00:00Ramayana or Ramcharitmanas is a book that has been read and heard by lakhs and crores of people.
00:15But even after this, there are a lot of incidents and chapters that have not been discussed much.
00:24So we have tried to include those chapters as well.
00:27And I feel that when you and I gather those incidents that have not been heard much,
00:36then their presence and availability and return is amazing.
00:42That is what happened.
00:43There are a lot of incidents here that you will get to see.
00:47Whether it is the worship of Devadhi Dev Mahadev,
00:52or you will get to see a perspective that you and I do not know that Shurpanakha's husband was Vidyutjiva,
01:01who was killed by Ravana.
01:03So we only saw the character of Shurpanakha that she goes to Paramatma Ram,
01:07and she has a proposal and we only saw that.
01:12But what is the motivation behind that, we did not see that of Shurpanakha.
01:17We do not know about the Shiva Linga of Mahadev on Rameshwaram,
01:22or very few people know about it.
01:24Paramatma Shri Ram had called Ravana to establish it.
01:27Whereas both were going to kill each other's enemies.
01:34But when you say that whenever someone comes in contact with Maryada Purushottam,
01:40then that becomes the norm.
01:42Then you call your dear Ram, Rij Bhajo or Kheej,
01:45that it will be the opposite.
01:47So why don't you call Ram with any emotion.
01:50Ram's nature is that he makes you doubtless.
01:53So there are many such incidents that you will get to see in this.
02:03The biggest feature of a theatre is that it keeps you alert,
02:06it keeps you aware and it keeps you active.
02:09So for any truth of the moment, we need to be alert, active and aware.
02:14So it helps us to increase these three things.
02:18And when these three things increase,
02:20then in our personal life, you and I become more enlightened than before.
02:25We start using our abilities more than before.
02:28So I feel that this thing is increased somewhere in the theatre.
02:33Why? Because at that moment,
02:35when you and I take birth in this world, we are completely alone.
02:39Similarly, when you go on the stage,
02:42if you look at Sarvatha,
02:44the dialogue that is written or spoken to you,
02:49and it is not just related to you,
02:52it is going live.
02:54So you can respond to the mistake of the other person,
02:57or the cleanliness of the other person,
02:59or the art of the other person.
03:02You can receive and give your return accordingly.
03:06So I feel that this thing is magical.
03:09When these faculties of your brain open up,
03:12then you become more elevated in your personal life than before.
03:21As soon as you step on the stage,
03:23you understand the temperature, temperament of the audience.
03:29Accordingly, you try to fine-tune yourself
03:32without destroying,
03:34without making any kind of noise,
03:39that you spoil your story, story, presentation.
03:43Without spoiling, you fine-tune.
03:46And you understand that.
03:48And I feel that it is not a matter of expression,
03:50it is a matter of experience.
03:52It is a matter of experience.
03:54While doing that, you understand that thing.
03:57Because it goes on and on.
03:59This is the specialty of theatre.
04:01Whether it is a theatre of breadth,
04:03or whether it is a theatre of Kalidas,
04:05or whether it is Bharat Muni,
04:07who has told us everything in the Natya Shastra,
04:09or whether it is that.
04:11So this is a process that goes on and on,
04:14that you have to keep fine-tuning yourself.
04:17Like at the frequency,
04:19right now you and I are talking,
04:21on the radio, there might be news of slow progress,
04:23there might be movie songs,
04:25there might be commentary,
04:27but right now, what are we doing?
04:29We are talking.
04:31So it is a matter of fine-tuning.
04:34So if our frequency matches with that frequency,
04:37which is flowing,
04:39then that thing starts spreading.
04:41So it is the same with the audience,
04:43that you have to match the frequency.
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