News -- Mangalore: Judas Cries out for Forgiveness and Justice, Yet Again Daijiworld News Network - Mangalore (MB) Mangalore, Mar 20: It indeed needs a lot of gumption and grit to stage a play of this kind. The playwright had it all right. The performer who played Judas, Arun Raj Rodrigues, too had it and so did the Mangalore University's Chair in Christianity and Dharma Samanvaya organization who staged the play. A good part of the large crowd that gathered in the amphitheatre of Roshni Nilaya School of Social Work in the late evening of Sunday, March 19, 2006 was perhaps greeted and treated by kind of a shock treatment as the play 'Zudas' in Konkani, penned by Dr. Pratap Naik SJ of TSKK, Goa and directed by Denis Monteiro Pai, Kiram-Vamanjoor slowly unfolded. It was a challenge to the thinking minds to ruminate and analyze, to divert from the set theories and dogmas and get into a healthy debate. If the saints-to-be, before their Canonization, could have Devil's Advocates to run them down in every way possible, why couldn't Judas, perhaps, unjustifiably, the most despicable character in the whole universe, have his defenders and defence counsels? It was in this spirit that the audience watched the play avidly and in a pin drop silence. Judas' character is thrown open threadbare to public scrutiny. Several characters from the scriptures are compared and contrasted, to make the viewers think and masticate the thoughts. Was Judas indeed a villain of the piece, or a victim of a smear campaign? At the end of it all, the playwright, the solo artiste and the analytical audience - all come out clean, with a clear mind and judgment. If the play succeeded in keeping the entire audience glued to their seats, the interaction that followed provided even more grist to the thinking minds. It was indeed proof to the fact that the modern society is more open to dialogue and discussion than remaining shackled to perverse theories and thinking. Chair in Christianity head and professor Dr John Fernandes moderated a healthy and thought-provoking discussion on various facets of the theme and dialogues of the play. It was heart-warming to see several scholars, besides Dr Pratap Naik, putting forth their viewpoints in a cordial and accommodating way. It was felt that avenues be explored to stage the play at different venues around town and district to create awareness and tolerance over different shades of opinion. Editor's note: The play had its maiden show in Mangalore almost two years ago. It took more than two years for the play to see its second show. What could have been the reason? Refusal of the people to see beyond the tunnel vision imposed by age-old beliefs? Or is it because any questioning attitude could be looked down upon as kind of heresy? The play was first staged at Kalaangann on March 7, 2004. Daijiworld published a review of the play by Resident Editor Richie Lasrado on March 9. 2004. The review was highly acclaimed by scholars, no less in eminence like former Goa University Vice Chancellor Prof Olivinho Gomes, Mangalore University's Chair of Christianity head and professor Dr John Fernandes and several others. As requested by many of our readers and for the benefit of those who missed reading it the last time, we reproduce the review. Juxtaposition of Judas - Play Reviewed by Richie Lasrado, Daijiworld News Network - Mangalore
Name of the play: Zudas Format: Monologue Language: Konkani Playwright: Pratap Naik SJ, Thomas Stephens Konknni Kendr, Alto-Porvorim, Goa Duration: An hour and 30 minutes Presented by: Mandd group of Mandd Sobhann, Mangalore Date: Sunday, March 7, 2004 at 6-30 pm Director: Denis Monteiro Pai, Kiram-Vamanjoor Background musical score: Joel Pereira, Bijai Role of Judas played by: Arun Raj Rodrigues, Valencia Judas Iscariot. Son of Simon Iscariot, the slaughterer. A much-abhorred, much-detested man in history. An unforgettable Biblical character, perennially representing perfidy. A full-life manifestation of betrayal and treachery. One who sold his soul for thirty silver. An apostle-turned-apostate who, with his much-debated 'kiss of death', betrayed his Master, which act finally led to the latter's death on the Cross. Judas is generous in a way. Even today, he willingly lends his name to any number of people as long as they qualify by betraying the faith invested in them. But is there a lateral view? Could he only be a much-maligned man? A few novels have been written with stories woven around Judas' character. A best-seller relates the story of an explorer in the Holy Land who chances upon Judas' scrolls, which put the entire picture of Jesus' life and times in a totally different complexion. They explorer takes the scrolls to the Vatican. They create a storm there and things are never the same again for the poor explorer. Similarly, William Klassen's research book 'Judas:Betrayer or friend of Jesus?' sifts the evidence for the relationship of the disciple Judas with Jesus and startlingly concludes that in the earliest sources Judas was not a traitor. The book traces the ways in which Judas is portrayed by the four writers of the Gospels, showing how the picture was increasingly demonized as the later Gospels were written. It is being said that Judas too had written a Gospel of his own. There is the other side of the argument that it was not written by him, but by his followers, between 130 and 170 AD. Dr Pratap Naik's attempt at a lateral view makes a fascinating monologue to watch and listen to. Puritans may find the concept itself and the dialogues to be bordering on blasphemy. But the playwright does not make a statement. Judas is brought to life into the 21st century Anno Domini and made to tell us his side of the story - rather the untold story. Judas is juxtaposed with others in many ways. Here Judas presents before us his heartfelt hurts and grouses. Peter, later to become the rock pillar of the Church, had denied Jesus just not once, but thrice. Yet he is not detested like Judas is. While three evangelists chronicle that Peter wept in remorse later, nowhere does John mention it. Peter, John and other disciples would not believe that Jesus had resurrected. Yet the Gospel chroniclers would not call them by names. It was the same case with Thomas who doubted. 'Doubting Thomas' is a latter-day expression. But there is no adverse remark about him in the gospel. If Judas was a perfidious character, why was he chosen as one of the apostles in the first place? Besides, Jesus had given him, an illiterate, the charge of the all the thirteen persons' purses, even though there were other better qualified persons among them. He narrates the string of events. When he came to know that Jesus was going to die, he went to return the money to its original owners. When they refused to accept it, he threw it in the temple. Sure sign of some method in the madness? Even about the thirty silver, Judas reminds us that he had a flourishing abattoir business with a sizeable cash turnover. Would he betray his Master for a pittance of thirty silver coins? Some more food for thought. Even if Judas had not helped the captivity of Jesus, the high priests would have done it in any case, says Judas. Jesus had already foreseen his death and mentioned it to others at least thrice during his public life. Jesus died because what the wise men had prophesied had to come true, surmises Judas. Judas in the play picks Peter as his special target, lambasting his foibles and failings. Similarly, out of the rest of the eleven apostles, the sole person to grieve and empathize with Mary at the Rood was John, none else. Yet they have been canonized. All these and many more hidden facts are brought to light by Judas, made to talk in the play in modern ambience and milieu. As one of the may innovations in the play, Judas comes out in a modern-day reincarnation as a Konkani community man and takes copious iconoclastic digs at modern Christian traditions and ways of life, especially at modern Christian names, while expressing relief that his own name, Judas, unlike other names, has remained untouched and has not been twisted or contorted. Although the play is classified as a monologue, Judas himself prefers to make it into a dialogue. Several characters sitting among the audience rise and seek clarifications from him from various angles. In the final analysis, Judas succeeds in winning the audience sympathy, so convincingly that by the time the play ends, you are led into harbouring a feeling that Judas is indeed one who has been more sinned against than sinning. In the finale, Judas asks the audience to weigh both sides of the argument and come to a conclusion. While doing so he reminds you of Jesus' own words as a norm and guideline in judging others. The play is indeed an example of looking at things with a scientific temper and rational thinking. It certainly needs a wide-angle, receptive outlook to view it and deduce appreciative criticism. Having grown up in a regimented sort of religious indoctrination, many would find it hard to swallow and digest the theme, let alone relish it. Arun Raj Rodrigues, a dedicated theatre aficionado, mostly accustomed to playing comedy or character roles, surprisingly came out with a memorable performance as Judas. It is not an ordinary feat to commit the entire monologue of the play to one's memory and narrate it with clear and convincing diction. The make-up, stage decor, and lighting - everything about it was convincing and true to the character. A special mention should be made of the brilliant background musical score by veteran Joel Pereira, with special emphasis on Gregorian chant and piano rendition. On the whole, director Denis Monteiro succeeded in bringing out the true spirit of the play, with audience watching in rapt attention and pin drop silence.