DOCSLIB.ORG

Spurned Cong to Fight All LS Seats in UP

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Spurned Cong to Fight All LS Seats in UP RNI No.2016/1957, REGD NO. SSP/LW/NP-34/2016-18 Follow us on: @TheDailyPioneer facebook.com/dailypioneer instagram.com/dailypioneer/ Established 1864 OPINION 8 Published From WORLD 12 SPORT 15 DELHI LUCKNOW BHOPAL LEADING FROM POMPEO TO PUSH FOR CHELSEA BEAT NEWCASTLE BHUBANESWAR RANCHI RAIPUR THE FRONT END TO GULF DISPUTE 2-1 IN PREMIER LEAGUE CHANDIGARH DEHRADUN Late City Vol. 155 Issue 13 *Air Surcharge Extra if Applicable LUCKNOW, MONDAY JANUARY 14, 2019; PAGES 16 `3 DIGITAL SPACE IS A BOON: VIR} DAS } 14 VIVACITY www.dailypioneer.com Spurned Cong to fight all LS seats in UP Raje cut to size, BJP picks 74-plus Party’s poll strategy may slice SP-BSP votes, could help BJP PNS n LUCKNOW said, “The Congress workers the Congress and the BJP, she Kataria as Raj LoP are not at all disappointed on had said while the former had day after it was left high being left out of the alliance. imposed Emergency in the PNS n JAIPUR Aand dry by the Samajwadi On the contrary, they are say- country, the latter was respon- Party (SP) and the Bahujan ing that the party would have sible for the current state of n a clear indication that the Samaj Party (BSP) forging an had to contest on 25 Lok Sabha “undeclared Emergency”. IBJP is now ready to accom- alliance, the Congress on seats, but now they would be Azad on Sunday accused modate leaders in 75-year age Sunday announced it will con- contesting on all the 80 seats of the BJP of dividing the coun- category in important posi- test all the 80 Lok Sabha seats the State.” On possibilities of an try for power and claimed that tions, the party on Sunday in Uttar Pradesh on its own alliance with the Rashtriya Lok the saffron party had failed to appointed senior legislator strength. However, the Dal, Azad said that he would fulfil any of its poll promises. Gulab Chand Kataria as the Congress has kept the doors of not like to speak to the media “The coming Lok Sabha Leader of Opposition in the a possible alliance open saying on this issue. election is a battle to unite India Rajasthan Assembly. The 74- the Congress would accom- Announcing that very and safeguard the democratic year-old Kataria was also select- modate any secular force capa- soon party president Rahul values,” he said. ed as the leader of the BJP leg- ble of taking on the ruling will launch rallies at different Attacking Prime Minister islature party while seven-time Former Chief Minister Bharatiya Janata Party in the places in the State on support Narendra Modi, the Congress MLA Rajendra Rathore was Vasundhara Raje, who Lok Sabha election. of the party candidates, Azad, leader said, “Modi is not con- chosen as his deputy. has now been The Congress has not been who is the Leader of the cerned about the country, he is Former Chief Minister completely in power in Uttar Pradesh Opposition in the Rajya Sabha, bothered about his own chair. Vasundhara Raje, who has now marginalised in the BJP since the Babri Masjid demo- said that some regional parties One of the biggest scams has been completely marginalised scheme of things, lition in 1992. The state has can too join them in the State taken place during the tenure in the BJP scheme of things, proposed the name of been governed alternately by thus predicting the inclusion of of this Government. The proposed the name of Kataria Kataria as the leader of Mayawati and Akhilesh Yadav. Rashtriya Lok Dal (RLD) in Government has not gone for as the leader of BJP legislature But the Congress plan to their fold. Claiming that there a probe. Not going for a probe party, which was seconded by BJP legislature party, contest the all the Lok Sabha is issue of leadership among the does not mean that the scam the party MLAs unanimously. which was seconded seats is expected to cut into the anti-BJP parties and the issue has not been committed.” “There was only one pro- by the party MLAs votes of the alliance. It is also of the next Prime Minister Stating that the Congress posal for the post,” the party’s unanimously expected to irk Mayawati and will be decided after the elec- had always put the country national general secretary Arun Akhilesh, who have lent sup- tions. before everything else, he cited Singh told reporters after the Minister in the former port to the Congress Senior Congress leader and party general secretary Ghulam Nabi Azad addresses as UP Congress chief Raj Babbar looks on On Saturday, BSP chief the examples of the party sac- meeting. He said Rathore was Vasundhara Raje Government. Governments in Madhya during a pess conference in Lucknow on Sunday PTI Mayawati and SP president rificing power in Jammu and chosen as the deputy leader by Kataria was first elected as Pradesh. Akhilesh Singh Yadav Kashmir to strengthen Sheikh Kataria. MLA in 1977, then in 1980. He After a brainstorming ses- parties in their alliance in UP, seats, which it had secured in Congress general secretary announced their parties would Abdullah and how it had sac- Kataria’s elevation shows has won all Assembly elections sion with senior party leaders, it said that very soon the lead- the 2009 Lok Sabha elections. said, “We wanted that the contest 38 seats each and leave rificed power to put an end to that the BJP has decided to since 1993, remaining a mem- Congress general secretary and ership will start selecting the During the 2009 Lok Sabha Congress should have been a out two seats — Amethi and terrorism in Mizoram. downsize Raje, who is not on ber of the House. Governor incharge of UP Ghulam Nabi candidates and party presi- elections, the Congress had part of the grand alliance Rae Bareily — for the Congress. “The Congress has been the best terms with the Central Kalyan Singh will administer Azad, said, “There was a dent Rahul Gandhi will address bagged 21 seats. (against the BJP) in UP. But, if Mayawati said her party never fighting for the rights of the leaders. Though Raje herself him oath of office on Monday. demand from the party rank public rallies at different parts To a question whether his someone does not want to gained from an alliance with poor, farmers, backward castes proposed the name of Kataria, Rathore has earlier served and file for contesting the elec- of the State. party will not forge a coalition walk along, then nothing could the Congress and held it and Dalits since even before it’s well known that Kataria has as the Parliamentary Affairs tions alone in UP, which had Addressing a Press confer- with any political party, Azad be done.” responsible for the plight of Independence and after been her nemesis in the Minister in the State. been accepted by the leader- ence here on Sunday, Ghulam said, “If any political party is On the post-poll alliance backward castes. Independence, it is following Rajasthan politics for a long Union HRD Minister and ship and now the party will Nabi Azad said, “The Congress willing to join hands, and the with the SP and BSP, Azad said “We do not gain from an the same ideology,” he said. time. party’s poll incharge in the contest the elections with full will contest on all the 80 Lok Congress feels that it can fight that at the national level, the alliance with the Congress, On the possibilities of an Kataria will also be the Pro- State Prakash Javadekar, strength.” Sabha seats in Uttar Pradesh, the BJP, then it will be definitely Congress welcomes all the sec- whereas the vote transfer is per- alliance with the Ajit Singh-led tem Speaker to conduct the national spokesperson Announcing that the and defeat the BJP.” Azad also be accommodated.” ular regional parties. fect in an SP-BSP tie-up,” Rashtriya Lok Dal (RLD), Azad first meeting of the newly elect- Sudhanshu Trivedi and party’s Congress is ready to accom- expressed hope that the On the Congress being left Replying to another ques- Mayawati had said. said he would not like to speak ed Assembly. He is an eight- State president Madan Lal Saini modate some secular political Congress will double its tally of out of the SP-BSP alliance, the tion on SP-BSP alliance, Azad Drawing a parallel between to the media about it. time MLA and was Home were present in the meeting. Honey-trapped jawan held Kartarpur corridor is Justice Sikri rejects plum post for passing info to Pak ISI atonement of Cong’s offer; Cong seeks CVC’s ouster PNS n NEW DELHI 1947 mistake: Modi Opp says Govt got was flooded with scandalous “We seek the removal, the he Rajasthan Police have PTI n NEW DELHI sination of the then Prime comments questioning the departure, the exit of the col- Tarrested an Army jawan Minister Indira Gandhi. rid of Alok Verma credibility of Justice Sikri for laborator for violating the posted in Jaisalmer after he was rime Minister Narendra Referring to the Kartapur supporting Prime Minister for Constitution — the CVC allegedly honey-trapped by a PModi on Sunday attacked corridor, he said now devotees to escape a probe removing Verma as the CBI (Chief Vigilance Pakistan-based ISI operative the previous Congress do not have to look at the Director within 24 hours of Commissioner). He must go. It whom he met on Facebook. Government for its inability to shrine in Pakistan using binoc- into Rafale deal being reinstated by the is irrelevant whether he resigns The jawan has been bring Kartarpur Sahib under ulars, they could visit the place Supreme Court.
Load more

Recommended publications
  • Hindi Theater Is Not Seen in Any Other Theatre
    NATYA SHODH SANSTHAN DISCUSSION ON HINDI THEATRE FROM THE COLLECTIONS OF NATYA SHODH SANSTHAN AUDIO LIBRARY THE PRESENT SCENARIO OF HINDI THEATRE IN CALCUTTA ON th 15 May 1983 AT NATYA SHODH SANSTHAN PARTICIPANTS PRATIBHA AGRAWAL, SAMIK BANDYOPADHYAY, SHIV KUMAR JOSHI, SHYAMANAND JALAN, MANAMOHON THAKORE SHEO KUMAR JHUNJHUNWALA, SWRAN CHOWDHURY, TAPAS SEN, BIMAL LATH, GAYANWATI LATH, SURESH DUTT, PRAMOD SHROFF NATYA SHODH SANSTHAN EE 8, SECTOR 2, SALT LAKE, KOLKATA 91 MAIL : [email protected] Phone (033)23217667 1 NATYA SHODH SANSTHAN Pratibha Agrawal We are recording the discussion on “The present scenario of the Hindi Theatre in Calcutta”. The participants include – Kishen Kumar, Shymanand Jalan, Shiv Kumar Joshi, Shiv Kumar Jhunjhunwala, Manamohan Thakore1, Samik Banerjee, Dharani Ghosh, Usha Ganguly2 and Bimal Lath. We welcome all of you on behalf of Natya Shodh Sansthan. For quite some time we, the actors, directors, critics and the members of the audience have been appreciating and at the same time complaining about the plays that are being staged in Calcutta in the languages that are being practiced in Calcutta, be it in Hindi, English, Bangla or any other language. We felt that if we, the practitioners should sit down and talk about the various issues that are bothering us, we may be able to solve some of the problems and several issues may be resolved. Often it so happens that the artists take one side and the critics-audience occupies the other. There is a clear division – one group which creates and the other who criticizes. Many a time this proves to be useful and necessary as well.
    [Show full text]
  • Brechtian Reading of Usha Ganguli's Play the Journey Within
    ==================================================================== Language in India www.languageinindia.comISSN 1930-2940 Vol. 19:6 June 2019 ==================================================================== Brechtian Reading of Usha Ganguli’s Play The Journey Within Dr. Rahul Kamble Assistant Professor Department of Indian and World Literatures The English and Foreign Languages University, Hyderabad 500007 [email protected] =================================================================== Abstract Usha Ganguli’s play The Journey Within (2000) is a solo performance in which she narrates experiences of her own life in an “autobiographical introspection” mode (Mukherjee 32). The play lays threadbare the journey of her mind and soul since her childhood. The narrative throws light on her own personality, her involvement in theatre, the recurrent themes in the plays directed or performed by her, and her interest in characters and living persons. It also partially reveals Indian ‘theatre-women’s journey’ and women’s theatre in India since early 1970s. However, at no point does the playwright use restrictive personalized narrative nor does she intend the spectators to identify with her emotions, feelings, or anger. Instead she throws, through her reminiscences and character speeches, situational questions at the audience regarding gender inequality, oppression of women, denial of rights, and adverse living conditions. The questions make the spectators examine their own behaviour in similar circumstances, provoke them to resolve,
    [Show full text]
  • Setting the Stage: a Materialist Semiotic Analysis Of
    SETTING THE STAGE: A MATERIALIST SEMIOTIC ANALYSIS OF CONTEMPORARY BENGALI GROUP THEATRE FROM KOLKATA, INDIA by ARNAB BANERJI (Under the Direction of Farley Richmond) ABSTRACT This dissertation studies select performance examples from various group theatre companies in Kolkata, India during a fieldwork conducted in Kolkata between August 2012 and July 2013 using the materialist semiotic performance analysis. Research into Bengali group theatre has overlooked the effect of the conditions of production and reception on meaning making in theatre. Extant research focuses on the history of the group theatre, individuals, groups, and the socially conscious and political nature of this theatre. The unique nature of this theatre culture (or any other theatre culture) can only be understood fully if the conditions within which such theatre is produced and received studied along with the performance event itself. This dissertation is an attempt to fill this lacuna in Bengali group theatre scholarship. Materialist semiotic performance analysis serves as the theoretical framework for this study. The materialist semiotic performance analysis is a theoretical tool that examines the theatre event by locating it within definite material conditions of production and reception like organization, funding, training, availability of spaces and the public discourse on theatre. The data presented in this dissertation was gathered in Kolkata using: auto-ethnography, participant observation, sample survey, and archival research. The conditions of production and reception are each examined and presented in isolation followed by case studies. The case studies bring the elements studied in the preceding section together to demonstrate how they function together in a performance event. The studies represent the vast array of theatre in Kolkata and allow the findings from the second part of the dissertation to be tested across a variety of conditions of production and reception.
    [Show full text]
  • Annual Report
    NATIONAL SCHOOL OF DRAMA jk"Vªh; ukV~; fo|ky; ANNUAL REPORT okf"kZd çfrosnu 0 2 - 9 1 0 2 okf"kZd çfrosnu Annual Report 2019-20 Annual Report 2019-20 jk"Vªh; ukV~; fo|ky; National School of Drama Contents NSD : An Introduction 3 Organizational Set-up & Meetings during 2019-20 4 Authorities and Officers of the School 5 Director and other Teaching Staff 6 Training at the National School of Drama 7 Technical Departments 9 Library 10 Highlights 2019-20 13 Other Activities 17 Academic Activities 23 Apprentice Fellowship awarded for the academic year 2019-20 to NSD graduate 36 Students’ Productions 38 Cultural Exchange Programme (CEP) 49 Repertory Company 51 Sanskaar Rang Toli (TIE) 54 National School of Drama Extension Programme 62 RajbhashaVibhag 64 Publication Programme 66 NSD Bengaluru Centre 69 NSD Sikkim Theatre Training Centre, Gangtok 80 NSD Theatre-in-Education Centre, Agartala, Tripura 82 NSD Varanasi Centre 91 Staff strength 97 NSD Resource Position at a Glance 99 National School of Drama National School of Drama (NSD) one of the foremost theatre institutions in the world and the only one of its kind in India was set up by Sangeet Natak Akademy in 1959. Later in 1975, it became an autonomous organization, fully financed by Ministry of Culture, (MoC) Government of India. The objective of NSD is to develop suitable patterns of teaching in all branches of drama both at undergraduate and post-graduate levels so as to establish high standards of theatre education in India. After graduation, the NSD offers a theatre training programme of three years' duration.
    [Show full text]
  • A Complete Profile of Rangroop
    MMMAJOR PRODUCTIONS OF RANGRANG----ROOPROOP SINCE THE INCEPTION: Total Name Of The Year No. Of Drama By Directed By Production Shows 1969-70 Michhil 12 Goutam Mukherjee Goutam Mukherjee 1972-73 Akay Akay Sunya 9 Goutam Mukherjee Goutam Mukherjee 1979-80 Kanthaswar 151 Goutam Mukherjee Goutam Mukherjee Sanskrit play: Banabhatta; Adaptation : 1982-83 Kadambari 50 Goutam Mukherjee Dr. K.K. Chakraborty Story: Subodh Ghosh 1984-85 Andhkarer Rang 62 Script: Sima Mukherjee Goutam Mukherjee Story: O’Henry Do. Prahasan 62 Script: K.K. Chakraborty Goutam Mukherjee Story: O’Henry 1987-88 Clown 110 Script: K.K. Chakraborty Goutam Mukherjee 1988-89 Bikalpa 74 Sima Mukhopadhyay Goutam Mukherjee Dwijen Banerjee & 1991-92 Bhanga Boned 130 Sima Mukhopadhyay Saonli Mitra 1992-93 Tringsha Shatabdi 5 Badal Sarkar Kaliprosad Ghosh 1993-94 Boli 11 Tripti Mitra Sima Mukhopadhyay 1994-95 Je Jan Achhey 187 Sima Mukhopadhyay Sima Mukhopadhyay Majhkhane Sima Mukhopadhyay 1996-97 24 Abanindranath Tagore Aalor Phulki & K K Mukhopadhyay Panu Santi Sima Mukhopadhyay Krishna Kishore 1998-99 53 Cheyechhilo (Story: Ramanath Roy) Mukhopadhyay 1999- Aaborto 27 Sima Mukhopadhyay Sima Mukhopadhyay 2000 2000-01 Sunyapat 34 Sima Mukhopadhyay Sima Mukhopadhyay Drama: Olwen Wymark 2002-03 Khnuje Nao 37 Adaptation: Swatilekha Sengupta Rudraprasad Sengupta Je Jan Achhey 2003-04 Majhkhane 32 Sima Mukhopadhyay Sima Mukhopadhyay (Revive) 2004-05 Sesh Raksha 38 Rabindranath Tagore Sima Mukhopadhyay Sima Mukhopadhyay 2005-06 He Mor Debota 10 (Story: Deborshee Sima Mukhopadhyay Saroghee)
    [Show full text]
  • SEAGULL Theatre QUARTERLY 244 Theatrelog Issue 29/30 Jun 2001 Acknowledgements
    2 Acknowledgements 3 Introduction 7 ‘My kind of theatre is for the people’ KUMAR ROY 37 ‘And through the poetry we found a new direction’ SHYAMAL GHO S H 59 Minority Culture, Universal Voice RUDRAPRA S AD SEN G UPTA 81 ‘A different kind of confidence and strength’ Editor AS IT MU K HERJEE Anjum Katyal Editorial Consultant Samik Bandyopadhyay 99 Assistants Falling in Love with Theatre Paramita Banerjee ARUN MU K HERJEE Sumita Banerjee Sudeshna Banerjee Sunandini Banerjee 109 Padmini Ray Chaudhury ‘Your own language, your own style’ Vikram Iyengar BI B HA S H CHA K RA B ORTY Design Sunandini Banerjee 149 Photograph used on cover © Nemai Ghosh ‘That tiny cube of space’ MANOJ MITRA 175 ‘A theatre idiom of my own’ AS IT BO S E 197 The Totality of Theatre NIL K ANTHA SEN G UPTA 223 Conversations Published by Naveen Kishore 232 for The Seagull Foundation for the Arts, Appendix I 26 Circus Avenue, Calcutta 700017 Notes on Classic Playtexts Printed at Laurens & Co. 9 Crooked Lane, Calcutta 700 069 234 Appendix II Notes on major Bengali Productions 1944 –-2000 S T Q SEAGULL THeatRE QUARTERLY 244 Theatrelog Issue 29/30 Jun 2001 Acknowledgements Most of the material collected for documentation in this issue of STQ, had already been gathered when work for STQ 27/28 was in progress. We would like to acknowledge with deep gratitude the cooperation we have received from all the theatre directors featured in this issue. We would especially like to thank Shyamal Ghosh and Nilkantha Sengupta for providing a very interesting and rare set of photographs; Mohit Chattopadhyay, Bibhash Chakraborty and Asit Bose for patiently answering our queries; Alok Deb of Pratikriti for providing us the production details of Kenaram Becharam; Abhijit Kar Gupta of Chokh, who has readily answered/ provided the correct sources.
    [Show full text]
  • Ashvamegh Vol.II Issue.XXIII December 2016
    About Us: Ashvamegh Vol.II Issue.XXIII December 2016 Ashvamegh Biharsharif, India [email protected], +91 7004831594 Editorial Board on Ashvamegh: Alok Mishra (Editor-in-Chief) Murray Alfredson (Sr. Editor) Dr. Shrikant Singh (Sr. Editor) Nidhi Sharma (Sr. Editor) Vihang Naik (Sr. Editor) Pooja Chakraborty (Editor) Anway Mukhopadhyay (Editor) Munia Khan (Editor) Dr. Sarada Thallam (Sr. Editor) D. Anjan Kumar (Sr. Editor) Ravi Teja (Editor) Advisory Panel on Ashvamegh: Dr. Swarna Prabhat Ken W Simpson N. K. Dar Alan Britt Ashvamegh is an online international journal of literary and creative writing. Publishing monthly, Ashvamegh has successfully launched its 23rd issue in December 2016 (this issue). Submission is open every day of the year. Please visit http://ashvamegh.net for more details. Find Ashvamegh on Facebook Twitter Website Table of Contents: Ashvamegh Vol.II Issue.XXIII December 2016 Cover About Us Authors whose papers have been selected • Dr. M Vishnupriya • Prakash Babu Bodapati • Roohi Rachel D’cruze • A Rajalakshmi • Reeswav Chatterjee • A Harisankar Essays: • Gautam Dhanokar (note: you can download research articles and essays in a different non-fiction edition of the issue from the website) Find Ashvamegh on Facebook Twitter Website Ashvamegh: Vol–II: Issue XXIII: December 2016 Alok Mishra: Editorial ISSN: 2454-4574 What is the best way that you might think of right now if I ask you about teaching the students of English literature? This question was natural to arise because the circumstances that led to this were too much. A week ago or two perhaps, a junior friend, who completed his MA a year after me, came to visit me.
    [Show full text]
  • Brechtian Adaptations in Bengali Group Theatre: Nuances and Controversies
    ISSN 2319-5339 IISUniv.J.A. Vol.4(1), 1-10 (2015) Brechtian Adaptations in Bengali Group Theatre: Nuances and Controversies Sib Sankar Abstract Adaptations of Foreign plays in the native tongue had been one of the most contentious issues which concerned Bengali theatre during the last half of the previous centuries even though such adaptations have always been an integral part of its colonial legacy. During the last five decades of the previous century, almost all the major plays of Brecht have been performed in Bengal and by and large the Bengali (alternative) theatre spectators have evinced a remarkable interest in the Brechtian productions. But, rather surprisingly, even by the end of the previous century, Bengali theatre practitioners could not evolve a set of workable principles/methodologies which would appeal to the idiosyncratic ‘taste’ of the native spectators without violating the fundamentals of ‘Dialectical/ Epic Theatre’. In the following few pages of this article, I would like to devote my attention into exploring the issues and concerns regarding the adaptation of Bertolt Brecht’s plays in Bengal. Keywords : adaptation, Dialectical/Epic theatre, native/foreign, familiarization It is very difficult to translate Brecht and make him a success in this country, as people have found out repeatedly. It cannot be otherwise… Utpal Dutt 2009, 24 I think the right approach to adapt Brecht to different peoples of different countries. But to do this, one has to make changes, alteration, even additions to Brecht… Shekhar Chatterjee 1982, 142 Adaptation of foreign language plays in Bengali theatre is a phenomenon which is inextricably linked with it from the time of its inception.
    [Show full text]
  • Bengali Theatre Overview: India Utpal K Banerjee 3 Bengali Theatre Overview: Bangladesh Mumtajuddin Ahmed 9
    CONTENTS I—PROLOGUE 1 Bengali Theatre Overview: India Utpal K Banerjee 3 Bengali Theatre Overview: Bangladesh Mumtajuddin Ahmed 9 II—BENGALI THEATRE: LEGACY 19 My Statement Binodini Dasi 21 Golapsundari: The First Actress Debashis Roy Chowdhury 29 Rakhaldas Banerjee: Pioneer Theatre Critic Durga Dutta 33 Girish Chandra Ghosh: Actor and Playwright Samik Bandyopadhyay 37 Girish Chandra and Mythical Plays Samik Bandyopadhyay 41 Views of Sisir Kumar on Theatre Debnarayan Gupta 45 HI—BENGALI THEATRE: EVOLUTION 47 Old Calcutta's English Theatres Kironmoy Raha 49 Nabanna' and Mainstream Theatre Kumar Roy 54 The Theatre of the Post-Thirties Purabi Mukherjee 63 Proscenium Theatre of Bangladesh Ramendu Majumder 65 Changing Role of Theatre in Society Rustam Barucha 72 Evolution Behind the Theatre Curtain Suresh Dutta 78 IV—BENGALI THEATRE: PLURALITY 83 Innovation and Experimentation in Theatre Utpal Dutt 85 Bengali Theatre: The Folk and The Foreign Bibhas Chakraborty 92 The Hijack of Yatra Rudraprasad Sengupta 96 My Narrative Theatre Saoli Mitra 102 Theatre of Politics, Protest and Commitment Bishnupriya Pal 109 Commercial Stage and Group Theatre: Similarities and Contrasts Meghnad Bhattacharjee 120 Bengali Puppet Theatre Sampa Ghosh 125 V—BENGALI THEATRE: EXPRESSION 133 The Sailboat of Fantacy Shyamal Ghosh 135 The Actress: Down the Ages Shova Sen 139 Acting in Multiple Media Mohammad Zakaria 143 Acting and Transcendental Time Debashis Majumdar 147 Advent of New Playwrights Manoj Mitra 153 Terms of Our Art-Form Khaled Choudhury 158 A Tradition of Stagecraft Durga Dutta 170 The Luminous Beginning Tapas Sen 172 VI—INTERACTIONS WITH BENGALI THEATRE 181 The Expanded Theatre Mrinal Sen 183 Bengali Theatre: Persons and Performances J.N.
    [Show full text]
  • A Theatre of Their Own: Indian Women Playwrights in Perspective
    A THEATRE OF THEIR OWN: INDIAN WOMEN PLAYWRIGHTS IN PERSPECTIVE A Thesis submitted to the University of North Bengal For the Award of Doctor of Philosophy in English By PINAKI RANJAN DAS Assistant Professor of English Nehru College, Bahadurganj Under the supervision of Dr. ASHIS SENGUPTA Professor Department of English University of North Bengal Department of English University of North Bengal December, 2019 ii iii iv v Abstract In an age where academic curriculum has essentially pushed theatre studies into 'post- script', and the cultural 'space' of making and watching theatre has been largely usurped by the immense popularity of television and 'mainstream' cinemas, it is important to understand why theatre still remains a 'space' to be reckoned as one's 'own'. And to argue for a 'theatre' of 'their own' for the Indian women playwrights (and directors), it is important to explore the possibilities that modern Indian theatre can provide as an instrument of subjective as well as social/ political/ cultural articulations and at the same time analyse the course of Indian theatre which gradually underwent broadening of thematic and dramaturgic scope in order to accommodate the independent voices of the women playwrights and directors. When women playwrights and directors are brought into 'perspective', the social politics concerning women loom large. Though we come across women playwrights like Swarna Kumari Devi, Anurupa Devi or Bimala Sundari Devi in the pre-independence colonial period, it is only from the 1970s onwards that we find a significant population of Indian women playwrights and directors regularly participating in the process of 'theatre making'.
    [Show full text]
  • 635301449163371226 IIC ANNUAL REPORT 2013-14 5-3-2014.Pdf
    2013-2014 2013 -2014 Annual Report IND I A INTERNAT I ONAL CENTRE 2013-2014 IND I A INTERNAT I ONAL CENTRE New Delhi Board of Trustees Mr. Soli J. Sorabjee, President Justice (Retd.) B.N. Srikrishna Professor M.G.K. Menon Mr. L.K. Joshi Dr. (Smt.) Kapila Vatsyayan Dr. Kavita A. Sharma, Director Mr. N. N. Vohra Executive Members Dr. Kavita A. Sharma, Director Professor Dinesh Singh Mr. K. Raghunath Dr. Biswajit Dhar Dr. (Ms) Sukrita Paul Kumar Cmde.(Retd.) Ravinder Datta, Secretary Cmde.(Retd.) C. Uday Bhaskar Mr. P.R. Sivasubramanian, Hony. Treasurer Mrs. Meera Bhatia Finance Committee Justice (Retd.) B.N. Srikrishna, Dr. Kavita A. Sharma, Director Chairman Mr. P.R. Sivasubramanian, Hony. Treasurer Mr. M. Damodaran Cmde. (Retd.) Ravinder Datta, Secretary Cmde.(Retd.) C. Uday Bhaskar Mr. Ashok K. Chopra, Chief Finance Officer Medical Consultants Dr. K.P. Mathur Dr. Rita Mohan Dr. K.A. Ramachandran Dr. Gita Prakash Dr. Mohammad Qasim IIC Senior Staff Ms Omita Goyal, Chief Editor Mr. A.L. Rawal, Dy. General Manager Dr. S. Majumdar, Chief Librarian Mr. Vijay Kumar, Executive Chef Ms Premola Ghose, Chief, Programme Division Mr. Inder Butalia, Sr. Finance and Accounts Officer Mr. Arun Potdar, Chief, Maintenance Division Ms Hema Gusain, Purchase Officer Mr. Amod K. Dalela, Administration Officer Ms Seema Kohli, Membership Officer Annual Report 2013-2014 It is a privilege to present the 53rd Annual Report of the India International Centre for the period 1 February 2013 to 31 January 2014. The Board of Trustees reconstituted the Finance Committee for the two-year period April 2013 to March 2015 with Justice B.N.
    [Show full text]
  • Bengal's Changing Cultural Scenario
    Bengal's Changing Cultural Scenario Swapan Mullick Fluctuations on the Bengali cultural scene can be bewildering. Tollygunge seemed irretrievably doomed even in the last years of Uttam Kumar. But one smash hit caused a freak revival and Calcutta's little Tollywood is now roaring with activity. As were the theatre groups-but fifteen years ago. Today, they look back on their glorious past or on stalwarts who have either left the scene or have lost their old charisma. The jatra-the open-air opera-has. on the other hand. turned into a thriving industry and drawn away talent from films and theatre. There was a time when the recording companies flourished. Now Bengali music. both as an art and industry, has fallen on hard times. The total picture is more confusing than is good for the cultural scene which once prided itself on its vitality. The confusion promises to persist as long as some crucial questions remain unanswered. How are good films to be made now that the State Government has withdrawn from direct production of feature films? (Its experiment proved too expensive; it yielded awards but fetched few other satisfying results). Why have theatre groups failed singularly in offering original plays or even pleasing audiences with their new productions? Is the two-way traffic between films and theatre a means of cross-fertilisation or simply a very practical method of individual survival? Why has fresh musical talent failed to appear on the horizon now that the ageing stars of the disc are beginning to look-and sound-a tired lot? The answers are not easy to find partly because public taste seems so difficult to assess.
    [Show full text]