UGC MHRD E Pathshala
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UGC MHRD E Pathshala
UGC MHRD e Pathshala Subject: English Principal Investigator: Prof. Tutun Mukherjee, University of Hyderabad Paper 09: Comparative Literature: Drama in India Paper Coordinator: Prof. Tutun Mukherjee, University of Hyderabad Module 09:Theatre: Architecture, Apparatus, Acting; Censorship and Spectatorship; Translations and Adaptations Content Writer: Mr. Benil Biswas, Ambedkar University Delhi Content Reviewer: Prof. Tutun Mukherjee, University of Hyderabad Language Editor: Prof. Tutun Mukherjee, University of Hyderabad Introduction: To be a painter one must know sculpture To be an architect one must know dance Dance is possible only through music And poetry therefore is essential (Part 2 of Vishnu Dharmottara Purana, an exchange between the sage Markandya and King Vajra)1 Quite appropriately Theatre encompasses all the above mentions arts, which is vital for an individual and community’s overall development. India is known for its rich cultural heritage has harnessed the energy of theatrical forms since the inception of its civilization. A rich cultural heritage of almost 3000 years has been the nurturing ground for Theatre and its Folk forms. Emerging after Greek and Roman theatre, Sanskrit theatre closely associated with primordial rituals, is the earliest form of Indian Theatre. Ascribed to Bharat Muni, ‘Natya Sastra or Natyashastra’2 is considered to be the initial and most elaborate treatise on dramaturgy and art of theatre in the world. It gives the detailed account of Indian theatre’s divine origin and expounds Rasa. This text becomes the basis of the classical Sanskrit theatre in India. Sanskrit Theatre was nourished by pre-eminent play-wrights like Bhasa, Kalidasa, Shudraka, Vishakadatta, Bhavabhuti and Harsha.3 This body of works which were sophisticated in its form and thematic content can be equaled in its range and influence with the dramatic yield of other prosperous theatre traditions of the world like ancient Greek theatre and Elizabethan theatre. -
Girish Karnad 1 Girish Karnad
Girish Karnad 1 Girish Karnad Girish Karnad Born Girish Raghunath Karnad 19 May 1938 Matheran, British India (present-day Maharashtra, India) Occupation Playwright, film director, film actor, poet Nationality Indian Alma mater University of Oxford Genres Fiction Literary movement Navya Notable work(s) Tughalak 1964 Taledanda Girish Raghunath Karnad (born 19 May 1938) is a contemporary writer, playwright, screenwriter, actor and movie director in Kannada language. His rise as a playwright in 1960s, marked the coming of age of Modern Indian playwriting in Kannada, just as Badal Sarkar did in Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi.[1] He is a recipient[2] of the 1998 Jnanpith Award, the highest literary honour conferred in India. For four decades Karnad has been composing plays, often using history and mythology to tackle contemporary issues. He has translated his plays into English and has received acclaim.[3] His plays have been translated into some Indian languages and directed by directors like Ebrahim Alkazi, B. V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur, Satyadev Dubey, Vijaya Mehta, Shyamanand Jalan and Amal Allana.[3] He is active in the world of Indian cinema working as an actor, director, and screenwriter, in Hindi and Kannada flicks, earning awards along the way. He was conferred Padma Shri and Padma Bhushan by the Government of India and won four Filmfare Awards where three are Filmfare Award for Best Director - Kannada and one Filmfare Best Screenplay Award. Early life and education Girish Karnad was born in Matheran, Maharashtra. His initial schooling was in Marathi. In Sirsi, Karnataka, he was exposed to travelling theatre groups, Natak Mandalis as his parents were deeply interested in their plays.[4] As a youngster, Karnad was an ardent admirer of Yakshagana and the theater in his village.[] He earned his Bachelors of Arts degree in Mathematics and Statistics, from Karnatak Arts College, Dharwad (Karnataka University), in 1958. -
Foojf.Kdk ROSPECTUS Ear Residentialcer Course Indramaticar Tificate
ROSPECTUS NSD SIKKIM one year residential certificate foojf.kdkcourse in dramatic arts 2020 NSD SIKKIMGovt. of Sikkim has allotted a piece of land to National School of Drama, Sikkim in 2019 to establish its own permanent infrastructure at Assam Lingzey Forest Block, near Gangtok. Front cover photo: Letter of allotment of the land Kalidasa’s Abhijnan Shakuntalam, Official Map of the land Dir. Piyal Bhattacharya, (Student’s Production, 2019) Way to Saurani Phatak Land of Social Justice & Welfare Dept. Private Holding ICDS Centre Private Holding Govt. of Sikkim Land position in Private Holding the Google Map Kanchanjangha Peak Contents 3 National School of Drama, New Delhi 4 Former Chairpersons & Directors of NSD 5 National School of Drama, Sikkim 6 The Chairman, NSD Society 7 The Director, NSD 8 The Centre In-charge, NSD 9 The Centre Director, NSD Sikkim 11 The Vision & Objectives of NSD, Sikkim 12 Subjects of Study 14 Syllabus 16 Annual Activity Report 18 Visiting Faculty Members 19 Admission Related Matters 22 General Information 24 NSD Sikkim Repertory Company 26 Administrative & Technical Staff 28 Theatre Festivals Location & Travel Route English C3 Hami Nai Aafai Aaf, a dramatisation of Padma Sachdev’s Dogri Novel Ab Na Banegi Dehri, Dir. Bipin Kumar (Students/Repertory Production, 2011/12) National School of Drama ational School of Drama is one of the foremost theatre training institutions in the world and the Nonly one of its kind in India. Established in 1959 as a constituent unit of the Sangeet Natak Akademi, the School became an independent entity in 1975 and was registered as an autonomous organization under Societies Registration Act XXI of 1860, fully financed by the Ministry of Culture, Government of India. -
A Study of Mohan Rakesh's Lehron Ke Rajhans
RECOURSE TO BUDDHIST TEXTS FOR REPRESENTATION OF MODERNITY : A STUDY OF MOHAN RAKESH’S LEHRON KE RAJHANS Pranjal Sharma Bashishtha Abstract Eminent Hindi playwright Mohan Rakesh’s (1925-72) second amateur play for the stage Lehron Ke Rajhans (‚The Great Swans of the Waves‛; Hindi: 1963) is based on Buddha’s half-brother Nanda’s conflict described in Saundarānanda, a Buddhist narrative poem composed by Ashvaghosha in the first century CE. Nanda in Saundarānanda is torn between the allure of his beautiful consort Sundari and the attraction that he feels for Buddha’s preaching of renunciation. The present paper basically investigates why Rakesh, a modern writer not interested in Buddhism per se but in representation of the nuances of modernity has chosen Nanda’s story from the Buddhist text and how he treats the Buddhist text to suit his needs. While doing so, the paper has maintained the requirements for a scientific research and has adopted the analytical method of research as a general rule, but has employed the comparative method also as and when necessary. ‚I’ve had this image in mind for a long time. Two lampstands. One tall, with a figure of a man on top of it— arms spread and eyes raised to heaven. The other short, with a woman’s figure on it— arms folded and eyes dropped to the ground,‛1— commented eminent Hindi playwright Mohan Rakesh (1925-72) on the mental image that motivated him for years to write his famous amateur play Lehron Ke Rajhans (‚The Great Swans of the Waves‛; written in 19 Hindi; published in 1963). -
Theatre & Television Production
FACULTY OF VISUAL ARTS & PERFORMING ARTS Syllabus For MASTER OF VOCATION (M.VOC.) (THEATRE & TELEVISION PRODUCTION) (Semester: I – IV) Session: 2019–20 GURU NANAK DEV UNIVERSITY AMRITSAR Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 MASTER OF VOCATION (M.VOC.) (THEATRE & TELEVISION PRODUCTION) SEMESTER SYSTEM Eligibility: i) Students who have passed B.Voc. (Theatre) from a recognised University or have attained NSQF Level 7 in a particular Industrial Sector in the same Trade OR ii) Bachelor Degree with atleast 50% marks from a recognised University. Semester – I: Courses Hours Marks Paper-I History & Elements of Theatre Theory 3 100 Paper-II Western Drama and Architecture Theory 3 100 Paper-III Punjabi Theatre Theory 3 100 Paper-IV Acting Orientation Practical 3 100 Paper-V Fundamentals of Design Practical 3 100 Semester – II: Courses Hours Marks Paper-I Western Theatre Theory 3 100 Paper-II Fundamentals of Directions Theory 3 100 Paper-III Theatre Production Practical 3 100 Paper-IV Production Management Practical 3 100 Paper-V Stage Craft (Make Up) Practical 3 100 2 MASTER OF VOCATION (M.VOC.) (THEATRE & TELEVISION PRODUCTION) SEMESTER SYSTEM Semester – III Courses Hours Marks Paper-I INDIAN THEATRE Theory 3 100 Paper-II MODERN THEATRE & Theory 3 100 INDIAN FOLK THEATRE Paper-III STAGE CRAFT Theory 3 100 Paper-IV PRODUCTION PROJECT Practical 3 100 Paper-V PRODUCTION ANALYSIS Practical 3 100 AND VIVA Semester – IV Courses Hours Marks Paper-I RESEARCH METHODOLOGY Theory 3 100 Paper-II SCREEN ACTING Theory 3 100 Paper-III ACTING Theory 3 100 Paper-IV TELEVISION AND FILM Practical 3 100 APPRECIATION Paper-V FILM PRODUCTION Practical 3 100 3 MASTER OF VOCATION (M.VOC.) (THEATRE & TELEVISION PRODUCTION) SEMESTER – I PAPER-I: HISTORY AND ELEMENTS OF THEATRE (Theory) Time: 3 Hours Max. -
M.P.A (Theatre Arts)
'. Code No: N-35 ENTRANCE EXAMINATION, 2017 M.P.A (Theatre Arts) MAX.MARKS:50 DATE: 04 -06-2017 TIME: 10:00 AM Duration 2 hours HALL TICKET NO: __________ Instructions: i) Write your Hall Ticket Number in OMR Answer Sheet given to you. Also write the Hall Ticket Number in the space provided above. ii) There is negative marking. Each wrong answer carries-O.33mark. iii) Answers are to be marked on OMR answer sheet following the instructions provided there upon. iv) Hand over the OMR answer sheet at the end of the examination to the Invigilator. v) No additional sheets will be provided. Rough work can be done in the question paper itself/ space provided at the end of the booklet. 1. The author of the play "Nagamandala" is ______ A) Chandrashekhara Kambar C) Bhartendu Harishchandra B) B.Y Karant D) Girish Karnad 2. Guru Birju Maharaj is an exponent of the form _____ A) Kathakali C) Kathak B) Kuchipudi D) Odissi 3. Founder of the theatre group 'Kalakshetra Manipur' is. _______ A) Ratan Thiyam C) Lokendra Arambam, B) Heisnam Kanhailal, D) S. Thanilleirna 1 '. 4. World theatre day is celebrated on ________ A) December 25 C) March 27 B) November 14 D) January 26 5. Rabindranath Tagore was awarded the Nobel Prize in the field of______ _ A) Architecture C) Sports B) Sculpture D) Literature 6. The director of the play "Charan Das Chor" of Nay a Theatre group is ______ A) Utpal Dutt C) Ram Gopal Bajaj B) Habib Tanvir, D) Badal Sarkar 7. 'Sopanam,' the theatre wing of Bhasabharati, the Centre for Performing Arts founded by ______ A) Deepan Shivaraman C) Ratan Thiyam B) C RJambe D) Kavalam Narayana Panikkar 8. -
The Master Playwrights and Directors
THE MASTER PLAYWRIGHTS AND DIRECTORS BIJAN BHATTACHARYA (1915–77), playwright, actor, director; whole-time member, Communist Party, actively associated with Progressive Writers and Artists Association and the Indian People’s Theatre Association (IPTA); wrote and co-directed Nabanna (1944) for IPTA, starting off the new theatre movement in Bengal and continued to lead groups like Calcutta Theatre and Kabachkundal, with plays like Mora Chand (1961), Debigarjan [for the historic National Integration and Peace Conference on 21 February 1966 in Wellington Square, Calcutta], and Garbhabati Janani (1969), all of which he wrote and directed; acted in films directed by Ritwik Ghatak [Meghey Dhaka Tara (1960), Komal Gandhar (1961), Subarnarekha (1962), Jukti, Takko aar Gappo (1974)] and Mrinal Sen [Padatik (1973)]. Recipient of state and national awards, including the Sangeet Natak Akademi Award for Playwriting in 1975. SOMBHU MITRA (1915–97), actor-director, playwright; led the theatre group Bohurupee till the early 1970s, which brought together some of the finest literary and cultural minds of the times, initiating a culture of ideation and producing good plays; best known for his productions of Dashachakra (1952), Raktakarabi (1954), Putulkhela (1958), Raja Oidipous (1964), Raja (1964), Pagla Ghoda (1971). Recipient of Sangeet Natak Akademi Award for Direction (1959), Fellow of the Sangeet Natak Akademi (1966), Padmabhushan (1970), Magsaysay Award (1976), Kalidas Samman (1983). HABIB TANVIR (1923–2009) joined the Indian People’s Theatre Association in the late forties, directing and acting in street plays for industrial workers in Mumbai; before moving to Delhi in 1954, when he produced the first version of Agra Bazar; followed by a training at the RADA, a course that left him dissatisfied, and he left incomplete. -
So Far Scholars and Critics in India Have Been Discussing Themes and Quite Rarely, Their Technical Experiments of These Playwrights
2 Need of the Research Work So far scholars and critics in India have been discussing themes and quite rarely, their technical experiments of these playwrights. One needs to analyze these plays for applied study of Indian socio-political issues. Most of the scholars have neglected these dramatists and have overworked on Rabindranath Tagore, Mohan Rakesh, Vijay Tendulkar, Badal Sircar, and Girish Karnad and recently on Mahesh Dattani. Most studies evolve around the themes in the plays of these playwrights. The significant frame work of marriage and family and their portrayal in these plays hardly received any critical attention of the scholars. 4 Importance of the Research Work Marriage is the most covetous and turning moment in the life of the individuals. It is also an important rite in the Indian culture. It initiates youths to domestic spheres of the life. From societal points of view, it accords a collective social sanction to act of reproduction. It introduces the marrying couple to another equally important social institution called family. Traditionally, family is a distribution and trying the members of the society into groups of the same caste and belief. It also works as a primary centre of imparting samskars on the family members and governs the behavior of its members. Family has always remained as the backdrop of the action in the Indian literature both in print and media (cinema and TV). It has reflected and borne the changes taking place around. Education, socio-political movements, and economic changes have influenced the family as a social institution in India. But there hardly seems any research undertaken on this aspect of Indian drama. -
Searching for Shakuntala: Sanskrit Drama and Theatrical Modernity in Europe and India, 1789-Present
SEARCHING FOR SHAKUNTALA: SANSKRIT DRAMA AND THEATRICAL MODERNITY IN EUROPE AND INDIA, 1789-PRESENT AMANDA CULP Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Amanda Culp All rights reserved ABSTRACT Searching for Shakuntala: Sanskrit Drama and Theatrical Modernity in Europe and India, 1789-Present Amanda Culp Since the end of the eighteenth century, the Sanskrit drama known as Shakuntala (Abhijñānaśakuntala) by Kalidasa has held a place of prominence as a classic of world literature. First translated into English by Sir William Jones in 1789, in the intervening centuries Shakuntala has been extolled and memorialized by the likes of Johann Wolfgang von Goethe, Friedrich and August Wilhelm Schlegel, Theophile Gautier, and Rabindranath Tagore. Though often included in anthologies of world literature, however, the history of the play in performance during this same period of time has gone both undocumented and unstudied. In an endeavor to fill this significant void in scholarship, “Searching for Shakuntala” is the first comprehensive study of the performance history of Kalidasa’s Abhijñānaśakuntala in Europe and India. It argues that Shakuntala has been a critical interlocutor for the emergence of modern theater practice, having been regularly featured on both European and Indian stages throughout the nineteenth and twentieth centuries. Moreover, it asserts that to appreciate the contributions that the play has made to modern theater history requires thinking through and against the biases and expectations of cultural authenticity that have burdened the play in both performance and reception. -
Study of Girish Karnad As a Great Indian Drama Writer
International Journal of English Research International Journal of English Research ISSN: 2455-2186 Impact Factor: RJIF 5.32 www.englishjournals.com Volume 4; Issue 3; May 2018; Page No. 44-46 Study of Girish Karnad as a great Indian drama writer Dr. Manisha Dwivedi1, Akash Dhahariya2 1 H.O.D., Department of English, Dr. C.V. Raman University Kota, Bilaspur, Chhattisgarh, India 2 M.Phil. English Research Scholar, Dr. C.V. Raman University Kota, Bilaspur, Chhattisgarh, India Abstract This paper is to study Karnad’s plays from the point of view of Themes and Techniques. While doing so, the focus will mainly be on Man-Woman relationship with the institution of marriage in the postcolonial society. Karnad is India’s best living playwright whose journey from Yayati to Boiled Beans on Toast holds a mirror to the very evolution of a truly ‘Indian Theatre’ which can be true to its traditions and at the same time responsive to contemporary concerns. Keywords: brahminicide, byword, contemporaneity, continuance, existentialist, funny, futility, incensed, invulnerable, mythology, narrative, revenge, rues, spawned and unnerving Introduction Girish Karnad is one of the most influential playwrights of our Girish Raghunath Karnad is a playwright, poet, actor, director, time and his plays have become a byword for imagination, critic, translator and cultural administrator all rolled into one. innovation and craftsmanship. He has been honoured with the He has been rightly called the “renaissance man” (Kalidas & Padma Bhushan and was conferred the prestigious Jnanapith Merchant.”Renaissance Man”); whose celebrity is based on Award. He also received the Sahitya Akademi Award. Girish decades of prolific and consistent output on native soil. -
Girish Karnad - Tughlaq : (1)
GIRISH KARNAD - TUGHLAQ : (1) Page | 1 UNIT-1 GIRISH KARNAD- TUGHLAQ (1) 1.1.Contemporary Indian Theatre: 1.1.1. Introduction The two decades after independence represent a time of the proliferation of theatrical forms in various regions of India. This period is also distinguished by the coming-of-age of Indian theatre. The generation of playwrights who emerged and came in to prominence in the two decades following the Indian independence revolutionized theatrical practices in India. The work of these playwrights is characterized by some commonly shared features. Most of them had a firm faith in the idea that earlier forms of theatre made possible by colonial modernity and conditioned by a pre-dominantly urban culture have become obsolete. Their departures from the earlier forms of theatre like the Parsi stage or the Indian Peoples‘ Theatre Association (IPTA), which flourished in the early decades of the century, became increasingly apparent. These departures manifested themselves as radical shifts in terms of themes, forms, structures, and presentation. Apart from these, new conceptions of theatre and theatrical techniques emerged as novel directions in Indian theatre. These playwrights forged radically new ways of creative self-expression distinguished by experimentation and revival of tradition. The self-consciousness of these playwrights as shapers of a ―post-colonial‖ Indian theatre provided a different dimension to the cultural phenomenon. Almost all of the playwrights who started writing their plays in this period experienced a sense of disconnection with the previous forms of theatre. Girish Karnad, Dharamvir Bharati, Mohan Rakesh, Vijay Tendulkar, Badal Sircar, Utpal Dutt, Habib Tanvir, G.P.Deshpande, and others are the most representative of this generation of playwrights. -
Theatre Studies Class: Xii Sample Paper 2016-17 Marking Scheme
AglaSem Schools THEATRE STUDIES CLASS: XII SAMPLE PAPER 2016-17 MARKING SCHEME Q.No Expected Answer Marks Unit/T ypo 1. Relaxation/ trust/ discipline/ criticism/freedom 1 3/R 2. Space/Stage 1 3/H 3. Type casting 1 3/A 4. Baratendu Harish Chandra (Hindi), Girish Chandra Ghosh (Bengali), 1 1/R Dwijendra Lal Roy (Bengali), Dina Bandhu Mitra (Bengali, 1829-74), Ranchod bhai Udayram (Gujarati, 1837-1923), M.M. Pillai(Tamil), Balvant Padurang Kirloskar (Marathi, 1843-1885) and Rabindra Nath Tagore. (Any Two) 5. The National School of Drama 1 1/U 6. They reflect the time and place in which the character lives, his social 2 3/U standing, his present circumstances and his emotional state. 7. Theatre Educator. 2 2/H Theatre teacher instructors coach students in the techniques of acting, directing, playwriting, script analysis and the history of theatre. They help them acquire confidence, speaking skills and sense timing. They encourage students in their work, direct rehearsals and guide them in their roles. At the same time, they instruct students in backstage work including set design, production organization, set building, stage lighting and sound, properties, costuming and makeup. (1+1) 8. The ‘Theatre-In-Education Company’ (Sanskar Rang Toli) was established in 2 1/A October 16, 1989, and is one of the most important theatre education resource centres in the country. It consists of a group of actor-teachers working with and performing for children. The major focus of the TIE Company is to perform creative, curriculum-based and participatory plays in schools, specially designed and prepared for student of different age groups.