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Harkishan Lall 1921-2000
185 In Remembrance In Remembrance Mulk Raj Anand 1905-2004 Mulk – A Dear Friend As I pen this name, Mulk Raj Anand, (Mulk as we called him) a number of images flash across my mind. Was he a man or was he a phenomenon? One thing can be said for certain: he lived his life on his own terms – I wonder why God deprived him of completing his century of life? I had the good fortune of being his personal friend. I cannot remember how it happened but this friendship propelled me into a spate of opportunities to be with him when he met the big and mighty and when he walked to feel the weak and lowly of the society. Whenever he came to Chandigarh, he always found time to turn up in my humble residence, perch himself on his favourite seat in the drawing room, the place of prominence from where he could preside over everybody in the room. Immediately on entering, he would start dilating on the topic he had been ruminating over in his mind, and the knowledge would flow through his vocal chords ceaselessly punctuated with many expletives, and telling everybody how unconcerned they all were about the evils of society and about the lack of positive action on their part. He often asked me, why don’t I write a book on Chandigarh and why don’t I write papers and so on. I did pen a booklet – Chandigarh, a presentation in free verse – and he listened to it with great patience and said ‘we shall publish it via Marg Publications’. -
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. -
Revival of Punjabi Cinema - Understanding the Dynamics Dr Simran Sidhu Assistant Professor & Head P.G
Global Media Journal-Indian Edition; Volume 12, Issue 2; December 2020.ISSN:2249-5835 Revival of Punjabi cinema - Understanding the dynamics Dr Simran Sidhu Assistant Professor & Head P.G. Dept. of Journalism and Mass Communication Doaba College, Jalandhar Abstract The Punjabi film industry is currently in its growth stage. The Punjabis in the Diasporas gave a new dimension to the Punjabi identity. It has brought a massive boost in the cinema and film music. Pollywood in the North Indian film industry is commercial and art cinema Punjabi is in its initial stage. Producers target just clientele and seldom take the risk. Crisp comedy films overpower an experiment in production, rare themes and different genres. The research did a descriptive analysis with the support of unstructured and semi- structured interviews of producers, actors, and Pollywood directors. The research also explores the need and importance of film institute and film clubs to sensitize the Punjabi audiences regarding the film as a medium, film grammar, and aesthetics. The research also focused on the marketing trends and the vital role of social media in multiplexes' age. Pollywood also lacks in skills and availability of high-end studios for post-production. Indirect taxes and expensive multiplex as a hindrance to attracting rural audiences to remote areas in Punjab. Keywords: Pollywood, Diasporas, multiplex, approach, revival. Introduction Punjab of North India is the most fertile land it also called Sapta Sindhu in 'Vedas'. Agriculture is the main occupation in Punjab. Hard working Punjabis as community adapt to changing condition and adjust a lot faster than others. A considerable amount of literature and Vedas originated in Punjab. -
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). -
Singh, Prof. Rawail
Faculty Details proforma for DU Web-site (PLEASE FILL THIS IN AND Email it to [email protected] and cc: [email protected] Title Dr. First Name Rawail Last Name Singh Photograph Designation Professor Address G-I, 2nd Floor, South Extn. Part- II, New Delhi - 110049 Phone No Office 27666621 Residence 41314187 Mobile 9212021195 Email [email protected] Web-Page https://en.wikipedia.org/wiki/Rawail_Singh Educational Qualifications Degree Institution Year M.A. (Punjabi) Guru Nanak Dev University, Amritsar 1978 Ph.D Punjabi University, Patiala 1999 Career Profile Worked as Assistant Secretary Punjabi academy, Govt, Of NCT of Delhi Worked As Newsreader (Punjabi) in All India Radio Worked as Secretary, Punjabi Academy, Government of NCT of Delhi Joined Delhi University as Professor of Punjabi on 9th May, 2014 Administrative Experience Having vast experience of 35 years in general administration as well as academic administration. Administrative Assignments 1. Nominated as Member, Governing Council (Vice Chancellor’s Nominee), SGND Khalsa College, University of Delhi. 2. Nominated as Member, Governing Council (Vice Chancellor’s Nominee), Mata Sundri College, University of Delhi. 3. Nominated as a member NET Examination Committee By CBSE 4. Nominated as a Expert By UGC For grant of major research projects and Emeritus Fellowship 5. Appointed as Subject expert of language faculty by Punjabi University, Patiala Areas of Interest / Specialization Folk Drama and Dramatic Studies Media Studies and Cinema Analysis Folklore Studies Medieval Literature Subjects Taught Folk Drama and Dramatic Studies Media Studies and Cinema Analysis Folklore Studies Medieval Literature Research Guidance Supervisor of Awarded Doctoral Thesis :- 1. -
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. -
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. -
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. -
00 Theatre Cover
Unit - 1 Medieval Indian literature was glorious, but it was an Learning Objectives: The learner would be era of devotional poetry, which was a little able to: indifferent to secular representation of life on stage. Know about the various personalities After the 10th century, Sanskrit drama lost its tenor who helped in the growth of drama as no longer strived through symbol and gesture to literature. realize the truth behind human experience. Religious Know about the theatre scene after and social taboos against such forms of entertainment independence was also responsible for the decline of Indian theatre, Know in detail about the contributions of: and, therefore, drama remained in a state of oblivion. Bhartendu Harish Chandra Rabindranath Tagore However, folk plays continued to entertain the Vijay Tendulkar audience. Mohan Rakesh Dharamveer Bharati Badal Sarkar Girish Karnad Dr. Shankar Shesh Know the details of some prominent plays: Andheri Nagari Chaupat Raja. Dak Ghar. Ghashiram Kotwal. Adhe Adhure. Andhayug. Evam Indrajit. Hayavadana. With the advent of the modern period and the impact Understand the importance of various of western literature, drama took a new turn and art and cultural institutions which developed as a form of literature. The Parsi theatre, played an important role in progress around 1850, started staging plays based on Indian of Indian theatre namely: mythology, history and legends. The troupes, were The Sangeet Natak Academy National School of Drama travelling to different parts of the country, and made Zonal Cutural Centers a tremendous impact on their audience. Agha Hashr Acknowledge the works of major theatre (1880-1931) was an important playwright of the Parsi practitioners, who revolutionised Modern theatre. -
Ludwig-Maximilians-University Munich Journal of Global Theatre
Ludwig-Maximilians-University Munich Journal of Global Theatre History Translocating Theatre History Editors Christopher Balme and Nic Leonhardt Vol. 2, No. 1, 2017 Editorial Office Gwendolin Lehnerer Editorial Board Derek Miller (Harvard), Helen Gilbert (Royal Holloway London) Stanca Scholz-Cionca (Trier/Munich), Kati Röttger (Amsterdam) Marlis Schweitzer (York University, Toronto) Roland Wenzlhuemer (Heidelberg), Gordon Winder (Munich) Published under the Creative Commons License CC-BY 4.0 All rights reserved by the Authors Journal of Global Theatre History Vol. 2, No. 1, 2017 Table of Contents Nic Leonhardt Editorial .......................................................................................................................................III–IV Danijela Weber-Kapusta Travelling Theatre Companies and Transnational Audiences. A Case Study of Croatia in the Nineteenth Century ..........................................................................................................................................1–21 Laurence Senelick Musical Theatre as a Paradigm of Translocation .......................................................................................................................................22–36 Viviana Iacob Caragiale in Calcutta: Romanian-Indian Theatre Diplomacy during the Cold War .......................................................................................................................................37–46 Table of Contents II Journal of Global Theatre History ISSN: 2509-6990 Vol. 2,