Sad Sakharam Aani Baki Nataka

In Yugandhar’s plays, the characters do not speak; they ramble. This emotionless chatter is deeply unsettling.

Human beings have now been transformed into machines. While reading these plays, one is constantly confronted with the disturbing realization that “this is not a play about human beings, but about machines that look like human beings.” Yugandhar has understood today’s “mechanical human” with remarkable precision and has succeeded in capturing the reality of their existence on stage.

His plays contain villages, homes, and families. Yet, he does not tell stories about families in the conventional sense, nor does he construct plays merely to portray family narratives.

His drama lies somewhere between the presence and absence of a story. He does not narrate a continuous, linear tale. Instead, he rearranges fragments, turning them this way and that, as he excavates the inner lives of human beings and the complexities of their relationships.

— Shafaat Khan