DOCSLIB.ORG

Debasish Chakraborty,Ota Shogo’

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Debasish Chakraborty,Ota Shogo’ Anil Saha’s ARSHINAGAR Director: Debasish Chakraborty Playwright: Anil Saha Director: Debasish Chakraborty Group: Tala Dhrupad Natya Sanstha, Hooghly Language: Bengali Duration: 2 hr 10 mins The Play Arshinagar speaks about love and true emotions. In this era, where love has been commoditized, this story talks about the real definition of love and the magic it can create. Chaya Kumar, son of a rich merchant has to leave his wife on the next day of his marriage for business expansion.The newly wedded bride, Lilabati, lives with her in-laws, but feels a vacuum. But the power of love brings joy in Lilabati’s life and helps her overcome the void. Director’s Note Presented in a folk form, the flight of imagination in the play soars without any bondage of religion, cast or culture. To express the language of love and fathom its power, music is a vital character in this play. Various folk songs in the traditions of Jhumur, Bhadu, Tusu, Sari, Jari and Sufi are wonderfully tuned in the atmosphere through which the story runs smoothly. Various workshops and endless brainstorming sessions on choreography, costumes, light, set and editing resulted in this brilliant play. The Director Debasish Chakraborty, a theatre student of Sri Bivas Chakraborty since 1998, is a promising director of this generation. He joined Annya, a theatre group, under the direction of Sri Bivas Chakraborty and acted in numerous plays. He started his own theatre group Dhrupad in 2002 at Serampore. He has acted in many tele-serials. He has also acted in the feature film One, directed by Birsa Dasgupta, and performs in other theatre groups of Kolkata as well. The Playwright Anil Saha was born in Bagbazar, Kolkata. He is a retired employee of State Bank of India. He joined a theatre workshop and is now a full-time theatre worker. He has acted in many plays and has been writing plays for 30 years. The Group Tala Dhrupad Natya Sanstha started its theatre journey in 2002. The group has produced Simantika written by the eminent dramatist Chandan Sen, Hastabud dramatized by Pradip Moulik and based on the story of Sahajad Firdous, The Numbers based on Nikolai Gogol’s story, Ranger Haat by Manoj Mitra, Bodli by Anil Saha, Bhan by Amiya Chattaraj, Uro Megh by Mohit Chattopadhyay, Punajjanma by Dwijendralal Roy and many more. Cast & Credits Chaya Kumar: Dhrubo Adhikari Lilabati: Shreya Biswas DebokiNandan: Arup Manna Surobhi Devi: Mita Roy Sarkar Mosai: Jayanta Chattopadhyay Bhnaru: Biswanath Saha Kanai: Parikshit Chattopadhyay Maya Kumar: Jayanta Chakraborty Raja & Sutrodhar: Debasish Chakraborty Paharadar Gautam: Bikash Chandra Panchir Maa: Mausumi Goswami/Sanchita Singha Roy Sokhi Dol Poulobi: Sarkar Gupta, Moumita Chakraborty Basu, Priyanka Dey, Sukla Pal, Sanchari Singha Roy Grambasi: Abhijit Chatterjee, Tanay Banerjee, Wasim Ali, Suman Chakraborty, Utsab Chattopadhyay, Iman Das, Jayanta Dhar Baul: Sourabh Dutta Backstage: Suman Mukhopadhyay, Subhankar Mukherjee, Tapan Mallick Lyrics & Music: Bhaskar Choudhury Choreography: Abhijit Mahato Light: Debabrata Sarkar Set: Moni Shankar Make-up: Pratap Roy Title: Utpal Ghosh Harmonium: Subir Sanyal Rhythm: Tanmoy Sashmal Sound: Control Bivas Gupta Photograph: Sumanta Bora Playwright: Anil Saha Director: Debasish Chakraborty Ota Shogo’s VACANT LOT Director: Apoorva Anagalli Playwright: Ota Shogo Director: Apoorva Anagalli Group: NSD Diploma Production, New Delhi Language: Hindi Duration: 1 hr The Play Sarachi relates to Ota’s many preoccupations; dispossession; wandering; a search for connectedness; questioning, comforting and reaffirmation of reality. Likewise, Sarachi contains virtually no socio-political themes as reference points, as Ota searches for a philosophical understanding of life and human relationships on what he evidently perceives a universal level. The ideological vacuum in which the play seems to operate might strike some western readers as swimming against the tide of times. No matter how one judges Ota’s recent work in this regard, it is overtly apolitical. As such, it is in step with much contemporary Japanese drama. Sarachi involves much hauling, pulling and crawling. It is a work that offers both a preliminary look at Ota the playwright and a more rounded picture of Ota the theatre artist. The play reveals a middle aged couple forced to come to grips with a sense of ennui that has fallen over their lives, a fact represented literally by the sudden disappearance of their house. Wife and husband push, pull, drag and crawl their way through the theatre-space and their lives embark upon a search for the meaning of reality. Director’s Note To go from place to place is a species-specific instinct among humans. What is at the back of it? This is the object of exploration in this play. People’s search for a dwelling place and its directly opposite impulse to abandon it is ordained in the pages of the Vacant Lot. In this course of a to and fro ticking in a pendulum – like fashion there is a movement of universal phenomenon. Reciting a human desire for- sex & marriage, children & home, job & income. Residing within the bowels of ‘location’ is a lingering boundless and endless wandering lust that shies away and beyond! Inspired by a simile of a constantly ticking pendulum from left to right in search of? Like a hapless kinetic energy propelling towards actions that behove in the horizon perhaps. Or mostly like spiralling into depth from heights! An abstract – turn and twirl – like art. The Director Apoorva Anagali started her theatre carrier as a child actor from Koshika cultural organization and Benakamakkalanataka Kendra (headed by B. V. Karanth and Prema Karanth). She trained in Carnatic classical music and Bharatnatyam in both Kalashetram and Valavur styles. Has trained in make-up and mime workshop, NSD. She debuted as a director with B V Karanth’s Heddayana. She has acted in almost 25 plays and directed eight. She pursued a – year long diploma course in Neenasam theatre institute. Has experience of participating in international theatre festival of India like Jashne Bachpan, Bharat Rang Mahotsav, Multilinguistic Theatre Festival – Kerala, Tamilnadu, Pondicherry, Mumbai and Goa. The Playwright Ota Shogo (b.1939) is one of the notable artists to emerge from the new Japanese theatre of the 1960s. His work received recognition in Japan in the 1970s and he gained an international reputation in the 1980s. To a great extent attention outside Japan has been received for his wordless theatre pieces, such as Water Station which consists of extremely slow, mostly silent movement. From the beginning of his carrier, Ota has relied heavily on works structured on dialogue. First published in the theatre magazine Teatoro in February 1992, Sarachi (Vacant Lot) is his latest example of work. Ota has ever since been associated with Tenkei Gekijo (Transformation Theatre), he found in 1968 also marks a new phase of his involvement in theatre. Currently he functions as an independent artist and an artistic director of the new Civic Theatre, a municipal theatre in the Tokyo suburb of Fujisawa. The Group This play is a part of National School of Drama’s graduate showcase of class 2018. It aims to provide a platform to encourage emerging theatre practitioners to share their work with wider audience. Cast & Credits On Stage: Debarati Sikder, Indira Tiwari, Punsilemba, Ravi Chahar Music Direction: Bhushan Bhatt Music Assistance: Ravishankar Sharma Poster & Brochure Design: Indira Tiwari, Saras Costume Assistant: Debarati Sikder Light Design & Operation: Sarthak Narula Stage Manager: Paramanad Literary Guide: Asif Ali Translation Vishal Mahale Playwright Ota Shogo Director Apoorva Anagalli Anton Chekhov’s THREE SISTERS Director: Rose Schwietz Playwright: Anton Chekhov Director: Rose Schwietz Group: One World Theatre, Nepal Language: English Duration: 2 hrs 15 mins The Play The story takes place in a modern, provincial town that is in the Russian countryside and simultaneously far away from it. The three Prozorov sisters, Olga, Masha, and Irina, are celebrating the 20th birthday of Irina, the youngest. Moods are light and festive, despite this also being the first death anniversary of their father. The play is a window opening into four moments across four years of their lives, showing the emotions that humans experience in a lifetime. The sisters spend their days longing for their youth in Moscow and staving off malaise with the officers from the nearby artillery post. As the years pass, the sisters fall in and out of love, attempting and failing to create the beautiful life they dream of. Unfulfilled in work and in love, they face despair as Moscow becomes a continually more distant dream. Director’s Note Though set in a traditional 1900s provincial Russian town, this production is reimagined into a modern, less classically Russian setting to make it relevant for South Asian audiences. One thing I adore about the play is that the Prozorovs’ world is as real and full as the one we know in our daily lives, and that is the lasting beauty, and heartache, of this show. We cannot help but see ourselves in each character. We cannot help but feel what they feel. Whether Russian or Nepali or somebody else, this play speaks to what it means to work, to suffer, to love… to be human. The Director Rose Schwietz is a director, actor, musician, and teacher currently based in New York City. She has directed five shows—most recently Chekhov’s Three Sisters and Stoppard’s Rosencrantz & Guildenstern Are Dead—with high school and professional actors. Acting credits include notable stage roles (Mrs. Edith Frank, Lieutenant Colonel Vershinina) as well as leads in ads, short films, and one feature length film. She is an accomplished musician, with years of training in voice, saxophone and piano, and performs regularly in Kathmandu and New York City. She teaches in theatre workshops for students and professional theatre-makers in the US, Nepal, and India.
Load more

Recommended publications
  • Appellate Jurisdiction
    Appellate Jurisdiction Daily Supplementary List Of Cases For Hearing On Friday, 9th of July, 2021 CONTENT SL COURT PAGE BENCHES TIME NO. ROOM NO. NO. HON'BLE JUSTICE I. P. MUKERJI 3 On 09-07-2021 1 1 HON'BLE JUSTICE ANIRUDDHA ROY DB - II At 11:00 AM HON'BLE JUSTICE HARISH TANDON 28 On 09-07-2021 2 4 HON'BLE JUSTICE SUBHASIS DASGUPTA DB-III At 11:00 AM HON'BLE JUSTICE SOUMEN SEN 16 On 09-07-2021 3 57 HON'BLE JUSTICE HIRANMAY BHATTACHARYYA DB - IV At 11:00 AM HON'BLE JUSTICE SOUMEN SEN 17 On 09-07-2021 4 66 HON'BLE JUSTICE SAUGATA BHATTACHARYYA DB-IV At 11:00 AM HON'BLE JUSTICE SUBRATA TALUKDAR 11 On 09-07-2021 5 68 HON'BLE JUSTICE SAUGATA BHATTACHARYYA DB - V At 11:00 AM HON'BLE JUSTICE TAPABRATA CHAKRABORTY 30 On 09-07-2021 6 74 HON'BLE JUSTICE SUVRA GHOSH DB-VI At 11:00 AM HON'BLE JUSTICE ARINDAM SINHA 4 On 09-07-2021 7 80 HON'BLE JUSTICE BISWAJIT BASU DB-VII At 11:00 AM 5 On 09-07-2021 8 HON'BLE JUSTICE ARIJIT BANERJEE 89 SB At 11:00 AM 8 On 09-07-2021 9 HON'BLE JUSTICE DEBANGSU BASAK 94 SB II At 11:00 AM 9 On 09-07-2021 10 HON'BLE JUSTICE SHIVAKANT PRASAD 116 SB - III At 11:00 AM 13 On 09-07-2021 11 HON'BLE JUSTICE RAJASEKHAR MANTHA 124 SB - IV At 11:00 AM 7 On 09-07-2021 12 HON'BLE JUSTICE SABYASACHI BHATTACHARYYA 150 SB - V At 11:00 AM 26 On 09-07-2021 13 HON'BLE JUSTICE SHEKHAR B.
    [Show full text]
  • Take Bhalo Lage
    Sujan Mukhopadhyay’S DON…TAKE BHALO LAGE Adaptation & Direction: Sujan Mukhopadhyay Group: Chetana, Kolkata Language: Bengali Duration: 2 hrs 25 mins The Play Renowned poet, theatre director, and actor Subhomoy Dutt, has been arrested for his outrageous comments against the state, and locked in custody with other petty convicts. Subhomoy transforms the jail into a stage and starts performing the story of the ‘Mad Knight’ Don Quixote, with all the jail inmates as performers. The prison cell metamorphoses into a space of eloquent metaphors and bizarre events of Don and his mate, Sancho. Adapted into a modern day situation, this musical carnival emerges with forms like Kirtan, Flamenco, Rabindranath’s song, Rock-N-Roll, Toppa and Western Classical. Director’s Note “To dream, the impossible dream”… has been the quest of Don Quixote, and his squire Sancho Panza. The play begins in a local prison, where a famous playwright, actor and poet, Subhamoy Dutt, is arrested for his illegal step towards the state through his propagandist play. I wish to study today’s terror and ill-tolerance in this “play within the play” through the local jail inmates, who are waiting for their verdict. Designed as an opera, this is a hard hitting musical, questioning our reality, and arguing our existence in the modern socio-cultural situation. The Director & Adapter Sujan Mukhopadhyay has acted in about 30 plays and written several scripts for theatre, television and cinema. He was awarded with Stagecraft award for Ghasiram Kotwal and Popular Viewer’s Choice Award for Don..Take Bhalo Lage. He has performed in Mumbai, Pune, Hyderabad, Nagpur, Chennai and all the other cities of India, and major cities of the USA, Theatre Olympics in Agartala, and Bharat Rang Mahotsav.
    [Show full text]
  • Curtain Goes up on National School of Drama's 21St Bharat Rang Mahotsav
    Curtain goes up on National School of Drama’s 21st Bharat Rang Mahotsav By : Editor Published On : 2 Feb, 2020 12:00 AM IST INVC NEWS New Delhi, The 21st edition of the Bharat Rang Mahotsav (BRM) – the annual theatre festival organised by the National School of Drama (NSD) is all set to bring an assortment of plays, interactive sessions, and other cultural events to cheer up winter afternoons of theatre enthusiasts in the Capital. The inaugural function for BRM 2020 kick started at the Kamani auditorium with Panchvadyam -- a South Indian devotional music. The dignitaries present on the occasion included Chief Guest Prof. Vidushi Rita Ganguly, eminent theatre artist and vocalist, Guest of Honour Dr. Mohan Agashe, renowned theatre and film personality and Special Guest Ms. Nirupama Kotru, IRS, Joint Secretary, Ministry of Culture, Govt. of India among others. The function was presided over by Dr. Arjun Deo Charan, Acting Chairman, NSD Society. Prof. Suresh Sharma, Director In-charge, National School of Drama, welcomed the guest at the inaugural function and appreciated all the participants from National & International theatre fraternity who came all across. Also, he specially expressed his gratitude to the Actor Amol Palekar who came & graced the occasion by presenting his play at the inauguration ceremony. He also said through the years, Bharat Rang Mahotsav has presented some masterpieces from the world of theatre. The idea is to reach out to a much wider set of audiences with works from post-modern and regional theatre. We hope to highlight the importance of theatre and plays and promote the culture of appreciating various forms of performing arts.
    [Show full text]
  • Http//:Daathvoyagejournal.Com Editor: Saikat Banerjee Department Of
    http//:daathvoyagejournal.com Editor: Saikat Banerjee Department of English Dr. K.N. Modi University, Newai, Rajasthan, India. : An International Journal of Interdisciplinary Studies in English ISSN 2455-7544 www.daathvoyagejournal.com Vol.2, No.3, September, 2017 From Hamlet To Hemlat: Rewriting Shakespeare In Bengal Dr. Mahuya Bhaumik Assistant Professor Department of English Derozio Memorial College, Kolkata, Bengal. Abstract: Production of Shakespeare’s plays in India, particularly Bengal, has an extensive history which dates back to the mid 18th century. Theatre was a tool employed by the British to expose the elites of the Indian society to Western culture and values. Shakespeare was one of the most popular dramatists to be produced in colonial India for concrete reasons. During the latter half of the nineteenth century the productions of Shakespearean plays were marked by a tendency for indigenization thus adding colour colours to them. The latest adaptations of Shakespeare into Bangla are instances of real bold steps taken by the playwrights since these adaptations implant the master text in a completely different politico-cultural milieu, thus subverting the source text in the process. This paper would try to analyse such a process of rewriting Shakespeare in Bangla with special emphasis on Bratya Basu’s Hemlat, The Prince of Garanhata which is an adaptation of Shakespeare’s Hamlet. Key Words: Theatre, Performance, Adaptation, Indigenization, Cross-Culture. Production of Shakespeare’s plays in India, particularly Bengal, has an extensive and rich history which dates back to the mid 18th century. Initially the target audience of these plays was British officials settled here during the colonial days.
    [Show full text]
  • Minutes of the Meeting of the Expert Committee Held on 14Th, 15Th,17Th and 18Th October, 2013 Under the Performing Arts Grants Scheme (PAGS)
    No.F.10-01/2012-P.Arts (Pt.) Ministry of Culture P. Arts Section Minutes of the Meeting of the Expert Committee held on 14th, 15th,17th and 18th October, 2013 under the Performing Arts Grants Scheme (PAGS). The Expert Committee for the Performing Arts Grants Scheme (PAGS) met on 14th, 15th ,17thand 18th October, 2013 to consider renewal of salary grants to existing grantees and decide on the fresh applications received for salary and production grants under the Scheme, including review of certain past cases, as recommended in the earlier meeting. The meeting was chaired by Smt. Arvind Manjit Singh, Joint Secretary (Culture). A list of Expert members present in the meeting is annexed. 2. On the opening day of the meeting ie. 14th October, inaugurating the meeting, Sh. Sanjeev Mittal, Joint Secretary, introduced himself to the members of Expert Committee and while welcoming the members of the committee informed that the Ministry was putting its best efforts to promote, develop and protect culture of the country. As regards the Performing Arts Grants Scheme(earlier known as the Scheme of Financial Assistance to Professional Groups and Individuals Engaged for Specified Performing Arts Projects; Salary & Production Grants), it was apprised that despite severe financial constraints invoked by the Deptt. Of Expenditure the Ministry had ensured a provision of Rs.48 crores for the Repertory/Production Grants during the current financial year which was in fact higher than the last year’s budgetary provision. 3. Smt. Meena Balimane Sharma, Director, in her capacity as the Member-Secretary of the Expert Committee, thereafter, briefed the members about the salient features of various provisions of the relevant Scheme under which the proposals in question were required to be examined by them before giving their recommendations.
    [Show full text]
  • Speaking Through Troubled Times
    Speaking through Troubled Times Moinak Biswas I would like to talk about the encounter between cinema and a moment in our political history in this essay. Is it possible to identify the voices that cinema sifts out of a time, and make them narrate to us a story that was there in the films but not told? I would like to ask that question about the cusp of the nineteen sixties and seventies. 1. There now exists a sizeable literature on the relationship between history and cinema. Academic historians have looked at the relationship mainly in terms of representation of the past. The fragile status that facts attain in a popular medium was the starting point of historians’ serious engagement with film, the more sophisticated version of which took up the issue of concretization of the past on screen, the process of giving body to a time that is gone, and the necessary ambivalence that it brings on. The other focus of the discussion has been narrative of course, the relationship of the events in history as they appear on screen. Since the larger historians’ debate had narrative as the cardinal point of contention - narrativity as a category came to problematize the entire question of truth-telling in historiography in the wake of semiotic criticism - the filmic imperatives of sequencing of events from the past has been another cause of concern. Professional historians such as Natalie Davis and Robert Rosenstone have written on these questions quite extensively [1], as have Daniel Walkowitz, R. C. Raack and Robert Brent Toplin, all of whom have developed strong ties with film and television production, as advisors and screenwriters [2].
    [Show full text]
  • Playbill-Tiner-Talowar.Pdf
    Table of Contents About Natyakrishti-TCAGW 2 Previous Performances 3 Tiner Talowar Management Team 4 Behind the Scene 5 Cast 6 Patrons & Donors 7 Notes from Well-wishers 8 Why Tiner Talowar today? 11 Chasing the Drama? 14 Language of Cinema and Literature 16 Tiner Talowar Prasange 25 Printed by Damodar Printing Kolkata Editor: Suchismita Chattopadhyay Cover and Layout: Kajal Chakraborty & Dilip K. Som Disclaimer: Natyakrishti apologizes for any inadvertent mistakes, omissions and misrepresentations in this publication. www.natyakrishti.org About Natyakrishti-TCAGW Natyakrishti-TCAGW is an amateur theater and cultural group based in the greater Washington D.C., USA. It is a non-profit 501 (c) (3) organization. In 1985, a group of enthusiastic, dedicated theater lovers in the greater Washington area, aspiring to initiate theatrical and cultural activities, formed an amateur drama group. A number of highly acclaimed dramas were staged by the group at the Durgapuja festivals organized by Sanskriti, Inc. of the Washington Metropolitan area. These dramas were also staged in various other cities of the USA. Some of the members concurrently participated in the theatrical and cultural events organized by other groups like Manab Kalyan Kendra, Sanskriti, Mayur, etc. They performed in major roles in the dance dramas Achalayatan and Moha Mudgar, organized by the Hon'ble Ambassador Mr. Siddhartha Shankar Ray, which were staged in Kennedy Center, Gandhi Center and the Indian Embassy in Washington D.C. With a view to developing histrionic talents, active association was initiated with renowned theater groups like Nandikar, Sayak, Calcutta High Court Advocates' Drama Association in India (Hon'ble Minister Ajit Panja's group).
    [Show full text]
  • Global Humanities Institute Report on Learning Opportunities for the Humanities in China, India and El Salvador July 1, 2013 Gr
    Global Humanities Institute Report on Learning Opportunities for the Humanities in China, India and El Salvador July 1, 2013 Greg Malveaux, PhD Coordinator, Study Abroad Professor, English Montgomery College 51 Mannakee Street Rockville, MD 20805 [email protected] The Global Humanities Institute is a new globalization project of Montgomery College, funded in part through a challenge “Bridging Cultures” grant by the National Endowment of the Humanities. Our purpose is to support the systematic integration of other cultures and countries to the study of the humanities. Our project includes faculty training and support of teaching, cultural community engagement, research and scholarly work, and scholarly exchanges abroad as we travel to China, India, and el Salvador. We invite you to join us as we work to meet the imperative goal of preparing students for a global future. To help us meet our challenge, contact the Montgomery College Foundation at (240) 567-7900 or go to www.montgomerycollege.edu/onlinegiving. TABLE OF CONTENTS Page Background ................................................................................................................... 3 STATE OF HUMANITIES AND GLOBAL HUMANITIES IN CHINA .................................... 3 Current Theories and Curriculum ........................................................... Anti-poverty Theory ....................................................................... Poor Theory ..................................................................................
    [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]
  • Curtain Goes up on National School of Drama's 21St Bharat
    Curtain goes up on National School of Drama’s 21st Bharat Rang Mahotsav The annual theatre festival, that will open with veteran actor-director Amol Palekar’s KUSUR, will showcase a mix of Indian and international plays New Delhi, February 1: The 21st edition of the Bharat Rang Mahotsav (BRM) – the annual theatre festival organised by the National School of Drama (NSD) is all set to bring an assortment of plays, interactive sessions, and other cultural events to cheer up winter afternoons of theatre enthusiasts in the Capital. The inaugural function for BRM 2020 kick started at the Kamani auditorium with Panchvadyam — a South Indian devotional music. The dignitaries present on the occasion included Chief Guest Prof. Vidushi Rita Ganguly, eminent theatre artist and vocalist, Guest of Honour Dr. Mohan Agashe, renowned theatre and film personality andSpecial Guest Ms. Nirupama Kotru, IRS, Joint Secretary, Ministry of Culture, Govt. of India among others. The function was presided over byDr. Arjun Deo Charan, Acting Chairman, NSD Society. Prof. Suresh Sharma, Director In-charge, National School of Drama, welcomed the guest at the inaugural function and appreciated all the participants from National & International theatre fraternity who came all across. Also, he specially expressed his gratitude to the Actor Amol Palekar who came & graced the occasion by presenting his play at the inauguration ceremony. He also said through the years, Bharat Rang Mahotsav has presented some masterpieces from the world of theatre. The idea is to reach out to a much wider set of audiences with works from post-modern and regional theatre. We hope to highlight the importance of theatre and plays and promote the culture of appreciating various forms of performing arts.
    [Show full text]
  • Nandan Gupta. `Prak-Bibar` Parbe Samaresh Basu. Nimai Bandyopadhyay
    BOOK DESCRIPTION AUTHOR " Contemporary India ". Nandan Gupta. `Prak-Bibar` Parbe Samaresh Basu. Nimai Bandyopadhyay. 100 Great Lives. John Cannong. 100 Most important Indians Today. Sterling Special. 100 Most Important Indians Today. Sterling Special. 1787 The Grand Convention. Clinton Rossiter. 1952 Act of Provident Fund as Amended on 16th November 1995. Government of India. 1993 Vienna Declaration and Programme of Action. Indian Institute of Human Rights. 19e May ebong Assame Bangaliar Ostiter Sonkot. Bijit kumar Bhattacharjee. 19-er Basha Sohidera. Dilip kanti Laskar. 20 Tales From Shakespeare. Charles & Mary Lamb. 25 ways to Motivate People. Steve Chandler and Scott Richardson. 42-er Bharat Chara Andolane Srihatta-Cacharer abodan. Debashish Roy. 71 Judhe Pakisthan, Bharat O Bangaladesh. Deb Dullal Bangopadhyay. A Book of Education for Beginners. Bhatia and Bhatia. A River Sutra. Gita Mehta. A study of the philosophy of vivekananda. Tapash Shankar Dutta. A advaita concept of falsity-a critical study. Nirod Baron Chakravarty. A B C of Human Rights. Indian Institute of Human Rights. A Basic Grammar Of Moden Hindi. ----- A Book of English Essays. W E Williams. A Book of English Prose and Poetry. Macmillan India Ltd.. A book of English prose and poetry. Dutta & Bhattacharjee. A brief introduction to psychology. Clifford T Morgan. A bureaucrat`s diary. Prakash Krishen. A century of government and politics in North East India. V V Rao and Niru Hazarika. A Companion To Ethics. Peter Singer. A Companion to Indian Fiction in E nglish. Pier Paolo Piciucco. A Comparative Approach to American History. C Vann Woodward. A comparative study of Religion : A sufi and a Sanatani ( Ramakrishana).
    [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]