Mahfil. v 7, V. 7 ( 1971) p. 146.

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With a budget of about $25.00, the students executed the entire performance of this work, with only incidental assistance from their instructor. They secured a director, a senior drama student at the Oakland University Academy of Dramatic Arts, who, while knowing nothing about Sanskrit drama, had a particular penchant for comedy. The students, director and instructor held extended discussions about Indian drama, particularly the prdhasana form, as well as about cultural material which they needed explicated: Holi woman, Yama, active self, Sakhya, etc. It was suggested during these talks that much of the humor connected with these terms, particularly these last two as good examples, would be lost to a Western audience, as, indeed, it was in this case. However, there was still enough broad humor in the piece to entertain. The instructor made a tape of the pronunciation of all names, both Sanskrit and Latin, which was passed among the students for memorization. Costuming was fairly straightforward:

loincloths made of old pillow cases and aacred threads made from thick cord for the Hermit and Sandilya: dhotis for the other two male actors, both of whom played two roles each (Clown-Physician; Director-Little Lover), which were differentiated by changing into different colored kurtas; a long, black flowing gown for the Servant of Death;

a white sari and colt for the Mother and very bright, floral saris, bought at a remnants sale from a local department store, for the courtesans. Some debate arose as to how to costume the courtesans, for one young man insisted on "authenticity," and submitted that the courtesans should be naked to the waist as he had read was the style of dress for ancient Indian women. Animated discussion followed; on a dare, one young lady tentatively agreed. The instructor, however, pointed out that this question of women^ dress was in serious scholarly dispute and that, in view of a recent controversy over nudity in plays on campus some months earlier, it would be more politick to side with the mpre conservative attitude in this question.

Props and scenery were simple: a large, raised platform in the middle of the stage and a small, higher one upstage right, next to the backstage curtain. Both platforms were covered with Indian floral-print covers, with another floral cover pinned to the backstage curtain. All other props were mimed.

The skillful blocking and directing by the drama student brought the entire play to fruitionc The benediction was pronounced by the Director before closed curtains; the Clown entered through the parting and the prologue was acted in front of the curtain^ When the Voice Backstage (that of the Hermit) was heard asking, "Sandilya, where are you?," the curtains parted and the Director, reciting his final verse, and the Clown exited stage right, with the Hermit entering stage left.

During the initial exchange^between the Hermit and Sandilya, several very humorous moments emerged. Sandilya, played by a black student, was

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