Directed by: Mrinal Jyoti Goswami

Date: 26-30^th November, 2008

Venue (1^st Performance): Intimate Space of SURYA, CK Agarwala Road, Chenikuthi, Guwahati

Duration of the play: 1 hour 10 minutes (without intermission)

Language of the play: Multilingual (Assamese and Gibberish)

Presentation Style: Stylized

About the Play

‘Khamti Xadhu’ is a collection of folktales from Assam, curated by Biswa Baruadev on behalf of the ‘Asom Sahitya Sabha’. One of these tales, ‘Xunar Xing Thoka Ghariyalor Chaku’ (The Eye of the Crocodile with Golden Horns), recounts the story of a king who tasks his common subjects with extraordinary challenges to fulfill the queen’s desires. Ultimately, the tale concludes on a positive note as the king’s subjects demonstrate their capabilities, leading to a heartwarming ending where human potential is realized. This story, rooted in the rich tradition of Assamese folk literature, exemplifies the fantastical and moralistic elements often found in fairy tales.

Directors Note

Reflecting on the passage of time, I am troubled by its turbulence. As I glance back at the path I’ve traversed, I’m reminded of the struggles endured – symbolized by bloodstains on my attire and the lingering scent of burning mongoose in the air. It brings me to a pivotal moment in history, the catastrophic explosion that rocked Assam on October 30, 2008. Despite the aftermath, my determination to create a profound theatrical experience was unshaken.

In the wake of this tragedy, I found solace in a conversation with my friend Neelim Chetia. His words ignited a spark within me – a reminder that it’s our duty to voice our dissent against such horrors. With newfound courage, I resolved to craft a play intertwined with these events. Amidst contemplation, I drew inspiration from a folk tale entitled ‘Xunar Xing Thoka Ghariyalor Chaku’ (The Eye of the Crocodile with Golden Horns).

My journey wasn’t isolated to this juncture. In 2006, I orchestrated ‘Rajai Hukum Dise’ (The king has commanded), a theatrical endeavor that still unfolds. The path ahead, akin to the alluring eyes of a crocodile adorned with golden horns, beckons me.

Hence, ‘the king has commanded’ finds its continuation in ‘the eyes of the Crocodile with a gold horn’ – an exploration that delves deeper into the tapestry of our experiences. The stage becomes a canvas for not only artistic expression but also a protest against the injustices that stain our world.