DOCSLIB.ORG

Satabarshe Sombhu Mitra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Satabarshe Sombhu Mitra Satabarshe Sombhu Mitra UGC Sponsored National Seminar on the Life and Work of Sombhu Mitra Organised by The Bengali and the English Departments of Chandraketugarh Sahidullah Smriti Mahavidyalaya In Collaboration With The Bengali Department of Amdanga Jugalkishore Mahavidyalaya From 22-8-2015 to 23-8-2015 At ‘Uttaran’, B.D.O Office, Deganga Block Debalaya (Berachampa) 743424 Call for Paper It is indeed difficult to overstate the influence of Sombhu Mitra on both the modern Bengali group theatre and the commercial theatres alike. If Nabannna, which came out in 1948 broke new grounds in many ways, Char Adhyay {1951) followed by Raktakarabi (1954), Bisarjan (1961) and Raja (1964) showed the way in which a Tagore play, hitherto widely denounced as unstageable because of its abstractions, can be performed with success on stage without making any substantial departure from the source. While through Tagore’s plays, he was trying to find an expression of the complete man in all contexts of history, Mitra’s Dashachakra (1952) and Putul Khela (1958), adaptations of Ibsen’s An Enemy of the People and Doll’s House, being specimens of the earliest such adaptations for the modern stage, clearly contributed among other playwrights to resist any tendency of cultural insularity of the Bengali stage, though suiting the themes for the dominantly middle class Bengali audience. His translation of Sophocles for the first time for the Bengali stage created new interest in classical drama and set the stage for many such future adaptations. Mitra was always aware of the potentialities of the indigenous forms of drama and Chand Boniker Pala (1978), which was written at a later phase of his life and was meant more for audio presentation than for the stage, takes up a well known story from a Mangalkavya and treats it with a subliminal intertextual link with the Orpheus theme to lend it with themes and motifs at once contemporaneous and eternal for all ages and all times. His film Jagte Raho (1956) evinces his consciousness of the potential of the new wave of cinema. It is with this exploration through time and space as its focus that the present seminar would be held on the birth centenary day of Sombhu Mitra to commemorate the contribution of this great mind in different streams of creative expression. Papers are wanted from teachers, scholars, independent researchers and students. We encourage dramaturgical, theoretical, analytical, and critical perspectives on the different aspects of the life and times of the thespian, on his works, both the canonical and the neglected, with a view of furthering scholarship both about Mitra and his impact on the Bengali and Indian theatre. Papers could deal with the following sub themes: Life and Times of Sombhu Mitra Sombhu Mitra and the Theatre Movement in India Sombhu Mitra and Bohurupee Adaptations by Mitra from other’s Plays Translations of Sombhu Mitra Sombhu Mitra as a Dramatist Sombhu Mitra and Films Sombhu Mitra, the Actor Recitations of Sombhu Mitra Sombhu Mitra’s Adaptations of Rabindranath Tagore Sombhu Mitra and the Greek Theatre Relevance of Sombhu Mitra in Today’s Theatre Movements Any paper proposal on other related areas is also welcome. Please mail your 200-word abstract for a 15 minutes presentation, at least three keywords and a one-paragraph biographical note to [email protected] by 15 August, 2015. Power point presentations are also welcome. Any queries regarding the seminar may be mailed to the same email address. GUIDELINES FOR PAPER PRESENTERS Language –Bengali/ English Word Limit (Abstract) – 150-200 Word Limit (Full length Paper) – 2500 - 3000 Reference – MLA Style (7th Edition) Font - New Times Roman Font size - 12 Line Space – 1.5 Please submit one Hard copy of the paper after presenting it at the seminar on A4 Size Paper. Please mention your institutional affiliation and e-mail address in 12 size normal at the end of the paper. Author’s name should be given in bold 12 font size, just below the title. The organizers hope to publish selected papers in an ISBN book. Registration is entirely free. For any enquiry please feel free to call Prof. Supriya Datta 9477103391 & Dr Saurabh Bhattacharyya 9433373371 (Orgainising Secretaries).
Load more

Recommended publications
  • Contents SEAGULL Theatre QUARTERLY
    S T Q Contents SEAGULL THeatRE QUARTERLY Issue 17 March 1998 2 EDITORIAL Editor 3 Anjum Katyal ‘UNPEELING THE LAYERS WITHIN YOURSELF ’ Editorial Consultant Neelam Man Singh Chowdhry Samik Bandyopadhyay 22 Project Co-ordinator A GATKA WORKSHOP : A PARTICIPANT ’S REPORT Paramita Banerjee Ramanjit Kaur Design 32 Naveen Kishore THE MYTH BEYOND REALITY : THE THEATRE OF NEELAM MAN SINGH CHOWDHRY Smita Nirula 34 THE NAQQALS : A NOTE 36 ‘THE PERFORMING ARTIST BELONGED TO THE COMMUNITY RATHER THAN THE RELIGION ’ Neelam Man Singh Chowdhry on the Naqqals 45 ‘YOU HAVE TO CHANGE WITH THE CHANGING WORLD ’ The Naqqals of Punjab 58 REVIVING BHADRAK ’S MOGAL TAMSA Sachidananda and Sanatan Mohanty 63 AALKAAP : A POPULAR RURAL PERFORMANCE FORM Arup Biswas Acknowledgements We thank all contributors and interviewees for their photographs. 71 Where not otherwise credited, A DIALOGUE WITH ENGLAND photographs of Neelam Man Singh An interview with Jatinder Verma Chowdhry, The Company and the Naqqals are by Naveen Kishore. 81 THE CHALLENGE OF BINGLISH : ANALYSING Published by Naveen Kishore for MULTICULTURAL PRODUCTIONS The Seagull Foundation for the Arts, Jatinder Verma 26 Circus Avenue, Calcutta 700017 86 MEETING GHOSTS IN ORISSA DOWN GOAN ROADS Printed at Vinayaka Naik Laurens & Co 9 Crooked Lane, Calcutta 700 069 S T Q SEAGULL THeatRE QUARTERLY Dear friend, Four years ago, we started a theatre journal. It was an experiment. Lots of questions. Would a journal in English work? Who would our readers be? What kind of material would they want?Was there enough interesting and diverse work being done in theatre to sustain a journal, to feed it on an ongoing basis with enough material? Who would write for the journal? How would we collect material that suited the indepth attention we wanted to give the subjects we covered? Alongside the questions were some convictions.
    [Show full text]
  • Sombhu Mitra 1914-1997
    In Memory ±ombhu Mitra 1914²1997 Spoken-word 45 rpm gramophone records were once a prized possession in many Bengali middle- class households of Calcutta that dabbled in high cul- ture. There were a handful of elocutionists who released albums of poetry quite regularly. Among the many albums in our record collection was one that featured baritone artists reciting some of the best specimens of Bengali poetry. But there was one voice among them whose timbre was of a different sort. To my adolescent ears it was not particularly pleasurable to hear, but singular in its tenored nu- ances, in its intensity of expression and clarity of pronunciation. It was ±ombhu Mitra’s rendition of a poem by the Bengali pantheist poet, J }ban nda D s. There was something in Mitra’s vocalization that stirred my adolescent spirit. I had never known me- chanically reproduced spoken words to engender such intense emotions. My elders told me I was un- fortunate to have missed seeing Mitra in action onstage. He had retired just a few years before I was of age to see and make sense of a play. Then, a few years later, there was news that Mitra was coming out of retirement to play the title role in Bertolt Brecht’s Life of Galileo under the direction of the East German director Fritz Benevitz. I stood in line for a whole night to get tickets. The experience of seeing Mitra live was indescrib- able. This was my first Brecht play and was it a grand introduction! Mitra’s depiction of Galileo from late youth to senility was a display of such amazing dexterity in vocal as well as physical acting, such richness of characterization, replete with details and subtleties, that I simply had to see the play again the next night.
    [Show full text]
  • 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]
  • List of Empanelled Artist
    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
    [Show full text]
  • Badal Sircar
    Badal Sircar Scripting a Movement Shayoni Mitra The ultimate answer [...] is not for a city group to prepare plays for and about the working people. The working people—the factory workers, the peasants, the landless laborers—will have to make and perform their own plays. [...] This process of course, can become widespread only when the socio-economic movement for emancipation of the working class has also spread widely. When that happens the Third Theatre (in the context I have used it) will no longer have a separate function, but will merge with a transformed First Theatre. —Badal Sircar, 23 November 1981 (1982:58) It is impossible to discuss the history of modern Indian theatre and not en- counter the name of Badal Sircar. Yet one seldom hears his current work talked of in the present. How is it that one of the greatest names, associated with an exemplary body of dramatic work, gets so easily lost in a haze of present-day ignorance? While much of his previous work is reverentially can- onized, his present contributions are less well known and seldom acknowl- edged. It was this slippage I set out to examine. I expected to find an ailing man reminiscing of past glories. I was warned that I might find a cynical per- son, an incorrigible skeptic weary of the world. Instead, I encountered an in- domitable spirit walking along his life path looking resolutely ahead. A kind old man who drew me a map to his house and saved tea for me in a thermos. A theatre person extraordinaire recounting his latest workshop in Laos, devis- ing how to return as soon as possible.
    [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]
  • 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]
  • Download (5.57
    c m y k c m y k Registered with the Registrar of Newspapers of India: Regd. No. 14377/57 CONTRIBUTORS Aziz Quraishi Diwan Singh Bajeli Dr. M. Sayeed Alam Feisal Alkazi Geeta Nandakumar Rana Siddiqui Zaman Salman Khurshid Suresh K Goel Suresh Kohli Tom Alter Indian Council for Cultural Relations Phone: 91-11-23379309, 23379310, 23379314, 23379930 Fax: 91-11-23378639, 23378647, 23370732, 23378783, 23378830 E-mail: [email protected] Web Site: www.iccrindia.net c m y k c m y k c m y k c m y k Indian Council for Cultural Relations The Indian Council for Cultural Relations (ICCR) was founded on 9th April 1950 by Maulana Abul Kalam Azad, the first Education Minister of independent India. The objectives of the Council are to participate in the formulation and implementation of policies and programmes relating to India’s external cultural relations; to foster and strengthen cultural relations and mutual understanding between India and other countries; to promote cultural exchanges with other countries and people; to establish and develop relations with national and international organizations in the field of culture; and to take such measures as may be required to further these objectives. The ICCR is about a communion of cultures, a creative dialogue with other nations. To facilitate this interaction with world cultures, the Council strives to articulate and demonstrate the diversity and richness of the cultures of India, both in and with other countries of the world. The Council prides itself on being a pre-eminent institution engaged in cultural diplomacy and the sponsor of intellectual exchanges between India and partner countries.
    [Show full text]
  • Social Science TABLE of CONTENTS
    2015 Social Science TABLE OF CONTENTS Academic Tools 79 Labour Economics 71 Agrarian Studies & Agriculture 60 Law & Justice 53 Communication & Media Studies 74-78 Literature 13-14 Counselling & Psychotherapy 84 7LHJL *VUÅPJ[:[\KPLZ 44-48 Criminology 49 Philosophy 24 Cultural Studies 9-13 Policy Studies 43 Dalit Sociology 8 Politics & International Relations 31-42 Development Communication 78 Psychology 80-84 Development Studies 69-70 Research Methods 94-95 Economic & Development Studies 61-69 SAGE Classics 22-23 Education 89-92 SAGE Impact 72-74 Environment Studies 58-59 SAGE Law 51-53 Family Studies 88 SAGE Studies in India’s North East 54-55 Film & Theatre Studies 15-18 Social Work 92-93 Gender Studies 19-21 Sociology & Social Theory 1-7 Governance 50 Special Education 88 Health & Nursing 85-87 Sport Studies 71 History 25-30 Urban Studies 56-57 Information Security Management 71 Water Management 59 Journalism 79 Index 96-100 SOCIOLOGY & SOCIAL THEORY HINDUISM IN INDIA A MOVING FAITH Modern and Contemporary Movements Mega Churches Go South Edited by Will Sweetman and Aditya Malik Edited by Jonathan D James Edith Cowan University, Perth Hinduism in India is a major contribution towards ongoing debates on the nature and history of the religion In A Moving Faith by Dr Jonathan James, we see for in India. Taking into account the global impact and the first time in a single coherent volume, not only that influence of Hindu movements, gathering momentum global Christianity in the mega church is on the rise, even outside of India, the emphasis is on Hinduism but in a concrete way, we are able to observe in detail as it arose and developed in sub-continent itself – an what this looks like across a wide variety of locations, approach which facilitates greater attention to detail cultures, and habitus.
    [Show full text]
  • Sankeet Natak Akademy Awards from 1952 to 2016
    All Sankeet Natak Akademy Awards from 1952 to 2016 Yea Sub Artist Name Field Category r Category Prabhakar Karekar - 201 Music Hindustani Vocal Akademi 6 Awardee Padma Talwalkar - 201 Music Hindustani Vocal Akademi 6 Awardee Koushik Aithal - 201 Music Hindustani Vocal Yuva Puraskar 6 Yashasvi 201 Sirpotkar - Yuva Music Hindustani Vocal 6 Puraskar Arvind Mulgaonkar - 201 Music Hindustani Tabla Akademi 6 Awardee Yashwant 201 Vaishnav - Yuva Music Hindustani Tabla 6 Puraskar Arvind Parikh - 201 Music Hindustani Sitar Akademi Fellow 6 Abir hussain - 201 Music Hindustani Sarod Yuva Puraskar 6 Kala Ramnath - 201 Akademi Music Hindustani Violin 6 Awardee R. Vedavalli - 201 Music Carnatic Vocal Akademi Fellow 6 K. Omanakutty - 201 Akademi Music Carnatic Vocal 6 Awardee Neela Ramgopal - 201 Akademi Music Carnatic Vocal 6 Awardee Srikrishna Mohan & Ram Mohan 201 (Joint Award) Music Carnatic Vocal 6 (Trichur Brothers) - Yuva Puraskar Ashwin Anand - 201 Music Carnatic Veena Yuva Puraskar 6 Mysore M Manjunath - 201 Music Carnatic Violin Akademi 6 Awardee J. Vaidyanathan - 201 Akademi Music Carnatic Mridangam 6 Awardee Sai Giridhar - 201 Akademi Music Carnatic Mridangam 6 Awardee B Shree Sundar 201 Kumar - Yuva Music Carnatic Kanjeera 6 Puraskar Ningthoujam Nata Shyamchand 201 Other Major Music Sankirtana Singh - Akademi 6 Traditions of Music of Manipur Awardee Ahmed Hussain & Mohd. Hussain (Joint Award) 201 Other Major Sugam (Hussain Music 6 Traditions of Music Sangeet Brothers) - Akademi Awardee Ratnamala Prakash - 201 Other Major Sugam Music Akademi
    [Show full text]
  • Murdering Journalists
    A JOURNAL OF THE PRESS INSTITUTE OF INDIA ISSN 0042-5303 October-December 2017 Volume 9 Issue 4 Rs 60 Murdering journalists: CONTENTS • When the media ignored its own principles / Bharat the much larger attack Dogra • GST – a good and simple tax? / Shreejay Sinha When writer-activist Gauri Lankesh was shot dead in Bengaluru • Do Indian cinema and on September 5, it was not just one journalist or one fearless television mimic life, or vice- female activist who was murdered. It was a manifestation of versa? / Pushpa Achanta • Dhananjoy and the death something far, far larger – the maiming of a big chunk of the sentence / Shoma A. lives and futures of 1.2-odd billion Indians, no less, a big chunk Chatterji of the fundamental rights of each citizen, and a big chunk of the • Can’t we make room for Constitution that we gave to ourselves with such pride 70 years people with disabilities? / ago, says Sakuntala Narasimhan Aditi Panda • Fostering change-makers, making the world a ut aside the political imputations for a moment. As of this writing (end- better place / Sakuntala September*), the case is still being investigated, the guilty are yet to be Narasimhan Pidentified. Just collate the facts on a wider canvas, and what you have, as • Creativity: the missing the larger picture, is a collection of events that spell murder of a basic concept ingredient in Chinese of democracy, something more than an attack on an individual, a woman, an thinking? / Asma Masood activist, or journalist. • Another scribe falls victim to If I cannot eat what my family
    [Show full text]
  • Dr. Janardan Ghosh Performer, Storyteller, Writer, Educator and Research Scholar Email – ​J​[email protected] ​
    Dr. Janardan Ghosh Performer, Storyteller, Writer, Educator and Research Scholar Email – [email protected] / [email protected] Phone – 098302 ​ ​ ​ ​ ​ 60233 Teaching/Research Associate, Viveka VYASA, School of Indian Heritage, Ramakrishna Mission Vivekananda Educational and Research Institute, Belur Math, Howrah. July, 2020 Senior Research Fellow with the School of Indian Heritage, Ramakrishna Mission Vivekananda University, Belur. (RKMVERI) 2012-2020 Faculty of Communication and English at Ramakrishna Mission Vivekananda University, Belur. 2012 Ex-Core Faculty for Dept. of Drama in Surendranath College, Calcutta University, Kolkata. 2015-2018 Resource Person for Dramatics in MCKV School, Liluah and Madhupur. 2012 Ex-Trainer and Performance Designer for Padatik Theatre, Kolkata 2005 – 2016 Ex –Resident Director, Padatik, Kolkata 2005-2013 Creative Director, Culture Monks, Kolkata 2015 Secretary and Founder Director, Organization to Give Life a Meaning, (OGLAM) Bally, Howrah. 1995 Sub Editor of the Bengali Theatre Journal, Natyameva. 2019 Ex - Yuva Pradhan of Swami Vivekananda Shardhashati Samaroh 2013, Vivekananda Kendra, Kanya Kumari, West Bengal. Presently Dakhineshwar Nagar Pramukh. Resource Person for training and grooming performers, professionals, executives, teachers and young people. Freelance Actor, Film Maker and Dramaturg. Engaged in intercultural dialogues, contemporary performance art, ‘katha-koli’ renditions and spiritual explorations. ​ ​ EDUCATION: Ramakrishna Mission Vivekananda University, (RKMVERI), Belur Completed my Ph.D. in English Dissertation: “Performance in the World of Spirituality: Mimesis, Ritual and Drama in the Life and Sādhana of Sri Ramakrishna” Guide: Ayon Maharaj Calcutta University, Kolkata, MA English Vidyasagar Metropolitan College, Kolkata; BA (Hons) English Denobili School, Digwadih, Dhanbad, ISCE Denobili School, Digwadih, Dhanbad, ICSE SOFT SKILLS & OTHER ARTS Computer Aided Teaching, School Net, Kolkata.
    [Show full text]