Description

This introductory passage by Chandravadan C. Mehta presents a detailed appreciation of Jayashankar Sundari and the revival of Indian theatre, especially Gujarati theatre, during the late 19th and early 20th centuries.

The writer explains that modern Indian theatre revived after British rule became firmly established around 1850. In Gujarat, organized theatre truly developed after 1875 through the efforts of the Parsi theatre companies. These Parsi performers popularized Persianised historical, devotional, and moral plays not only in India but also abroad, including Cambodia and London. Though later criticized by some Hindi writers as “vulgar,” the author defends them as powerful, grand, and culturally important pioneers.

The passage also discusses the growth of Bengali theatre under pioneers like Girish Chandra Ghosh and mentions the influence of British and Russian theatre traditions in Calcutta. Young Jayashankar entered theatre at a very early age under the guidance of Dadabhai Thuthi, a major figure of Parsi theatre. Those formative years shaped him into one of the greatest actors in Gujarati theatre history.

According to the author, Jayashankar Sundari was unique not only as an actor but also as a deeply spiritual human being. Unlike many famous actors worldwide, he lived an honest, disciplined, and morally upright life. After retiring from theatre, he turned toward meditation and spiritual practices, seeking higher spiritual bliss. The author compares his artistic achievement to the concept of “Brahmanand” described in Bharata Muni’s Natya Veda.

The introduction highlights Jayashankar’s natural talent, dedication, and deep understanding of acting. Though he had little formal education, he mastered pronunciation, rhythm, diction, and emotional control through experience and self-discipline. The author believes his success came from sincerity, moral character, devotion to art, and faith in God.

Special emphasis is given to his speech delivery and stage technique. Jayashankar believed that a character should appear to grow naturally on stage. His performances were marked by controlled emotions, rhythmic dialogue delivery, and emotional depth that deeply moved audiences.

The passage also places Jayashankar within the “golden age” of Gujarati theatre (1880–1920), alongside legendary performers like Bal Gandharva and Shishir Bhaduri. Yet the author concludes that Jayashankar stood above all because of his artistic excellence combined with ethical integrity.

In the end, the writer expresses personal admiration and emotional attachment to Jayashankar Sundari, calling him an irreplaceable figure whose absence would be eternally felt in Gujarati theatre.

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