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NATIONAL SCHOOL OF DRAMA (An autonomous Institute under Ministry of Culture, Govt. of India) Bahawalpur House, Bhagwan Das Road, New Delhi - 110001 INVITATION OF APPLICATIONS FOR THE POST OF DIRECTOR, NSD National School of Drama, an autonomous institution under Ministry of Culture, Govt. of India imparts teaching & training in Dramatic Arts leading to 3-year Diploma. NSD has two performing wings: (1) Repertory Company performing for adults and (2) Theatre-in-Education Company performing with and for children. To consolidate the activities of its outreach programme, NSD has established four centres at Bengaluru, Gangtok, Agartala & Varanasi which impart one year course in different aspects of theatre respectively. The Extension Programme of the NSD conducts theatre workshops of longer & shorter duration in all parts of the country to promote theatre arts. NSD invites applications from eminent persons in the field for consideration for the selection to the post of Director in Pay Level – 14 (Rs.144200-Rs.218200/- as per 7th CPC Pay Matrix) for a term of 5 years with the retirement age of 62 years. Prescribed application form and details of terms and conditions are available on NSD’s website www.nsd.gov.in. The application complete in all respect should reach to the Registrar, National School of Drama, Bahawalpur House, Bhagwan Das Road, New Delhi - 110001 by registered post or on e-mail at [email protected] latest by 20-08-2020. Registrar Note: The post of Director, NSD had been advertised in various newspapers and employment news on 27th July, 2018. On the basis of interview held on 24th and on 25th October, 2018, a panel had been recommended. However, no selection has been finally made from the panel. The post of Director, NSD is being re-advertised since the panel prepared remains valid only for one year. As per MoC letter No. 15/5/2018-Akad/6 dated 16th January, 2020 and DOP&T OM. No. AB.14017/11/2004-Estt.(RR) dated 30th July 2007, the Search cum Selection Committee may also consider the name of persons recommended in the earlier panel on 25th October, 2018. In view of above, all the candidates are requested to apply afresh. .

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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.
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Annual Report
NATIONAL SCHOOL OF DRAMA jk"Vªh; ukV~; fo|ky; ANNUAL REPORT okf"kZd çfrosnu 0 2 - 9 1 0 2 okf"kZd çfrosnu Annual Report 2019-20 Annual Report 2019-20 jk"Vªh; ukV~; fo|ky; National School of Drama Contents NSD : An Introduction 3 Organizational Set-up & Meetings during 2019-20 4 Authorities and Officers of the School 5 Director and other Teaching Staff 6 Training at the National School of Drama 7 Technical Departments 9 Library 10 Highlights 2019-20 13 Other Activities 17 Academic Activities 23 Apprentice Fellowship awarded for the academic year 2019-20 to NSD graduate 36 Students’ Productions 38 Cultural Exchange Programme (CEP) 49 Repertory Company 51 Sanskaar Rang Toli (TIE) 54 National School of Drama Extension Programme 62 RajbhashaVibhag 64 Publication Programme 66 NSD Bengaluru Centre 69 NSD Sikkim Theatre Training Centre, Gangtok 80 NSD Theatre-in-Education Centre, Agartala, Tripura 82 NSD Varanasi Centre 91 Staff strength 97 NSD Resource Position at a Glance 99 National School of Drama National School of Drama (NSD) one of the foremost theatre institutions in the world and the only one of its kind in India was set up by Sangeet Natak Akademy in 1959. Later in 1975, it became an autonomous organization, fully financed by Ministry of Culture, (MoC) Government of India. The objective of NSD is to develop suitable patterns of teaching in all branches of drama both at undergraduate and post-graduate levels so as to establish high standards of theatre education in India. After graduation, the NSD offers a theatre training programme of three years' duration.
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Theater Engagements for Muslim Voices: Arts & Ideas Include Richard III: an Arab Tragedy and Dastangoi: the Adventures of Amir Hamza
Theater engagements for Muslim Voices: Arts & Ideas include Richard III: An Arab Tragedy and Dastangoi: The Adventures of Amir Hamza Part of Muslim Voices: Arts & Ideas, a city-wide festival celebrating the extraordinary range of artistic expression in the Muslim world presented by Asia Society, BAM, and NYU Center for Dialogues Ten-day, multi-venue arts festival and conference includes artists from India, Indonesia, Iran, Kuwait, Morocco, Pakistan, Palestine, Senegal, Syria, and the U.S. New York, NY/April 30, 2009— Asia Society, BAM, and NYU Center for Dialogues announce Kuwait-based Sabab/Sulayman Al-Bassam Theatre’s Richard III: An Arab Tragedy and Dastangoi: The Adventures of Amir Hamza, featuring acclaimed film actor Naseeruddin Shah (Monsoon Wedding, League of Extraordinary Gentlemen), Mahmood Farooqui, and Daanish Hussain. The engagements comprise the theater programming for Muslim Voices: Arts & Ideas—the unprecedented ten-day festival and conference taking place June 5–14, 2009 throughout New York City. Muslim Voices: Arts & Ideas celebrates the extraordinary range of artistic expression in the Muslim world with more than 100 artists from as far away as Asia, Africa, the Middle East, and as near as Brooklyn. In addition to theater, the festival features music, films, exhibitions, talks, and other events, ranging from the traditional to the contemporary. The full festival press release and line- up can be found at www.MuslimVoicesFestival.org. Muslim Voices: Arts & Ideas June 5–14, 2009 Theater Richard III: An Arab Tragedy June 9–12 at 7:30pm BAM Harvey Theater, 651 Fulton Street, Brooklyn, NY Tickets: $25, 35, 45 at 718-636-4100 or www.BAM.org Artist Talk with Sulayman Al-Bassam, moderated by Marget Litvin June 11, post-show (free for same-day ticket holders) Adapted by Kuwait-born Sulayman Al-Bassam, this contemporary Arab version of Richard III was commissioned by the Royal Shakespeare Company as part of the 2007 Complete Works Festival.
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In Remembrance of Om Puri and Kundan Shah, the Jio MAMI 19Th Mumbai Film Festival with Star Go Down Memory Lane of Jaane Bhi Do Yaaron
In remembrance of Om Puri and Kundan Shah, the Jio MAMI 19th Mumbai Film Festival with Star go down memory lane of Jaane Bhi Do Yaaron Ranjit Kapoor, Satish Kaushik, Vidhu Vinod Chopra and Sudhir Mishra in conversation with Victor Acharya Jaane Bhi Do Yaaro screening held at PVR ECX Mumbai, 15th October: Jaane Bhi Do Yaaro is a cult comedy film which released in 1983. It is one of Kundan Shah’s notable works. MAMI brings alive the magic of Kundan Shah’s Jaane Bhi Do Yaaro in an interactive session with the team of the film. A screening of the same was hosted at PVR ECX which was followed by a Q&A where the panel comprised of Satish Kaushik, Ranjit Kapoor, Vidhu Vinod Chopra, Sudhir Mishra which was curated by Victor Acharya. The cast shared few sneak peeks and behind the scene stories of the process that went on to become one of the most celebrated films of the industry. Kundan Shah studied direction at FTII in Pune. He is the recipient of the Indira Gandhi Award for Best First Film of a Director for Jaane Bhi Do Yaaro and also the Filmfare Critics Award for Best Movie for Kabhi Haan Kabhi Naa. Om Puri was a Padma Shri recipient. He was an actor who appeared equally in mainstream and independent art films. Puri was an alumni of the National School of Drama where he pursued theatre. He took up further studies in FTII. He has won the National Award, Filmfare Award and many more to his credit.
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American Institute of Indian Studies
A M E R I C A N I NSTITUTE OF I N D I A N S T U D I E S A F F I L I A T E S P O N S O R F ORM To the Applicant: Please type. Fill in all information requested and return with your application. Applicant’s Name: ___________________________________________________________________ Project Title: ___________________________________________________________________ Affiliation with an Indian institution is required by the Government of India as a condition of issuing a project approval. ALL fellows MUST be affiliated with an Indian institution; affiliation with a degree- granting institution is required of Junior Fellows. AIIS will arrange the affiliation for all fellows. Applicants are asked to indicate their preference of institutions with which they would like to be affiliated. Attached is a list of institutions with which AIIS has made special arrangements to affiliate our fellows at no charge to the fellow. You may choose affiliation with any other institution you wish. However, some institutions charge high affiliation fees, although others, such as museums, libraries, and research institutions, may charge no fee at all. If the institution with which you wish affiliation is not among those on the list, and if it levies an affiliation fee, you will be responsible for paying it. Applicants are encouraged to include at least one of the listed institutions among their choices. Applicants should also choose affiliating institutions located in or near their main site of research. Please note that affiliation with one institution does not restrict your access to facilities elsewhere or your collaboration with scholars at other institutions.
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National School of D L School of Drama
NATIONAL SCHOOL OF D RAMA Bahawalpur House 1, Bhagwandas Road, New Delhi – 110 001 Phone : 011-23389402 Email: [email protected] , [email protected] Website : http://nsd.gov.in Chairperson : Shri Ratan Thiyam Director : Prof. Waman Kendre Registrar : Shri Ramkishan 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. It was set up by the Sangeet Natak Akademi as one of its constituent units in 1959. In 1975, it became an independent entity and was re gistered as an autonomous organization under the Societies Registration Act XXI of 1860, fully financed by the Ministry of Culture, Government of India. Training in the School is highly intensive and is based on a thorough, comprehensive, carefully planned syllabus which covers every aspect of theatre and in which theory is related to practice. As a part of their training, students are required to produce plays which are then performed before the public. The syllabus takes into account the methods of great theatre personalities who have shaped contemporary theatre in all its variety. The systematic study and practical performing experience of Sanskrit drama, modern Indian drama, traditional Indian theatre forms, Asian drama and western dramatic protocols giv e the students a solid grounding and a wide perspective in the art of theatre. Besides its 3-year training programme, the School has also explored new vistas in the areas of children’s theatre and decentralization of theatre training through workshops unde r the Extension Programme. The School has two performing wings – the Repertory Company an d Theatre-in-Education Company.
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Actress Juhi Chaturvedi (Piku) and Himanshu Announced Madrid As the Cheerfully Shared Pictures and Selfies on Spain Will Get a Better Idea About Bollywood
2 movie masala BOLLYWOOD INSIDER April 2016 April 2016 BOLLYWOOD INSIDER honor 3 IIFA hollers a “Hola!” Bollywood wins big at National Awards 2016 The Bollywood extravaganza, International Indian Film Academy Tanu Weds Manu Returns (IIFA), is heading to Madrid in Spain this June Baahubali Piku Spain,” he said. The new venue aims to reach out to the huge Latin American market for Indian films. Sonakshi said, “The event AND THE WINNERS ARE... is an excellent opportunity for us to take our cinema across the globe. Madrid is a Best Film Nargis Dutt Award for Best Feature thrilling city, and I am looking forward to Baahubali (Telugu) Film on National Integration experiencing another spectacular IIFA in Nanak Shah Fakir another amazing destination.” Best Director Andre Timmins, director, Wizcraft Sanjay Leela Bhansali (Bajirao Mastani) Indira Gandhi Award for Best Debut International, said, “This year our Best Actor Film (Director) excitement for Spain is strongly focused Amitabh Bachchan (Piku) Neeraj Ghaywan (Masaan) on the opportunity to address CSR and Best Screenplay Writer (Original) izcraft International has regale the crowd on the streets. The actors understand where we come from. By June, environmental issues.” IIFA will celebrate Best Actress Juhi Chaturvedi (Piku) and Himanshu announced Madrid as the cheerfully shared pictures and selfies on Spain will get a better idea about Bollywood. IIFA Rocks Fest; IIFA Stomp, an exhibition Kangana Ranaut (Tanu Weds Manu Returns) Sharma (Tanu Weds Manu Returns) Wofficial host of the 17th their social media accounts, soaking in the And Madrid is such a charming city—with of urban trends; and the magnificent IIFA Best Supporting Actor edition of the IIFA gala from June 23 joie de vivre of the city that is tinted in hues an explosion of sounds, colors and textures Awards.
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Chorus Rep Notes.Indd
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History of Indian Cinema.Pdf
CHAPTER – 2 A BRIEF HISTORY OF INDIAN CINEMA Indian films are unquestionably the most –seen movies in the world. Not just talking about the billion- strong audiences in India itself, where 12 million people are said to go to the cinema every day, but of large audiences well beyond the Indian subcontinent and the Diaspora, in such unlikely places as Russia, China, the Middle East, the Far East Egypt, Turkey and Africa. People from very different cultural and social worlds have a great love for Indian popular cinema, and many have been Hindi Films fans for over fifty years. Indian cinema is world – famous for the staggering amount of films it produces: the number is constantly on the increase, and recent sources estimate that a total output of some 800 films a year are made in different cities including Madrass , Bangalore , Calcutta and Hyderabad . Of this astonishing number, those films made in Bombay, in a seamless blend of Hindi and Urdu, have the widest distribution within India and Internationally. The two sister languages are spoken in six northern states and understood by over 500 million people on the Indian sub – continent alone – reason enough for Hindi and Urdu to be chosen above the fourteen official Indian languages to become the languages of Indian Popular cinema when sound came to the Indian Silver screen in 1931 . Silent Era – The cinematographe (from where we have the name cinema) invented by the Lumiere brothers functioned better the Kinetoscope of Edison and Dickson. The Lumiere brothers who invented the cinematographe started projection of short (very short, one to two minutes long) films for the Parsian public on November 28, 1895.
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The Master Playwrights and Directors
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ACTING from Well-Known German Actress Ms
May 2020 | Edition 17 Exclusive Insights Special Edition Top Actors in the Industry THE ART OF Mr. Amit Behl Mr. Salim Arif ACTING From Well-known German Actress Ms. Jacqueline Rousetty Mr. Santanu Bose Mr. Anurag sharma Special Highlights Inside Mrs. Kiran Joneja Sippy Mrs. Amala Akkineni Mr. Sharhaan Singh Mr. Viraf Patell Follow us on: www.mescindia.org Disclaimer - Media Talk Back is a non-commercial magazine covering insights of Influential Industry Experts and highlighting the opportunities for aspiring candidates/professionals. Images and Copyright content if any used in this magazine is the proprietary of relevant organisations, companies, source. They are being solely used for the purpose of transmitting information and for no monetary value. TABLE OF CONTENT History of Acting – The Origin......................................................................................... 01 Acting Techniques – Understand the Method!.............................................................. 02 How Brain Affects Acting – Get inside an actor’s mind................................................... 05 Stage v/s Screen - Know the difference between Cinema & Theatre ........................... 07 Tips for an Actor – Build, Explore and Widen your Character .......................................... 09 How to Become a Great Actor ? .................................................................................. 11 Things an Actor has control over ...............................................................,,,,,,,............ 14 Tips to
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Decolonizing the Indian Theatre
LANGUAGE IN INDIA Strength for Today and Bright Hope for Tomorrow Volume 14:4 April 2014 ISSN 1930-2940 Managing Editor: M. S. Thirumalai, Ph.D. Editors: B. Mallikarjun, Ph.D. Sam Mohanlal, Ph.D. B. A. Sharada, Ph.D. A. R. Fatihi, Ph.D. Lakhan Gusain, Ph.D. Jennifer Marie Bayer, Ph.D. S. M. Ravichandran, Ph.D. G. Baskaran, Ph.D. L. Ramamoorthy, Ph.D. C. Subburaman, Ph.D. (Economics) Assistant Managing Editor: Swarna Thirumalai, M.A. Decolonizing the Indian Theatre Bishun Kumar, Ph.D. ==================================================================== Abstract Decolonization, as a post-colonial movement, attempts to dismantle colonial effects and imperialization of weaker countries. It is a process of uprooting colonial facade coated on the valuable Indian cultural legacy with the purpose to make it invaluable. Theatre is one of the glorious legacies of India. During the freedom struggle, the seeds of decolonization were already planted by the freedom fighters such as Mahatma Gandhi, Subhash Chandra Bose, Chandrashekar Azad, etc. Gandhi’s battle cry for ‘Swadeshi’, ‘Hind Swaraj’ and ‘Quit India Movement’ strengthened the concept of decolonizing the Indian mind. Literary writers such as Tagore, Tendulkar, Karnad, Anand and Raja Rao realized the need to decolonize, re- discover and re-establish the glory of Indian culture, myths, language, religious ethos, democracy Language in India www.languageinindia.com ISSN 1930-2940 14:4 April 2014 Bishun Kumar, Ph.D. Decolonizing the Indian Theatre 42 and Indian governance, etc., and prepared an international stage for the textuality of Indian theatre. The plays of Badal Sarkar, Vijay Tendulkar, Tagore, and Karnad have dominated the world of theatre and encouraged defiance against the effects of colonialism.
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