ABSTRACT
This chapter postulates that Parsi drama evolved as an entertainment genre in keeping with certain principles of the Zoroastrian faith. Zoroastrian spirituality embraces appreciation for the finer things of life and sharing harmony with the world. One way to realise this is through enjoyment of the performing arts, which creative Parsis pioneered.
An overview of Parsi theatre history in recent centuries is presented. After amateur college plays in 1850s Bombay, professional troupes began performing in various regional languages besides Gujarati. Presenting the pan-Indian face of culture was a singular contribution of Parsi drama. Epic productions even crossed continents.
The importance of women in early years of Parsi drama is outlined – from tracing the rise of singing stars like Munni Bai, to reporting an intriguing discovery of rare romantic verse woven within threads of a silk saree specially commissioned for an actress by an admirer.
By the mid-1900s, epic melodramas and tragedies gave way to social comedies. A new, different brand of cosmopolitan humour emerged. It urged audiences to laugh with, instead of laugh at, people. Colourfully scripted characters popularised Parsi Gujarati plays – the Irani family retainer among them. This chapter describes four actors, over three eras, portraying this stellar role.
Daring and dynamic, modern Parsi theatre transcended its ethnic idiom with dramatists and directors of the stature of Adi Marzban, Pheroze Antia, and Dorab Mehta. Laced with humorous realism, plays highlighting human frailties and foibles continue being staged today, to celebrate festive occasions like the Parsi and Irani New Year.
