Nautanki

Nautanki is one of the most popular traditional forms of folk theatre in North India, known for its vibrant combination of music, dance, drama, and social commentary. Emerging as a significant medium of entertainment and moral instruction in the late nineteenth and early twentieth centuries, Nautanki reflects the cultural and linguistic richness of the Hindi-speaking belt, particularly in Uttar Pradesh, Rajasthan, Haryana, and Bihar. With its accessible storytelling and emotionally charged performances, Nautanki served as both a popular art form and a medium for communicating social messages to the masses.

Historical Background and Origins

The origins of Nautanki can be traced to the folk and devotional theatrical traditions that flourished in North India from the medieval period onwards. It evolved from earlier performance styles such as Swang, Ras Lila, and Bhagat, which combined narrative song and dramatic dialogue to depict mythological, romantic, and moral stories.
The word “Nautanki” is believed to have originated from a popular performance based on a heroine named Nautanki, a legendary princess from Multan whose story of love and courage became famous across northern India. Over time, the term came to represent the entire genre of folk musical drama.
By the nineteenth century, Nautanki had become a dominant entertainment form in rural and semi-urban areas, performed in village squares, temple courtyards, and fairs. Its rise coincided with the decline of royal patronage for classical performing arts, leading to the emergence of travelling troupes that performed for the general public.

Structure and Performance Style

A typical Nautanki performance blends narrative storytelling with song, dance, and dialogue, making it both entertaining and emotionally engaging. The script, known as kitab or pothi, contains metrical verses and prose dialogue written in simple, rhyming Hindi or Braj Bhasha.
The structure usually follows a predictable pattern:

• Opening Invocation: The performance begins with an invocation to Lord Ganesha or Goddess Saraswati, seeking blessings for success.
• Prologue: A Sutradhar or narrator introduces the story and its moral background.
• Main Performance: The story unfolds through a sequence of songs (ragini), dialogues, and dances.
• Climax and Resolution: The performance culminates in a moral or social message, often celebrating virtues like love, bravery, or justice.

Performances traditionally take place overnight, with audiences gathered in open spaces. The orchestra consists of dholak, harmonium, nagara, and jhanjh, providing rhythmic accompaniment to the songs and dances.

Themes and Narratives

Nautanki draws upon a wide range of themes that encompass mythology, romance, heroism, and social justice. Classical stories like Laila-Majnu, Shirin-Farhad, Sultan Daku, Raja Harishchandra, and Savitri-Satyavan are frequently adapted into Nautanki performances.
During the colonial and post-independence periods, the themes of Nautanki expanded to include nationalist, reformist, and contemporary social subjects. Performances began to address issues such as:

• Women’s empowerment and education.
• Social evils like dowry, alcoholism, and caste discrimination.
• Patriotism and anti-colonial resistance.

Through its lively dialogues and popular idioms, Nautanki became an effective vehicle for social awareness, blending entertainment with moral instruction.

Music and Language

Music lies at the heart of Nautanki. Its songs are composed in semi-classical ragas, drawing from Hindustani musical traditions such as Thumri, Dadra, and Kaharwa. The performance relies heavily on lyrical singing, with the lead performer (gayak) using expressive vocal modulation to convey emotion.
The language used in Nautanki is a mix of Hindi, Braj, and Urdu, making it accessible to a broad audience. The poetic quality of the lyrics and rhythmic dialogue enhances the dramatic appeal, while humorous exchanges keep the audience engaged.

Performance Troupes and Artists

Nautanki was historically performed by itinerant theatre troupes (mandalis) that travelled from village to village. These troupes were composed of singers, dancers, musicians, and comedians who lived as professional performers.
Among the most famous Nautanki troupes were those based in Meerut, Kanpur, Lucknow, and Agra, regions that served as major centres of Hindi folk theatre. Prominent artists such as Gulab Bai of Kanpur, often hailed as the first female Nautanki performer, and Seth Chhannu Lal Mishra played crucial roles in popularising the art form in the twentieth century.
Gulab Bai’s performances broke gender barriers, as female roles were traditionally enacted by men. Her troupe, Shri Krishna Nautanki Company, became one of the most celebrated performance groups in North India, drawing thousands of spectators.

Stage Design, Costumes, and Acting

The stage design of Nautanki is simple yet symbolic. Traditionally, a temporary wooden platform (manch) is set up in the open air, decorated with colourful curtains and painted backdrops depicting palaces, forests, or temples according to the story’s setting.
The costumes are elaborate, inspired by royal and mythological aesthetics, with bright colours, jewellery, and headgear. Male and female performers wear ornate traditional attire to suit their characters, while the use of greasepaint and stylised makeup enhances dramatic expression.
Acting in Nautanki is characterised by exaggerated gestures, rhythmic movement, and dynamic dialogue delivery. The performers often engage directly with the audience, breaking the fourth wall and improvising lines to elicit laughter or applause.

Social and Cultural Impact

Nautanki served as a primary source of entertainment for rural audiences before the advent of cinema and television. Beyond amusement, it functioned as a communal event that reinforced social values and local identity. Its performances often coincided with fairs, harvest festivals, and religious celebrations, fostering collective participation and social cohesion.
During India’s struggle for independence, Nautanki was used as a tool for political mobilisation. Several scripts were written to inspire nationalist sentiment, encouraging unity and resistance against colonial rule.
In the post-independence period, Nautanki continued to play a role in public education and propaganda, addressing developmental and social issues through performances sponsored by government cultural departments.

Decline and Revival

The advent of cinema, radio, and television in the mid-twentieth century led to a gradual decline in Nautanki’s popularity. Many traditional troupes disbanded due to dwindling audiences and financial difficulties. Urbanisation and changing entertainment preferences further reduced its reach.
However, in recent decades, cultural organisations, universities, and theatre practitioners have undertaken revival efforts to preserve this folk tradition. Institutions like the Sangeet Natak Akademi and National School of Drama have supported research, documentation, and training programmes in Nautanki.
Modern adaptations have also emerged, incorporating contemporary themes, female performers, and modern staging techniques, while retaining the original musical and lyrical essence.