is heightened by the fact that the characters are not waiting for anything other than death in the play. The fear of being incarnated after death is dominant to all the characters.
Mohit Mehra , Ayan Ali, Irfan Bano and Shazi Khan played the pivotal lead roles in the play and justified their respective characters.
Mushtaq Kak’s apt handling of a sensitive subject is not new in his genre of theatrical activities and he gave a scintillating direction for the play that included bare minimum sets, effective lights and combining music.
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