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Freedom in West Bengal Revised
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchArchive at Victoria University of Wellington Freedom and its Enemies: Politics of Transition in West Bengal, 1947-1949 * Sekhar Bandyopadhyay Victoria University of Wellington I The fiftieth anniversary of Indian independence became an occasion for the publication of a huge body of literature on post-colonial India. Understandably, the discussion of 1947 in this literature is largely focussed on Partition—its memories and its long-term effects on the nation. 1 Earlier studies on Partition looked at the ‘event’ as a part of the grand narrative of the formation of two nation-states in the subcontinent; but in recent times the historians’ gaze has shifted to what Gyanendra Pandey has described as ‘a history of the lives and experiences of the people who lived through that time’. 2 So far as Bengal is concerned, such experiences have been analysed in two subsets, i.e., the experience of the borderland, and the experience of the refugees. As the surgical knife of Sir Cyril Ratcliffe was hastily and erratically drawn across Bengal, it created an international boundary that was seriously flawed and which brutally disrupted the life and livelihood of hundreds of thousands of Bengalis, many of whom suddenly found themselves living in what they conceived of as ‘enemy’ territory. Even those who ended up on the ‘right’ side of the border, like the Hindus in Murshidabad and Nadia, were apprehensive that they might be sacrificed and exchanged for the Hindus in Khulna who were caught up on the wrong side and vehemently demanded to cross over. -
Annual Bulletin
Director / President's Note Since 2004, Purba Paschim beginning to roll, the philosophical base has been leading us in making better productions, arranging theatre workshops, seminar, exhibition, social awareness with our artists, members along with reputed theatre personalities, artistes, writers of fame, who have been interacted with us. Apart, every year we are publishing an Annual Theatre Magazine with rich contents and photographs. We also have been able to hold the Twelveth Annual Theatre Festival in November 2019. We are happy to revive this year one of our remarkable production ‘Potol Babu Film Star’ and this production had visited Darshana, Bangladesh in Anirban Theatre Festival along with other shows. It is needless to mention that with the revival of this production we have been able to perform more than 180 shows till it's first premiere a decade ago. Moreover, our regular productions 'Ek Mancha Ek Jibon' and 'Athoijol' have simultaneously been performed in different stages both from our end and also invitation. We have invited Mr Manish Mitra, to prepare a workshop based production involving our talents ‘O' Rom Mone Hoi’ and it also have been successfully staged and performed 11 shows. Purba Paschim have been invited in various theatre festival in different states of the country and different parts of West Bengal, amongst Paschimbanga Natya Academy. The most vital thing of our group is getting an invitation to prepare a special production on the Bi Centenary of Iswar Chandra Vidyasagar specially his meeting with Sri Ramakrishna Dev. Eastern Zonal Cultural Centre invited Purba Paschim and ‘ Yugo Drashta’ (Man of the Epoch) written by Ujjwal Chattopadhyay and directed by Soumitra Mitra was staged at EZCC auditorium in Kolkata. -
S Play: Bhanga Bhanga Chhobi
Girish Karnad’s Play: Bhanga Bhanga Chhobi Playwright: Girish Karnad Translator: Srotoswini Dey Director: Tulika Das Group: Kolkata Bohuswar, Kolkata Language: Bengali Duration: 1 hr 10 mins The Play The play opens with Manjula Ray in a television studio, giving one of her countless interviews. Manjula is a successful Bengali writer whose first novel in English has got favourable reviews from the West. She talks about her life and her darling husband Pramod, and fondly reminisces about Malini, her wheel-chair bound sister. After the interview, Manjula is ready to leave the studio but is confronted by an image. Gradually Manjula starts unfolding her life showing two facets of the same character. The conversations between the character on stage and the chhaya-murti go on and Manjula peels layer after layer, revealing raw emotions and complexities of the relationship between Manjula, Promod and Malini. We can relate to both Manjula and Malini… all of us being flawed in some way or the other, and that’s what makes us human. Director’s Note I wanted to explore the text of Girish Karnad’s Broken Images with my own understanding of Manjula, the lady portraying two facets of the same character. Despite all her shortcomings and flaws, she did not degenerate into a stereotypical vamp. Although she had made unforgivable mistakes, wasn’t there enough reason for her to exercise duplicity and betrayal? I found myself asking this question and wanting to see the larger picture through another prism. It has taken years for the Bengali stage to come up with an adaptation of the 2004 play. -
Resume of DR. JYOTI PROSAD ROY
Resume of DR. JYOTI PROSAD ROY Dr. JYOTI PROSAD ROY Professor, Department of Bengali Cooch Behar Panchanan Barma University,Vivekananda Street, Cooch Behar-736101, West Bengal, Contact No : +91-8944819046 Email : [email protected] Name Sri Jyoti Prosad Roy Personal Name : Sri Jyoti Prosad Roy Information Father’s Name : Late Bimal Roy Mother’s Name : Smt. Niharika Roy Present Address : Professor, Department of Bengali, Cooch Behar Panchanan Barma University, Cooch Behar-736101. Permanent Address : B.G. Apartment, 5th Floor, Flat-A, P.O+Distric:Cooch Behar, Pin- 736101,West Bengal, India. Date of Birth : October 17, 1971 Religion : Hindu Blood Group : O+ Nationality : Indian (By Birth) Marital Status : Married Designation Professor Department Department of Bengali, Cooch Behar Panchanan Barma University Faculty Arts And Humanity Academic M.A. (Calcutta University), Qualification B.Ed (Calcutta University), NET(UGC), Ph. D. (Burdwan University) D. Lit. (Ranchi University, Yet to final submission) Teaching Area The theme and crafts of Modern Bengali Literature, especially in (field of 20th Century. specialization) Research Modern Bengali Fiction & Non-fiction, Literary Theory and Literary movement in Area: modern Bengali literature, 20th Century War Literature, Relation between Nature, Art and Culture in Literature etc. 1 Books List of publications: I. Baren Basu’r Samar Natak : ‘Chhauni’ (20th Century War Drama of Soldier-writer Baren Basu, A Research Book), Rritabak Publication, Kolkata, 2020. ISBN : 978-81-944223-4-1 II. Kamal (Kumar) Mazumdar O Bilupta ‘Ushnish’ Patrika (Kamal Kumar Mazumdar : Discover his early stage unknown writings and outlook as an Editor, A research Book), Dargaroad Publication, Kolkata, 2017. ISBN :978-93-5126-860-4 III. -
Hindi Theater Is Not Seen in Any Other Theatre
NATYA SHODH SANSTHAN DISCUSSION ON HINDI THEATRE FROM THE COLLECTIONS OF NATYA SHODH SANSTHAN AUDIO LIBRARY THE PRESENT SCENARIO OF HINDI THEATRE IN CALCUTTA ON th 15 May 1983 AT NATYA SHODH SANSTHAN PARTICIPANTS PRATIBHA AGRAWAL, SAMIK BANDYOPADHYAY, SHIV KUMAR JOSHI, SHYAMANAND JALAN, MANAMOHON THAKORE SHEO KUMAR JHUNJHUNWALA, SWRAN CHOWDHURY, TAPAS SEN, BIMAL LATH, GAYANWATI LATH, SURESH DUTT, PRAMOD SHROFF NATYA SHODH SANSTHAN EE 8, SECTOR 2, SALT LAKE, KOLKATA 91 MAIL : [email protected] Phone (033)23217667 1 NATYA SHODH SANSTHAN Pratibha Agrawal We are recording the discussion on “The present scenario of the Hindi Theatre in Calcutta”. The participants include – Kishen Kumar, Shymanand Jalan, Shiv Kumar Joshi, Shiv Kumar Jhunjhunwala, Manamohan Thakore1, Samik Banerjee, Dharani Ghosh, Usha Ganguly2 and Bimal Lath. We welcome all of you on behalf of Natya Shodh Sansthan. For quite some time we, the actors, directors, critics and the members of the audience have been appreciating and at the same time complaining about the plays that are being staged in Calcutta in the languages that are being practiced in Calcutta, be it in Hindi, English, Bangla or any other language. We felt that if we, the practitioners should sit down and talk about the various issues that are bothering us, we may be able to solve some of the problems and several issues may be resolved. Often it so happens that the artists take one side and the critics-audience occupies the other. There is a clear division – one group which creates and the other who criticizes. Many a time this proves to be useful and necessary as well. -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
Badal Sircar
Badal Sircar Scripting a Movement Shayoni Mitra The ultimate answer [...] is not for a city group to prepare plays for and about the working people. The working people—the factory workers, the peasants, the landless laborers—will have to make and perform their own plays. [...] This process of course, can become widespread only when the socio-economic movement for emancipation of the working class has also spread widely. When that happens the Third Theatre (in the context I have used it) will no longer have a separate function, but will merge with a transformed First Theatre. —Badal Sircar, 23 November 1981 (1982:58) It is impossible to discuss the history of modern Indian theatre and not en- counter the name of Badal Sircar. Yet one seldom hears his current work talked of in the present. How is it that one of the greatest names, associated with an exemplary body of dramatic work, gets so easily lost in a haze of present-day ignorance? While much of his previous work is reverentially can- onized, his present contributions are less well known and seldom acknowl- edged. It was this slippage I set out to examine. I expected to find an ailing man reminiscing of past glories. I was warned that I might find a cynical per- son, an incorrigible skeptic weary of the world. Instead, I encountered an in- domitable spirit walking along his life path looking resolutely ahead. A kind old man who drew me a map to his house and saved tea for me in a thermos. A theatre person extraordinaire recounting his latest workshop in Laos, devis- ing how to return as soon as possible. -
Satabarshe Sombhu Mitra
Satabarshe Sombhu Mitra UGC Sponsored National Seminar on the Life and Work of Sombhu Mitra Organised by The Bengali and the English Departments of Chandraketugarh Sahidullah Smriti Mahavidyalaya In Collaboration With The Bengali Department of Amdanga Jugalkishore Mahavidyalaya From 22-8-2015 to 23-8-2015 At ‘Uttaran’, B.D.O Office, Deganga Block Debalaya (Berachampa) 743424 Call for Paper It is indeed difficult to overstate the influence of Sombhu Mitra on both the modern Bengali group theatre and the commercial theatres alike. If Nabannna, which came out in 1948 broke new grounds in many ways, Char Adhyay {1951) followed by Raktakarabi (1954), Bisarjan (1961) and Raja (1964) showed the way in which a Tagore play, hitherto widely denounced as unstageable because of its abstractions, can be performed with success on stage without making any substantial departure from the source. While through Tagore’s plays, he was trying to find an expression of the complete man in all contexts of history, Mitra’s Dashachakra (1952) and Putul Khela (1958), adaptations of Ibsen’s An Enemy of the People and Doll’s House, being specimens of the earliest such adaptations for the modern stage, clearly contributed among other playwrights to resist any tendency of cultural insularity of the Bengali stage, though suiting the themes for the dominantly middle class Bengali audience. His translation of Sophocles for the first time for the Bengali stage created new interest in classical drama and set the stage for many such future adaptations. Mitra was always aware of the potentialities of the indigenous forms of drama and Chand Boniker Pala (1978), which was written at a later phase of his life and was meant more for audio presentation than for the stage, takes up a well known story from a Mangalkavya and treats it with a subliminal intertextual link with the Orpheus theme to lend it with themes and motifs at once contemporaneous and eternal for all ages and all times. -
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. -
ABP Circulation Sales
Weathering the storm Playing for victory 1 Agenda Context Strategy and initiatives Impact 2 Agenda Context Strategy and initiatives Impact 3 ABP – a leading multimedia group in India Television Channels Dailies Radio Training institute Digital Bengali magazines English magazine Publishing 4 Print has been the mainstay of the group • 2 Bengali Dailies and 1 English Daily • Readership of over 7 million per day • 60% market share 5 Print advertising revenues have been under pressure Print advertising revenues, $ billion 3.1 . Advertising revenue growth 2.1 over the last 5 years: 7.7% CAGR . Inflation: 7-8% 2011-12 2016-17 Source: FICCI, KPMG Media report 2017 6 Circulation sales has remained flat Circulation sales, Million copies per day . Circulation sales 2.5 2.3 CAGR over 5 years: 1-1.5% only . Largely driven by new entrants and duplicated buying . Otherwise marginally declining market 2011 2016 Source: Audit Bureau of Circulation, India 7 Agenda Context Strategy and initiatives Impact 8 4 Strategic initiatives to weather the storm 1. Compress costs by making operations lean 2. Renew and reinvent core print operations 3. Establish leadership position in TV business 4. Invest meaningfully in digital for the future 9 4 Strategic initiatives to weather the storm 1. Compress costs by making operations lean 2. Renew and reinvent core print operations 3. Establish leadership position in TV business 4. Invest meaningfully in digital for the future 10 Lean operations FTE rationalization • Productivity and 3000 25% process improvement 2300 • Senior level restructuring • Role restructuring Before After • Process automation rationalization rationalization 11 Organizational changes 1. -
SEAGULL Theatre QUARTERLY 244 Theatrelog Issue 29/30 Jun 2001 Acknowledgements
2 Acknowledgements 3 Introduction 7 ‘My kind of theatre is for the people’ KUMAR ROY 37 ‘And through the poetry we found a new direction’ SHYAMAL GHO S H 59 Minority Culture, Universal Voice RUDRAPRA S AD SEN G UPTA 81 ‘A different kind of confidence and strength’ Editor AS IT MU K HERJEE Anjum Katyal Editorial Consultant Samik Bandyopadhyay 99 Assistants Falling in Love with Theatre Paramita Banerjee ARUN MU K HERJEE Sumita Banerjee Sudeshna Banerjee Sunandini Banerjee 109 Padmini Ray Chaudhury ‘Your own language, your own style’ Vikram Iyengar BI B HA S H CHA K RA B ORTY Design Sunandini Banerjee 149 Photograph used on cover © Nemai Ghosh ‘That tiny cube of space’ MANOJ MITRA 175 ‘A theatre idiom of my own’ AS IT BO S E 197 The Totality of Theatre NIL K ANTHA SEN G UPTA 223 Conversations Published by Naveen Kishore 232 for The Seagull Foundation for the Arts, Appendix I 26 Circus Avenue, Calcutta 700017 Notes on Classic Playtexts Printed at Laurens & Co. 9 Crooked Lane, Calcutta 700 069 234 Appendix II Notes on major Bengali Productions 1944 –-2000 S T Q SEAGULL THeatRE QUARTERLY 244 Theatrelog Issue 29/30 Jun 2001 Acknowledgements Most of the material collected for documentation in this issue of STQ, had already been gathered when work for STQ 27/28 was in progress. We would like to acknowledge with deep gratitude the cooperation we have received from all the theatre directors featured in this issue. We would especially like to thank Shyamal Ghosh and Nilkantha Sengupta for providing a very interesting and rare set of photographs; Mohit Chattopadhyay, Bibhash Chakraborty and Asit Bose for patiently answering our queries; Alok Deb of Pratikriti for providing us the production details of Kenaram Becharam; Abhijit Kar Gupta of Chokh, who has readily answered/ provided the correct sources. -
Cultural Filigree
Cultural Filigree By Riffat Farjana ID: 10308018 Seminar II Submitted in partial fulfillment of the requirements For the degree of Bachelor of Architecture Department of Architecture BRAC University " — । , , — । ? - । । " ----------- Abstract Abstract " , । । , " ---- The project has been developed by connecting different urban cultural corridors by bringing the life and energy into the center of the city Bogra by making the 100 years old park more greener and more accommodating by active and passive participation of the users. The project can be described as a "PAST in the FUTURE" , a proper balance between nature and culture. The project is a raw interface between building and landscape where people and plan co-exist and can share the same surface at the same time creates a clear system of interaction between nature and the city. The project provides an opportunity to level the city at the same time be more closer to it. where the nature provides an unexpected contrast to the city keeping balance with the culture. Acknowledgement Acknowledgement I would like to begin by thanking almighty Allah for his mercy and for fulfilling all my wishes in life. All the grace to Allah for everything I have achieved till now. Again, I am thankful to Almighty for blessing me with a beautiful life with some people, who always guide me when I needed most ,in the form of my Abbu and Ammu to whom I am always thankful for their support , sacrifices and blessings , in the form of my Nanu (late Dr. Nurul Islam Chowdhury) to whom I am thankful for his blessings and for always being proud of me, even in times, when I didn‘t deserve such faith.