1880

Lord Rippon- Viceroy of India

Annasaheb Kirloskar's sangeet "Shakuntal" introduces natya sangeet. Parsee Theatre to have its own immense curtains- a river, a hill behind, upon it a house and a road leading down with tamarind trees on either side.

The imperial city of Bombay, the city that Dhundhi came to

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The theatres in the city were magic boxes that lay between the streets, the offices and the houses where people lived their everyday lives. People sat facing large curtains which would part to transport them into spectacle and fantasy. Spectacles were the very stuff of the city.. and all the new one- the theatre, the circus, were enclosed, roofed.

Sometimes a seated child would look away from the stage and stare at the high ceilings, and see for himself, how the box was a world unto itself, with its very own sky. Children loved the worlds in these boxes the most, they were magnificently different from the greyer world the adults had made outside, they were full of hyperbole and colour. Ramakrishna Paramhansa, not surprisingly, would love one such viewing of the theatre too.

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The city, a kind of superlative capital, summons up that movement of accession to a superior order of pleasures, of values, of arts and luxuries; it is a kind of precious world of which knowledge makes the man, marks an entrance into a true life of passions and responsibilities; it is a myth.. Ordinarily, for the tourist, every object is first of all an inside, for there is no visit without the exploration of an enclosed space:to visit a church, a museum, a palace, is first of all to shut oneself up, to "make the rounds" of an interior, a little in the manner of an owner: every exploration is an appropriation; this tour of the inside corresponds, moreover, to the question raised by the outside: the monument is a riddle, to enter it is to solve, to posses it; here we recognise in the tourist visit that initiational function..the cohort of visitors which is enclosed by a monument and profesionally follows its internal meanders before coming back outside is quite like a neophyte who, in order to accede to the initiate's status, is obliged to traverse a dark and unfamiliar route within the initiatory edifice. In the religious protocol as in the tourist enterprise, being enclosed is therefore a function of the rite.

Roland Barthes from The Eiffel Tower and Other mythlogies

Backdrops across painting and theatre

Backdrops opened new worlds that could change rapidly within the space of a show. Huge paintings- 14 or 18 feet high and 26- 28 feet wide, could make any world come alive.

A lonely street where lovers meet under a smouldering afternoon sun

Factories belch smoke the colour of a deep evening sky, the back of a train in the distance, leaving its own trail of smoke, an Parsee gentleman races on his humpbacked tricycle, the wheels have painted clocks on them. Time and speed are money his painted image seems to say.

Unknown to him, his daughter steals out- there she is behind a pillar, no, she is under the shade of the lone tree in the city, meeting her down-on-luck lover.

[1]

painted backdrops, 19th and early 20th century theatre in India

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The first Big Top was brought to India in 1880 by an Englishman Willaim Chirney, who offered 500 gold coins to any Indian who could hassle a horse the way he did. The Raja of Kurdwad's stable hand, Vishnupant Chhatre, took up the challenge, and thus was born Chhatre's Circus, the precusor of other "Indian" circuses: Deval, Parashuram, Lion, Karlekar, Shellar, Rayman, Malabar and Whiteways..

The roof of the circus tent was the sky of the world that you entered. Here anything could and must happen. An ill dressed magician had sold you a ticket at the gate. Limbs turned to jelly inside shimmering costumes, big animals danced and performed for the little ones, clowns were cursed with large boils on their noses for always telling lies. Men fell down like bears and laughed, their paws in the air. Bears wore frilly skirts and over them,bright blouses held together with strings.

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Sometimes, the city itself became the theatre, and its sky, the roof of that theatre. To be a ruler also demanded its own public spectacles. Watchmakers delicately strained their eyes in lamplight to make a round and noisy sun that was levered up, slowly, with intricate scaffoldings, to take its place as the man made star over the city sky. It sang the passing of the hours in popular British tunes of the day.

The Big Clock

When the University Library and Clock Tower were inaugrated by the Governor of Bombay, Sir Richard Temple, on February 27, 1880, neither the clock nor the joy bells were in place. They were installed two years later. The contract for the tower clock had been given to Lund and Blockley, at British firm in London that dated back to 1725. In 1879, Mr. George Lund, a member of the Lund family that had been well-known for generations in London with the working of previous metals, jewellery and clocks, came to Bombay under contract from the government to erect the University clock. Unique in design and of intricate worksmanship, it had been constructed in England from Mr. Lund's blueprints. In Bombay it was installed in the fifth storey of the Rajabai Tower, under the personal supervision of Mr. Lund himself. It consisted of the clock dials, twleve and a half feet in diameter, and the carillon machinery consisting of 16 bells and eighing 12 tons. The told cost of the clock and bells was Rs. 30,000.

The musical chimes changed automatically four times a day. The repertoire consisted of 16 different tunes, among them were Handel's symphony, the National Anthem(of that period), the Blue Bells of Scotland, Rule Britannia, Home Sweet Home and Auld Lang Syne. There were tuned to the key of C.

With the university clock in place, Mr. Lund "was prevailed upon" to set up shop in Bombay. Which he did at Sassoon Institute Building, Esplanade Road where a firm of the same name still operates. Turret clocks soon cropped up all over India- in the Kolhapur new palace,the Limbidi Durbar Hall, the Baroda Chimanbai Memorial Tower, the new G.I.P. Railway Terminus among others. But perhaps next to the Univeristy clock, the one that drew most attention was set up in their shop window itself. This was a "wonderful clock" that gave the time of all nations and was made by Mr. Lund himself.

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1880-81 Ravi Varma spends time in Baroda, much influenced by the works of Western artists and by the architecture of the Laxmi Vilas Palace itself.

His brother Raja Varma joins him his works sometime in the 1880's. He keeps a diary of their travels and experiences.

They elaborated for themselves the European method of touching and re touching paintings till they reached some kind of satisfactory perfection.