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Volume 1 on Stage/ Off Stage
lives of the women Volume 1 On Stage/ Off Stage Edited by Jerry Pinto Sophia Institute of Social Communications Media Supported by the Laura and Luigi Dallapiccola Foundation Published by the Sophia Institute of Social Communications Media, Sophia Shree B K Somani Memorial Polytechnic, Bhulabhai Desai Road, Mumbai 400 026 All rights reserved Designed by Rohan Gupta be.net/rohangupta Printed by Aniruddh Arts, Mumbai Contents Preface i Acknowledgments iii Shanta Gokhale 1 Nadira Babbar 39 Jhelum Paranjape 67 Dolly Thakore 91 Preface We’ve heard it said that a woman’s work is never done. What they do not say is that women’s lives are also largely unrecorded. Women, and the work they do, slip through memory’s net leaving large gaps in our collective consciousness about challenges faced and mastered, discoveries made and celebrated, collaborations forged and valued. Combating this pervasive amnesia is not an easy task. This book is a beginning in another direction, an attempt to try and construct the professional lives of four of Mumbai’s women (where the discussion has ventured into the personal lives of these women, it has only been in relation to the professional or to their public images). And who better to attempt this construction than young people on the verge of building their own professional lives? In learning about the lives of inspiring professionals, we hoped our students would learn about navigating a world they were about to enter and also perhaps have an opportunity to reflect a little and learn about themselves. So four groups of students of the post-graduate diploma in Social Communications Media, SCMSophia’s class of 2014 set out to choose the women whose lives they wanted to follow and then went out to create stereoscopic views of them. -
Prospectus 2017-18
PROSPECTUS 2017 National School of Drama (an Autonomous institution of the Ministry of Culture, Govt. of India) Sikkim Theatre Training Centre Nepali Sahitya Parishad Bhawan Development Area Gangtok, Sikkim 737101 NATIONAL SCHOOL OF DRAMA Ph - 03592 201010 [email protected] http://sikkim.nsd.gov.in SIKKIM THEATRE TRAINING CENTRE 2 NSD 4 Former Chairpersons Directors & 6 NSD Chairman 7 NSD Director 9 Centre Incharge 10 NSD, STTC 11 Camp Director 12 Vision & Objectives 13 Subject of study 14 Syllabus 16 Epigrammatic Report From April 2016 to March 2017 20 List of Visiting Faculty 22 Admission Related Matters 24 General Information 26 Centre Festivals 28 Administrative & Technical Staff 30 Repertory Company 32 How to reach 2 NSD 4 Former Chairpersons Directors & 6 NSD Chairman 7 NSD Director 9 Centre Incharge 10 NSD, STTC 11 Camp Director 12 Vision & Objectives 13 Subject of study 14 Syllabus 16 Epigrammatic Report From April 2016 to March 2017 20 List of Visiting Faculty 22 Admission Related Matters 24 General Information 26 Centre Festivals 28 Administrative & Technical Staff 30 Repertory Company 32 How to reach NATIONAL SCHOOL OF DRAMA NEW DELHI The National School of Drama is one of the foremost theatre training institutions in the world and the only 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 the Societies Registration Act XXI of 1860, fully financed by the Ministry of Culture, Government of India. The School offers an intensive and comprehensive three-year course of training in theatre and the allied arts. -
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'. -
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). -
PG IG SGC-2015-16-Website Selection.Xlsx
list of Selected Candidates for the award of Post Graduate Indira Gandhi Scholarship for Single Girl Child for the academic session 2015-16 Father's Mother's PG College/University Recommedation S.No. Candidate ID Name of applicant State Subject of the Expert Name Name Degree Name Committee Human Genetics SGC-OBC-2015-16- Andaman and 1 NUZHAT UMRAN UMRAN ALI NOOR JAHAN M.Sc. & Molecular Bharathiar University Awarded 39593 Nicobar Islands Biology SGC-GEN-2015-16- ANAPAREDDY ANAPAREDDY MONTESSORI MAHILA 2 ANAPAREDDY SYAMALA Andhra Pradesh M.Sc. MATHEMATICS Awarded 30849 RATHAIAH AKKAMMA KALASALA SGC-OBC-2015-16- SRI KRISHNADEVARAYA 3 B PRAMEELA B MADDILETI B ADILAKSHMAMMA Andhra Pradesh M.Sc. ZOOLOGY Awarded 34803 UNIVERSITY SGC-OBC-2015-16- BALAKA BALAKA BHAGYA 4 BALAKA SARANYA Andhra Pradesh M.Sc. BOTANY ANDHRA UNIVERSITY Awarded 35010 SEETHARAMAMURTY LAKSHMI SGC-OBC-2015-16- BEZAWADA BEZAWADA LAKSHMI ELECTRONICS AND 5 BEZAWADA MADHAVI Andhra Pradesh M.Sc. ANDHRA UNIVERSITY Awarded 40632 YEDUKONDALU KUMARI INSTRUMENTATION SGC-OBC-2015-16- BONU PRASANTHI 6 BONU APPALANAIDU BONU PARVATHI Andhra Pradesh M.Sc. TECH GEOPHYSICS ANDHRA UNIVERSITY Awarded 35949 KUMARI SGC-OBC-2015-16- C MURALI MOHAN 7 CHENNA MOUNA C ANANTHA LAKSHMI Andhra Pradesh M.Sc. MATHEMATICS SPMVV Awarded 31979 RAO SGC-OBC-2015-16- CHENNAM DHANA Acharya Nagarjuna 8 CHENNAM PRIYANKA CHENNAM SURIBABU Andhra Pradesh M.Com. commerce Awarded 31461 LAKSHMI University SMT.GENTELA SGC-OBC-2015-16- CHEVIRALA CHEVIRALA 9 CHEVIRALA ANUSHA Andhra Pradesh M.Sc. PHYSICS SAKUNTALAMMA Awarded 32027 VENKATESWARARAO KALAVATHI COLLEGE Chaitanya SGC-OBC-2015-16- CHIRUMALLA 10 CHIRUMALLA HARITHA SAROJANA Andhra Pradesh M.Sc. -
Alphabetical List of Recommendations Received for Padma Awards - 2014
Alphabetical List of recommendations received for Padma Awards - 2014 Sl. No. Name Recommending Authority 1. Shri Manoj Tibrewal Aakash Shri Sriprakash Jaiswal, Minister of Coal, Govt. of India. 2. Dr. (Smt.) Durga Pathak Aarti 1.Dr. Raman Singh, Chief Minister, Govt. of Chhattisgarh. 2.Shri Madhusudan Yadav, MP, Lok Sabha. 3.Shri Motilal Vora, MP, Rajya Sabha. 4.Shri Nand Kumar Saay, MP, Rajya Sabha. 5.Shri Nirmal Kumar Richhariya, Raipur, Chhattisgarh. 6.Shri N.K. Richarya, Chhattisgarh. 3. Dr. Naheed Abidi Dr. Karan Singh, MP, Rajya Sabha & Padma Vibhushan awardee. 4. Dr. Thomas Abraham Shri Inder Singh, Chairman, Global Organization of People Indian Origin, USA. 5. Dr. Yash Pal Abrol Prof. M.S. Swaminathan, Padma Vibhushan awardee. 6. Shri S.K. Acharigi Self 7. Dr. Subrat Kumar Acharya Padma Award Committee. 8. Shri Achintya Kumar Acharya Self 9. Dr. Hariram Acharya Government of Rajasthan. 10. Guru Shashadhar Acharya Ministry of Culture, Govt. of India. 11. Shri Somnath Adhikary Self 12. Dr. Sunkara Venkata Adinarayana Rao Shri Ganta Srinivasa Rao, Minister for Infrastructure & Investments, Ports, Airporst & Natural Gas, Govt. of Andhra Pradesh. 13. Prof. S.H. Advani Dr. S.K. Rana, Consultant Cardiologist & Physician, Kolkata. 14. Shri Vikas Agarwal Self 15. Prof. Amar Agarwal Shri M. Anandan, MP, Lok Sabha. 16. Shri Apoorv Agarwal 1.Shri Praveen Singh Aron, MP, Lok Sabha. 2.Dr. Arun Kumar Saxena, MLA, Uttar Pradesh. 17. Shri Uttam Prakash Agarwal Dr. Deepak K. Tempe, Dean, Maulana Azad Medical College. 18. Dr. Shekhar Agarwal 1.Dr. Ashok Kumar Walia, Minister of Health & Family Welfare, Higher Education & TTE, Skill Mission/Labour, Irrigation & Floods Control, Govt. -
Issn 2454-859 Issn 2454-8596
ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal HISTROY OF GUJRATI DRAMA (NATAK) Dr. jignesh Upadhyay Government arts and commerce college, Gadhada (Swamina), Botad. Volume.1 Issue 1 August 2015 Page 1 ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal HISTROY OF GUJRATI DRAMA (NATAK) The region of Gujarat has a long tradition of folk-theatre, Bhavai, which originated in the 14th-century. Thereafter, in early 16th century, a new element was introduced by Portuguese missionaries, who performed Yesu Mashiha Ka Tamasha, based on the life of Jesus Christ, using the Tamasha folk tradition of Maharashtra, which they imbibed during their work in Goa or Maharashtra.[1] Sanskrit drama was performed in temple and royal courts and temples of Gujarat, it didn't influence the local theatre tradition for the masses. The era of British Raj saw British officials inviting foreign operas and theatre groups to entertain them, this in turn inspired local Parsis to start their own travelling theatre groups, largely performed in Gujarati.[2] The first play published in Gujarati was Laxmi by Dalpatram in 1850, it was inspired by ancient Greek comedy Plutus by Aristophanes.[3] In the year 1852, a Parsi theatre group had performed a Shakespearean play in Gujarati language in the city of Surat. In 1853, Parsee Natak Mandali the first theatre group of Gujarati theatre was founded by Framjee Gustadjee Dalal, which staged the first Parsi-Gujarati play,Rustam Sohrab based on the tale of Rostam and Sohrab part of the 10th-century Persian epicShahnameh by Ferdowsi on 29 October 1853, at at the Grant Road Theatre in Mumbai, this marked the begin of Gujarati theatre. -
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. -
Department of Comparative Indian Language and Literature (CILL) CSR
Department of Comparative Indian Language and Literature (CILL) CSR 1. Title and Commencement: 1.1 These Regulations shall be called THE REGULATIONS FOR SEMESTERISED M.A. in Comparative Indian Language and Literature Post- Graduate Programme (CHOICE BASED CREDIT SYSTEM) 2018, UNIVERSITY OF CALCUTTA. 1.2 These Regulations shall come into force with effect from the academic session 2018-2019. 2. Duration of the Programme: The 2-year M.A. programme shall be for a minimum duration of Four (04) consecutive semesters of six months each/ i.e., two (2) years and will start ordinarily in the month of July of each year. 3. Applicability of the New Regulations: These new regulations shall be applicable to: a) The students taking admission to the M.A. Course in the academic session 2018-19 b) The students admitted in earlier sessions but did not enrol for M.A. Part I Examinations up to 2018 c) The students admitted in earlier sessions and enrolled for Part I Examinations but did not appear in Part I Examinations up to 2018. d) The students admitted in earlier sessions and appeared in M.A. Part I Examinations in 2018 or earlier shall continue to be guided by the existing Regulations of Annual System. 4. Attendance 4.1 A student attending at least 75% of the total number of classes* held shall be allowed to sit for the concerned Semester Examinations subject to fulfilment of other conditions laid down in the regulations. 4.2 A student attending at least 60% but less than 75% of the total number of classes* held shall be allowed to sit for the concerned Semester Examinations subject to the payment of prescribed condonation fees and fulfilment of other conditions laid down in the regulations. -
"Folk" Theatre* APARNA DHARWADKER
Alternative Stages: Anti-Realism, Gender, and Contemporary Indian "Folk" Theatre* APARNA DHARWADKER I. ~'TRADlTIONAL" I~DlAN THEATRE AND TIlE STATUSOF FOLK FORl\1S n the theoretical and polemical discourses that have elaborated contemporary Indian I theatre's "encounter with tradition" since the 1960s, the notion of "tradition" usually encapsulates the full range of indigenous modes ofdrama, theatre, and performance which emerged diachronically over two millennia, but have assumed a synchronous existence in the present. Hence the term "traditional Indian theatre" signifies, in the singular or as a mass noun, the secular and classical Sanskrit drama of Kalidasa, Bhasa, and Shudraka; post classical North Indian religious forms like Ramlila and Raslila; classically-derived balletic forms like the Kathakali and Kutiyattam ofKerala; regional folk forms like the Yakshagana of Kamataka and the Bhavai of Gujarat; and intermediary-popular forms like the Nautanki of Uttar Pradesh, the Tarnasha of Maharashtra, and the Jatra of Bengal. Such promiscuity of signification is essential for maintaining the near-Manichaean and resolutely ahistorical opposition between "Indian tradition" and "Western modernity." In nativist, revivalist, or cultural-nationalist perspectives, all indigenous forms that predate colonialism or lie outside the sphere of European norms are valorized as natural, organic, and transcendent, whereas the products ofWestern influence are dismissed as artificial, derivative, and trivial. Moreo ver, such monolithic constructions ofan -
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. -
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.