Social significance of theatre


It may not be wrong to say that Shumang lila is a theatre for the masses and the stage lila for the class (at least in audience culture). Shumang lila is performed in nook and corner of Manipur but stage lila is little reluctant to move out of Imphal and small towns. It is because of its 'easy to perform anywhere' style. Shumang lila in a Leikai (a ward) is a carnival time for the people of that Leikai or village and its neighbouring Leikais or villages.

Anybody, literally anybody can come and enjoy the play irrespective of what kind of clothes he/she wears. The audience is seated mostly on the grounds on first come first served basis. The audience structure is itself a microcosm of the Manipuri society. All the existing modes of social stratification except sex are dismantled. There is free intermingling and gossiping among the audience which is divided into two sides- Ladies and Gents. The sight of the audience itself is a drama in itself.

It is functional in the sense that people enjoy the play and the ambience with the feeling of oneness. The romantic and furtive exchange of glances between the heroes and the heroines in the audience is a moving scene not to be missed out. So, for them, why should they come shabbily dressed up but only in their best clothes and make-ups?

The audience also participates in the play with tears and laughter with gay abandon. Its slightly dysfunctional side can be witnessed when there is exchange of fist of fury triggered by that youthful local syrup called 'Yu' (local white liquor). But is not that part of life and theatre also? On the other hand, in stage lila the audience behaviour endeavours to show politeness and their participation in the theatre process is limited.

There is no doubt that both the genres have profusely taken its stories from the society but the same high degree of influence from the theatre is not visible in the practical social life except in some cases. This is because of the overshadowing of entertainment over other purposes of both the forms of theatre. But today's Manipur is witnessing the entrance of Shumang lila into the ritualistic sphere as it is allowed to perform, by some groups, in the marriage and death ceremonies replacing the age old tradition of Sankirtan singing.
It is chosen to be the vehicle of social and religious movements taking advantage of its far reaching nature. It is the people of Manipur who have to decide whether or not such changes are in the interest of the society as a whole.