Quotes from Letters

As we know, Srila Prabhupada gave different instructions to different disciples according to time, place and circumstance. The following quotes are presented as a selection of his various comments in relation to drama, and not necessarily to engender blind conformity based on some of these personal references.


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                All Prabhupada quotes are (c) 1991 BBT International


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              The following letters are presented in the following order


  *   DRAMATIC PERFORMANCES ARE IMPORTANT FOR
        PREACHING
  *   INSTRUCTIONS REGARDING PROPER PRESENTATION
  *   REGARDING KRISHNA CONSCIOUS PUPPET SHOWS
  *   REGARDING HAYAGRIVA PRABHU'S "LORD CHAITANYA"
        PLAY
  *   REGARDING GIRISH GHOSH'S "AGE OF KALI" PLAY
  *   LORD CHAITANYA'S INVOLVEMENT WITH DRAMAS
  *   DRAMA PERFORMANCES IN INDIA





         DRAMATIC PERFORMANCES ARE IMPORTANT FOR
                                             PREACHING



Srimad-Bhagavatam, 4.15.19 TRANSLATION

"The demigods who always travel in outer space gave King Prithu the
arts to perform dramas, sing songs, play musical instruments and
disappear at his will. The great sages also offered him infallible
blessings. The ocean offered him a conchshell produced from the ocean."

Srimad-Bhagavatam, 1.11.20 TRANSLATION

"Expert dramatists, artists, dancers, singers, historians, genealogists
and learned speakers all gave their respective contributions, being
inspired by the superhuman pastimes of the Lord. Thus they proceeded on
and on."

PURPORT:

"Even one hundred years ago in India, all dramatic performances were
centered around the superhuman activities of the Supreme Lord. The
common people would be verily entertained by the performances of dramas, and yatra parties played wonderfully on the superhuman activities of the Lord, and thus even the illiterate agriculturist would be a participant
in the knowledge of Vedic literature, despite a considerable lack of
academic qualifications. Therefore, expert players in drama, dancers,
singers, speakers, etc., are required for the spiritual enlightenment of
the common man."

Krsna Book, Chapter Forty-four, Krsna Recovers the Son of His Teacher

"Krishna and Balarama learned... how to set up a theatrical stage, how
to decorate dramatic actors with cloth and with flower ornaments over
the ear, and how to sprinkle sandalwood pulp and water to produce a nice
fragrance. They also learned... how to rehearse and act out a drama."


Room Conversation, Vrindaban, November 13, 1976 (761113RC.VRN)

Prabhupada: "Take prasadam, see drama, read books, chant Hare Krishna. Bas. And if you like, you can live with us. So where is the difficulty? Anandamayo 'bhyasat."


Krsna Book, Chapter Seven, Salvation of Trnavarta

"The conditioned soul has a natural aptitude to hear something about
other conditioned souls in the form of fiction, drama and novel. That
inclination to hear something about others may be utilized in hearing
the pastimes of the Lord. Then one can immediately evolve to his
transcendental nature. Krishna's pastimes are not only beautiful; they
are also very pleasing to the mind. If someone takes advantage of
hearing the pastimes of the Lord, the material contamination of dust,
accumulated in the heart due to long association with material nature,
can immediately be cleansed."


Prabhupada's Lectures, Srimad-Bhagavatam, August 13, 1972 (720813SB.LA)

"You have got a tendency for reading book or hearing about somebody,
but, generally, for our sense gratification, we hear some man and woman
making love affairs and that is the subject matter of a drama or a
fiction or a story. The same tendency, if you transfer for hearing about
Krishna, you get liberation. It is so nice thing."


Caitanya-caritamrta, Madhya-lila, 11.95, PURPORT


"There are many professional chanters who can perform congregational
chanting with various musical instruments in an artistic and musical
way, but their chanting cannot be as attractive as the congregational
chanting of pure devotees. If a devotee sticks strictly to the
principles governing Vaishnava behavior, his bodily luster will
naturally be attractive, and his singing and chanting of the holy name
of the Lord will be effective. People will appreciate such kirtana
without hesitation. Even dramas about the pastimes of Lord Chaitanya or
Sri Krishna should be played by devotees. Such dramas will immediately
interest an audience and be full of potency. The students of the
International Society for Krishna Consciousness should note these two
points and try to apply these principles in their spreading of the
Lord's glories."


Room Conversation on Farm Management, Hyderabad, December 10, 1976

"By prasadam, by chanting, by drama, somehow or other bring them. That
is our mission. Congregational chanting. Always festival, and we shall
spend for that. Immediately arrange. If there is scarcity of money, I
shall pay... I came here to see that, not to sit down in a room
peacefully. So there also we shall inform the meeting that we want to
propagate this Krishna consciousness movement town to town, village to
village, by attracting them with musical demonstration of sankirtana,
dramatic play, movie, prasadam. Somehow or other they should come to the temple, to the pandal and congregationally chant Hare Krishna
maha-mantra, hear Bhagavad-gita, Bhagavatam. For this purpose, whatever
expenditure is required, that you should collect and spend. This is the
scheme of Hare Krishna movement."


Prabhupada's Lectures, May 25, 1975 Honolulu (750525SB.HAW)


"So this Prahlada-charitra play, drama, is very instructive. Although
it is not played on a very nice stage, theatrical, but the feeling
expressed by the devotees in playing this Prahlada-charitra has become
very successful."

Letter to Tamala, January 12, 1970 Los Angeles


"Here in L.A. things are going very nicely. Last night I was present in
the Temple. Vishnujana played a nice short drama about Kali Yuga and its
entrance. It was very nice. There were about 100 guests besides our own
men."


Letter to Nayanabhirama, September 18, 1972 Los Angeles


"Yes, I did not see your drama in New Vrindaban about the advent of
Lord Krishna. But I have heard from others that it was done very nicely,
so I am very much pleased. These kinds of dramas about Krishna,
Krishna's pastimes, and also Lord Chaitanya's pastimes, are very much
desirable for presenting to the public widely. So if you can organize
your traveling party to present such dramas all over your country and
other places that will be very much appreciated. Perhaps you can work
together with Vishnujana for presenting our road show opera to the
public also. I had opportunity to see that opera in Pittsburgh and it
was very well done, with a lot of drama and dancing as well. You may
keep me informed from time to time what is the progress of your
play-acting group, Vaikuntha Players."


Letter to Nayanabhirama, December 22, 1971, Bombay, India


"I am especially pleased to hear that our KC drama program is being
developed by you nicely. We have got unlimited stock for such dramas, so
go on in this way, improving more and more, and Krishna will give you
direction so that one day, very soon, your all dreams will come true and
you will be acting our KC dramas on the Broadway."

"Everyone enjoys play-acting, only there is at present a dearth of
proper material for elevating the general mass of people to the proper
standards. Practically, the whole world is going to hell. There is no
decency, no gentleman anywhere. So we have to portray to the people of
this fallen Age of Kali-yuga what is the right standard for their
behavior. When they see that, Oh, here is such nice activity, such nice
people, they will automatically become changed, simply we have to engage
their senses in the right taste. So this drama-playing is very good
presentation for attracting their attention and displaying Krishna
Consciousness very beautifully. Make everything very simple, without too
much fancy costumes, and the real message will come out very nicely."

"I am encouraged to hear from you that our Delhi pandal festival was
seen on TV in America and other places. We can become famous for such
shows, and at the same time utilize them for giving people good
information about what is the real goal of life and how to achieve it.
So in combination with the others you go on thinking how to improve
these KC plays and dramas and how to give the public more and more of
Krishna Consciousness. That is real preaching work."


Letter to Jayadharma, December 13, 1972 Ahmedabad, India


"I beg to acknowledge receipt of your letter dated November 10, 1972,
and I have noted the contents, along with the drama-script from
Srimad-Bhagavatam. It is very nice. This kind of play-acting is wanted.
Now introduce it to your country-men very nicely presented. Emphasis
should be given to the words of Bhagavatam, they are spiritual and will
have powerful effect if someone only hears them with attention. Do not
be very much enamoured by fancy costumes and stage-decorations, they
will only distract. Real acting art is to know how to speak. The
greatest dramas, even in your western culture, they can be played
without any extra equipment. Just like your Shakespeare - sometime I saw
they were playing one drama, I think Hamlet or something like that, and
only two men were there on the bare stage and everyone was praising. So
the art is catching their ears. Now in that spirit go on with your work
and try to do something wonderful."


       INSTRUCTIONS REGARDING PROPER PRESENTATION



Letter to Madhudvisa, July 29, 1972 Amsterdam


"Regarding the dramas, my point is not to deviate from gravity and
compromise or distract from the situation. Keep this point in vision and
continue. That is a very good proposal to stage one play based upon Lord
Chaitanya. Read Teachings of Lord Chaitanya on the stage, just like
Chaitanya Mahaprabhu is giving instruction to Sanatana Goswami, and the
actors may speak little philosophy, without need for special costumes or
other things. Then kirtana. There must be always kirtana. Dialogue,
kirtana; then again dialogue, again kirtana; again repeat; like that. No
humor should be there, just philosophy and kirtana. If it is successful,
then the same dialogue-kirtana may be followed by other sankirtana
parties in Europe and America."

Letter to Madhudvisa, July 8, 1972 London


"Regarding your question of dancing-show, whatever it may be, it may
not deviate from the real Krishna Consciousness program. We are
Hari-kirtana men, that's all. We can attract people by some gorgeous
show, but inside there must be strict purity and seriousness, otherwise,
we shall be attracted by the gorgeous show only. There are two energies
always working simultaneously, and Maya means when we diminish the
spiritual energy, then automatically we become attracted to the external
dress of Maya. So I do not care very much for these plays and dramas
unless they are coming directly from the Vedas. If we can recite from
Bhagavad-gita the first chapter without any need for elaborate scenery
or stage-props and gorgeous dresses, that is best. Just like your
Shakespeare. Macbeth may be recited by two men, without anything else,
and simply by their acting ability and the meaningful words alone, they
can very easily capture the entire audience and give them real
substance. We have so many stories, like Jagai-Madhai, Krishna departing
for Mathura, like that. Satire will not help us. Our message is very
grave, and because it is the Absolute Truth, it will work without any
artificial presentation."

Letter to Vrindban Chandra, July 23, 1971 Brooklyn


"So far these plays are concerned, they are not meant for ordinary
people and if they laugh, then that is a great offense. Just like in
your play "Putana Killed" there was so much laughing. So these plays are
not meant for the public showing unless they are very nicely done. The
audience must give grave attention. If they laugh, that is the greatest
offense. Lord Chaitanya never played before ordinary men. Only before
devotees. But for you to put on such plays for devotees only is not so
practical. So plays of Krishna-lila should be avoided, unless it is very
gravely performed. Some instructive stories from Bhagavatam may be
played before the general public."

Letter to Kirtananda, November 6, 1971 Calcutta


"Plays will be very successful and Vrindaban Chandra is very expert in
this connection. One thing, though, is that nice plays should be written
for showing in the villages. The plays should be done seriously so that
they will not laugh."


Prabhupada's Lectures, Srimad-Bhagavatam, June 17, 1972 (720617SB.LA)


"You have got so many books. Either chant Hare Krishna, Hare Krishna,
Krishna Krishna, Hare Hare, or read books, discuss amongst yourself.
Don't waste your time by so-called drama and play. It is simply waste of
time. Don't waste your time in that way. If you have got inclination to
enjoy some drama, then you should take hint how that drama should be
written or played. Don't manufacture. You are not so expert that you can
manufacture things. That is illegal... So don't waste your time. Simply
always pour in, give aural reception to the message of Urukrama."



       REGARDING KRISHNA CONSCIOUS PUPPET SHOWS



Letter to Harer Nama, December 1, 1968 Los Angeles


"It is very nice that you are preparing these puppet stories of
Srimad-Bhagavatam. Such program will not fail to have an uplifting
effect upon the viewers as well as the players. So do this nicely, it
shall be very good."


Letter to Harer Nama, December 21, 1968 Los Angeles


"I was very happy to read how you are keeping nicely engaged in giving
lectures at schools and preparing for a puppet show of Krishna
Consciousness stories. This is very nice and if you continue to
accelerate with engagements such as these, then I am sure that you will
be very successful in propagating this movement of Lord Chaitanya. When
Krishna sees that we are trying very sincerely to preach His message to
others, He becomes very pleased and showers all blessings upon the
devotee. So please continue to progress in this spirit and I am sure
that Krishna will arrange to see that your future in Krishna
Consciousness will be very nice."


Letter to Mr. Jim Doody, February 8, 1969 Los Angeles


"Please inform Gurudasa that in Los Angeles temple, Vishnujana,
Shilavati, and her son, Birbhadra played a puppet show yesterday on the
occasion of my Spiritual Master's Advent Day. The subject of
demonstration was the story of Prahlada. It was so very nice and perfect
that everyone enjoyed to the fullest extent, and everyone joined in
chanting Hare Krishna. I hope that some time in the future they will be
able to demonstrate many such spiritual themes for puppet shows, and
people will be greatly benefited."


Letter to Tamala Krishna, June 1, 1969 New Vrindaban


"I have seen the pictures of your recent Festival, and it is very, very
nice. I have enjoyed the pictures so nicely that I am looking always to
them; although I have seen three, four times, still I am not satisfied.
It is very nice. In all Festivals, if you make such puppet show, then
you will be able to attract so many people."


Prabhupada's Lectures, Srimad-Bhagavatam, March 21, 1969 Hawaii (690321SB.HAW)


"This [Prahlada] story you know. In our Los Angeles temple they have
made very nice puppet show, and people are appreciating very much. Even
they are selling ticket at the rate of one dollar fifty cent, still,
people are coming. Last Sunday I was present, and they invited,
distributed pamphlets, and more than a hundred people came, and they
participated with the kirtana very nicely, they heard the lecture, and
the function was for two hours. Still, they kept very busy themselves in
eating prasadam, in seeing the puppet show and the cinema of
Ratha-yatra. So many things. It was very successful. And they collected
about more than 150 dollars. So things have to be organized."


Letter to Subala, July 31, 1969 Los Angeles


"This Monday I returned from San Francisco where they performed the
Ratha-yatra Ceremony, and it was tremendously successful. There were
about 10,000 people who joined us for the day, beginning from 12:00 in
the afternoon, and lasting till around 10:00 at night. All through the
day these people were feeling the bliss of Krishna Consciousness through
chanting, dancing taking prasadam, watching puppet stories about
Krishna, and hearing us speak on Bhagavad-gita. The local papers printed
nice pictures and stories about our Festival."


              REGARDING HAYAGRIVA PRABHU'S LORD
                                    CHAITANYA  PLAY



(Note: Srila Prabhupada's handwritten outline for this play is reprinted
in Section Two)

Letter to Hayagriva, May 6, 1967 New York


"You have nicely done Lord Chaitanya drama 1st Act. It is nicely done
literature but when playing you will have to make it cut short otherwise
it will take too long a time. I have given it over to Rayarama for
reading."


Letter to Kirtanananda, April 7, 1967 San Francisco


"I have given a note of direction to Hayagriva for writing a drama on
Lord Chaitanya and if he can deliver us a nice drama for staging in your
different parts of the State it will be a great stride for our mission
and I hope it will help us financially a great deal. Just you encourage
Hayagriva to write this drama very nicely in so that they can be sung in
western tone all over America and Europe and staged everywhere to cover
our expenses."


Letter to Hayagriva, July 10, 1968 Montreal


"I am just organizing a Sankirtana party and if you come here, then we
can make a rehearsal of the Chaitanya drama which you have already made. My idea is, Sankirtana with some dramatic demonstration, by the members, will be attractive to the people in general. So I am trying to
concentrate the idea at the present moment here in Montreal, because in
the temple, we have got sufficient space and if the Sankirtana party is
successful here, as we shall try to make some experiment in the local
expo grounds, then we shall make a program to go to Europe, starting
from London, and make demonstrations of this drama and Sankirtana in
different places. I do not know how much you will appreciate this idea,
but if you think it proper, you may come and join us here."


Letter to Hayagriva, August 12, 1968 Montreal


"They are all ready for opening up a center there, so we are going to
try to make it as successful a venture as Krishna desires. While they
are here, we are having rehearsal of kirtana daily, and I want also that
they shall practice rehearsal of your play, about Lord Chaitanya's
activities. So if you can send a copy of your drama as soon as possible,
they will begin rehearsing how to do it. Please send it immediately if
possible, and I shall keep you informed how they are progressing in
their presentation of it."


          REGARDING GIRISH GHOSH'S AGE OF KALI  PLAY



Letter to Aksayananda Maharaja, January 13, 1976


"Dramas are alright if you can perform them nicely. Even if you don't
speak them in English, they can be rendered into Hindi on the microphone
while the drama goes on. But the puppet shows should be stopped. It is
nonsense.  What are those Bengali dramas that Nitai is working on? He should work on Archana-paddhati, not divert his attention here and there."


Letter to Nitai, January 24, 1976 Mayapura


"Please continue to work on the Archana-paddhati and finish it. We can
not be sure that Pradyumna will come in time. Also, you can go on
translating the drama of Girish Ghosh. Everyone here has appreciated it.
As you translate the scenes, there should be people rehearsing it."


Comments on Play, New York, July 12, 1976 (760712BG.NY)


Prabhupada: Yes, nice.
Sudama: Ghosh. He's a playwriter. In Mayapura we received two scenes
from the entire play translated in Vrndavana - in January when we were
there together.
Prabhupada: Satish Chandra or Girish Chandra?
Devotees: Girish Chandra.
Prabhupada: Girish Chandra Ghosh.
Sudama: It is incomplete. It is only the first two scenes, and the rest
of the drama is four acts of Chaitanya-lila. So we are waiting anxiously
for the rest of the drama to come. Presently it is incomplete.
Prabhupada: So how'll you show the incomplete?
Sudama: In Mayapura you were interested to see the first... or see the
scene of the enemies - anger, lust, greed, envy - so we have worked on
it.
Prabhupada: Hmm. Kali, Kali-yuga.
Sudama: Yes, Kali. So as the scenes come we are planning to work on them in that succession.
Prabhupada: You have already worked?
Sudama: Yes, on the first two scenes.
Sudama: The precedence of our work, Srila Prabhupada, should definitely
be that the message of Krishna consciousness is clearly understood by
all, is that correct?
Prabhupada: Along with it, if you, the same thing, more demonstrative,
if you put some movies...
Bali-mardana: Slides.
Prabhupada: Slide or movie, that will be...
Sudama: Mixed media. That is also very much appealing to the public. Our future projection plan is to work on the advent of Lord Krishna for
Janmastami, which is about an hour production to an hour and a half. And
then we were planning to work on the Ramayana, if it was suiting or
agreeable by Your Divine Grace...
Prabhupada: So do your best, try your best. That is very good.
Sudama: Thank you, Prabhupada.
Devotees: All glories to Srila Prabhupada. Jai!
Prabhupada: Jai! (end)


Morning Walk, Mayapur, January 17, 1976 (760117MW.MAY)


Bhavananda: Srila Prabhupada, I had one question about this play by
Girish Ghosh. The Girish Ghosh was a debauchee, and wouldn't it be
better to take, make dramas from your Srimad-Bhagavatam? Then the sound vibration is coming from pure source. Or does that not matter? If the man was...
Prabhupada: No, no. First of all you see how it can be utilized,
whatever translation is there. Then we shall purify it. Anukulyena
krsnanusilanam. Just like this microphone. It is prepared by the
meat-eaters. How we are utilizing it? Everything has got a proper
process to purify it.


       LORD CHAITANYA'S INVOLVEMENT WITH DRAMAS




Caitanya-caritamrta, Adi-lila, 10.13 TRANSLATION


"Acarya-ratna was also named Sri Candra-sekhara Acarya. In a drama in
his house, Lord Chaitanya played the goddess of fortune."

PURPORT

"Dramatic performances were also enacted during the presence of Sri
Chaitanya Mahaprabhu, but the players who took part in such dramas were
all pure devotees; no outsiders were allowed. The members of ISKCON
should follow this example. Whenever they stage dramatic performances
about the lives of Sri Chaitanya Mahaprabhu or Lord Krishna, the players
must be pure devotees. Professional players and dramatic actors have no
sense of devotional service, and therefore although they can perform
very artistically, there is no life in such performances. Srila
Bhaktisiddhanta Sarasvati Thakura used to refer to such an actor as
yatra-dale narada, which means "farcical Narada." Sometimes an actor in
a drama plays the part of Narada Muni, although in his private life he
is not at all like Narada Muni because he is not a devotee. Such actors
are not needed in dramatic performances about the lives of Sri Chaitanya
Mahaprabhu and Lord Krishna.

"Sri Chaitanya Mahaprabhu used to perform dramas with Advaita Prabhu,
Srivasa Thakura and other devotees in the house of Chandra-shekhara."



Prabhupada's Lectures, Srimad-Bhagavatam, September 22, 1972 (720922SB.LA)


"When Chaitanya Mahaprabhu played this play, Mohini role... Chaitanya
Mahaprabhu was playing drama. So Chaitanya Mahaprabhu was very
beautiful. He took the part of this Mohini Murti. And she was dancing
with the pot of nectar. So all the devotees, they offered their obeisances, because Mohini Murti means God's incarnation."



Caitanya-caritamrta, Adi-lila, 10.53, PURPORT


"Sri Madhava Ghosh performed a drama known as "Dana-khanda" with the
help of Sri Nityananda Prabhu and Sri Gadadhara Dasa. This is explained
in Chaitanya-bhagavata, Antya-khanda, Fifth Chapter."



Caitanya-caritamrta, Adi-lila, 11.17 TRANSLATION


"Srila Gadadhara dasa was always fully absorbed in ecstasy as a gopi.
In his house Lord Nityananda enacted the drama Dana-keli."



Caitanya-caritamrta, Adi-lila, 10.135-136 PURPORT


"Once a friend of Bhagavan Acharya's from Bengal wanted to recite a
drama that he had written that was against the principles of devotional
service, and although Bhagavan Acharya wanted to recite this drama
before Lord Chaitanya Mahaprabhu, Svarupa Damodara, the Lord's
secretary, did not allow him to do so. Later Svarupa Damodara pointed
out in the drama many mistakes and disagreements with the conclusion of
devotional service, and the author became aware of the faults in his
writing and then surrendered to Svarupa Damodara, begging his mercy.
This is described in the Antya-lila, Chapter Five, verses 91-166."



Caitanya-caritamrta, Madhya-lila, 2.7 TRANSLATION


"In this way Sri Chaitanya Mahaprabhu always expressed bewilderment and
lamented in separation from Krishna. At such times He used to read the
slokas from Ramananda Raya's drama known as Jagannatha-vallabha-nataka."



Caitanya-caritamrta, Madhya-lila, 13.116-118 TRANSLATION



"While dancing and singing, all the devotees in front of Lord
Jagannatha kept their eyes on Him. Chaitanya Mahaprabhu then went to the
end of the procession with the sankirtana performers.

"His eyes and mind fuIly absorbed in Lord Jagannatha, Chaitanya
Mahaprabhu began to play the drama of the song with His two arms.

"When Chaitanya Mahaprabhu was dramatically enacting the song, He would
sometimes fall behind in the procession. At such times, Lord Jagannatha
would come to a standstill. When Chaitanya Mahaprabhu again went
forward, Lord Jagannatha's car would slowly start again."



                       DRAMA PERFORMANCES IN INDIA




Letter to Nayanabhirama, January 28, 1973 Calcutta


"Here also in India we are making drama, and at our Bombay Pandal on
the last evening we had one drama about Krishna and the gopis in which
the gopis gave the dust of their feet for curing Krishna's headache.
This was very much appreciated by the audience. So in this way we can
present the philosophy of Krishna Consciousness very nicely for everyone
to relish."


Room Conversation, Mayapur, March 1, 1977 (770301R2.MAY)


Prabhupada: Yes. We can do everything for Krishna - for Krishna, not for
personal sake. So your drama is going on.
Gargamuni: Yes, I heard about it.
Prabhupada: Last night it was very successful.
Hrdayananda: I think in India the people never become tired of Ramayana.
The people here never becomes tired of seeing Ramayana.


Room Conversation, Bombay, March 30, 1977 (770330RC.BOM)


Gopala Krishna: The drama was very appreciated last night. Samayadi was
watching it with us, and he said he would like to arrange a big program
in his house.
Prabhupada: Old Samayadi or his son?
Gopala Krishna: His son. He liked the drama very much.
Lokanatha: It has become one of the main attractions of the public, this
Vaikuntha Player performance. After... two nights after the program, I
inquired from the public on the microphone, "Do you like this drama?"
Immediately everybody raised their hands: "Yes!"
Prabhupada: They were asking me whether they are professional men. "No,
no, these all my disciples."
Gopala Krishna: They're actually much better than any of the
professional men.
Prabhupada: Oh, yes. We played Chaitanya-lila in our younger days. So we
brought one very famous man, Amritlal Bose. He is one of the three chief
men who started theatrical performances in Bengal. Amritlal Bose, Girish
Chandra Ghosh, and one some Pathan. This Amritlal Bose was a big author
also, for writing comic books. And very expert lecturer. So somehow or
other, we contacted him, and we used to call him, Dada-mahashaya.
Dada-mahashaya means grandfather. He was of our grandfather's age. In
the evening he was drinking. Very luxurious. So when he came, he said,
"Yes, I will give you direction. You are all aristocratic family. But
you must know that what is the difference between this professional and
this aristocratic family." So he explained that "Chaitanya-lila, in the
public theater, anyone can pay eight annas." That eight annas was
third-class ticket. Eight annas, one rupee, two rupees and five rupees.
"So they can see Chaitanya-lila. Then where is the difference between
your playing and their playing?" So he explained that "There must be
some difference, that the public, after seeing your playing, they should
appreciate so much that they will agree they will never see. So I want
to train you like that. Are you prepared?" His first condition. So we
were boys at the time... "Yes, sir. Yes. Whatever you say." Then he
said, "Then I take charge of training you."

"So his next condition was that 'You cannot play unless I say it is all
right.'  So we practiced for more than one year. Still, he did not say
that "You are all right." He did not say. By force, practically, that
'Now we shall play, sir.' 'All right, you can play, but it is not to my
perfectional ideas.' So I had the part of Advaita Acharya. So on the
stage, when we saw, all the public, they are crying, the audience.
Regularly crying. We could not understand how they are crying, because
we are dry; we have learned how to play, that's all. But he has trained
in such a way that we could appreciate everyone was crying by seeing
Chaitanya, everyone was hanker to play, act. So it was due to training.
He trained in such a way that we could not understand how we are
playing, but the audience, they appreciated so much. Every one of them
was crying. And another effect was... Because sometimes there were need
of proxy. Some player has not come, and the rehearsal is going on. So
the result was that each and every one of us learned the play of others.
There was no scarcity of duplicate."

"So that was the first and last of playing in dramatic drama in my life. Chaitanya-lila. We had own club, Indian, Indian, like that... That was
the point he stressed, that "You are from the selected aristocratic
family of Calcutta. You shall play, and the public theater is also
playing. What should be the difference?" That was his point. So that he
gave us. They were so gorgeously played. And we received so many
invitations: "Please come and play in our house."


Letter to Vrindaban Chandra, April 13, 1971 Bombay


"So you have got some talent for writing and producing dramas and now
Krishna has given you the opportunity for dovetailing your talents in
His service. Very good. When I go there I shall be very glad to see
these dramas enacted. Yes, I acted the part of Advaita Prabhu in one
such drama. I organized that theater performance in my youthhood. My
friends were trained up and we performed and it was very much
appreciated by the highest class of men in Calcutta. We were invited to
many places to perform the drama. Lord Chaitanya inaugurated these
Vaishnava dramas, it is true, but where to obtain such copies of these
plays I do not know. I shall try to find out in Calcutta when I go
there. While performing such dramas, always the actors must be
Vaishnavas. Outsiders may help but devotees should have all the major
roles. So you may perform such plays conveniently. It is a very nice
program, but do not sacrifice other programs on account of it."


Letter to Gurudasa, May 23, 1968 Allston, Massachusetts


"A few days ago I received one letter from you in which you desired to
send me one manuscript for Nimai Sannyasa drama, written by some Mr.
Chatterji. Generally these dramas are sentimentalism. Those who are
devotees of Lord Chaitanya, they do not discuss much about the Lord's
renouncing the householder life, but there are certain persons who
floodlight the renouncement of Lord Chaitanya in a materialistic
sentimental way. I have seen such drama, written by Mr. Dilip Roy, and
that was nearly nonsense. Sri Chaitanya Mahaprabhu decided to accept
this renounced order of life in a moment, and the business was finished
in a day. But these people, in order to create a scene, they adulterate
the Lord's renouncement in so many ways. So I guess in the drama of Mr.
Chatterji similar such things may be included. Any drama or book written
by unauthorized persons should not be indulged in."


Srimad-Bhagavatam, 1.3.37 TRANSLATION


"The foolish with a poor fund of knowledge cannot know the
transcendental nature of the forms, names and activities of the Lord,
who is playing like an actor in a drama. Nor can they express such
things, neither in their speculations nor in their words."

updated March 2008