That was the first and last of playing in dramatic drama in my life

Expressions researched:
"that was the first and last of playing in dramatic drama in my life"

Conversations and Morning Walks

1977 Conversations and Morning Walks

We could appreciate everyone was crying by seeing Caitanya, everyone hankered 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.

770330 - Conversation - Bombay

We played Caitanya-līlā 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 Candra 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 dādā-mahāśaya. Dādā-mahāśaya 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 "Caitanya-līlā, 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 Caitanya-līlā. 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 have never seen such. 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 Ācārya. 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 Caitanya, everyone hankered 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. Caitanya-līlā. We had own club, Indian, Indian, like that.