Theatres of Resistance
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ANNIVERSARY SPECIAL Millenniumpost.In
ANNIVERSARY SPECIAL millenniumpost.in pages millenniumpost NO HALF TRUTHS th28 NEW DELHI & KOLKATA | MAY 2018 Contents “Dharma and Dhamma have come home to the sacred soil of 63 Simplifying Doing Trade this ancient land of faith, wisdom and enlightenment” Narendra Modi's Compelling Narrative 5 Honourable President Ram Nath Kovind gave this inaugural address at the International Conference on Delineating Development: 6 The Bengal Model State and Social Order in Dharma-Dhamma Traditions, on January 11, 2018, at Nalanda University, highlighting India’s historical commitment to ethical development, intellectual enrichment & self-reformation 8 Media: Varying Contours How Central Banks Fail am happy to be here for 10 the inauguration of the International Conference Unmistakable Areas of on State and Social Order 12 Hope & Despair in IDharma-Dhamma Traditions being organised by the Nalanda University in partnership with the Vietnam The Universal Religion Buddhist University, India Foundation, 14 of Swami Vivekananda and the Ministry of External Affairs, Government of India. In particular, Ethical Healthcare: A I must welcome the international scholars and delegates, from 11 16 Collective Responsibility countries, who have arrived here for this conference. Idea of India I understand this is the fourth 17 International Dharma-Dhamma Conference but the first to be hosted An Indian Summer by Nalanda University and in the state 18 for Indian Art of Bihar. In a sense, the twin traditions of Dharma and Dhamma have come home. They have come home to the PMUY: Enlightening sacred soil of this ancient land of faith, 21 Rural Lives wisdom and enlightenment – this land of Lord Buddha. -
The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community. -
Storytelling and Community: Beyond the Origins of the Ancient
STORYTELLING AND COMMUNITY: BEYOND THE ORIGINS OF THE ANCIENT THEATRE, GREEK AND ROMAN by Sarah Kellis Jennings Submitted in partial fulfillment of the requirements for Departmental Honors in the Department of Theatre Texas Christian University Fort Worth, Texas May 3, 2013 ii STORYTELLING AND COMMUNITY: BEYOND THE ORIGINS OF THE ANCIENT THEATRE, GREEK AND ROMAN Project Approved: T.J. Walsh, Ph.D. Department of Theatre (Supervising Professor) Harry Parker, Ph.D. Department of Theatre Kindra Santamaria, Ph.D. Department of Modern Language Studies iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................iv INTRODUCTION ...............................................................................................................1 GREEK THEATRE .............................................................................................................1 The Dithyramb ................................................................................................................2 Grecian Tragedy .............................................................................................................4 The Greek Actor ............................................................................................................. 8 The Satyr Play ................................................................................................................9 The Greek Theatre Structure and Technical Flourishes ...............................................10 Grecian -
Between Violence and Democracy: Bengali Theatre 1965–75
BETWEEN VIOLENCE AND DEMOCRACY / Sudeshna Banerjee / 1 BETWEEN VIOLENCE AND DEMOCRACY: BENGALI THEATRE 1965–75 SUDESHNA BANERJEE 1 The roots of representation of violence in Bengali theatre can be traced back to the tortuous strands of socio-political events that took place during the 1940s, virtually the last phase of British rule in India. While negotiations between the British, the Congress and the Muslim League were pushing the country towards a painful freedom, accompanied by widespread communal violence and an equally tragic Partition, with Bengal and Punjab bearing, perhaps, the worst brunt of it all; the INA release movement, the RIN Mutiny in 1945-46, numerous strikes, and armed peasant uprisings—Tebhaga in Bengal, Punnapra-Vayalar in Travancore and Telengana revolt in Hyderabad—had underscored the potency of popular movements. The Left-oriented, educated middle class including a large body of students, poets, writers, painters, playwrights and actors in Bengal became actively involved in popular movements, upholding the cause of and fighting for the marginalized and the downtrodden. The strong Left consciousness, though hardly reflected in electoral politics, emerged as a weapon to counter State violence and repression unleashed against the Left. A glance at a chronology of events from October 1947 to 1950 reflects a series of violent repressive measures including indiscriminate firing (even within the prisons) that Left movements faced all over the state. The history of post–1964 West Bengal is ridden by contradictions in the manifestation of the Left in representative politics. The complications and contradictions that came to dominate politics in West Bengal through the 1960s and ’70s came to a restive lull with the Left Front coming to power in 1977. -
Indian Theatre Autobiographies Kindle
STAGES OF LIFE : INDIAN THEATRE AUTOBIOGRAPHIES PDF, EPUB, EBOOK Kathryn Hansen | 392 pages | 01 Dec 2013 | Anthem Press | 9781783080687 | English | London, United Kingdom Stages of Life : Indian Theatre Autobiographies PDF Book All you need to know about India's 2 Covid vaccines. Celebratory firing: yr-old killed at Lohri event in Talwandi Sabo village. Khemta dances may be performed on any occasion, and, at one time, were popular at weddings and pujas. For a full translation via Bengali see The Wonders of Vilayet , tr. First, he used Grose's phrases for descriptions of topics which Dean Mahomet did not know, most notably the cities of Surat and Bombay, and also classical quotations from Seneca and Martial. He never explained the reasons for this next immigration and, indeed, later omitted his years in Ireland from his autobiographical writings altogether. London: Anthem Press. Samples of 3 dead birds found negative in Ludhiana 9 hours ago. Other Formats Available: Hardback. India's artistic identity is deeply routed within its social, economical, cultural, and religious views. For privacy concerns, please view our Privacy Policy. The above passage can be taken as example of the Vaishnav value system within which Girish Ghosh would always configure the identity and work of an actor. Main article: Sanskrit drama. This imagination serves as a source of creative inspiration in later life for artists, writers, scientists, and anyone else who finds their days and nights enriched for having nurtured a deep inner life. CBSE schools begin offline classes 9 hours ago. In Baumer and Brandon , xvii—xx. Thousands of tractors to leave for Delhi on Jan 20 9 hours ago. -
Mapping the History of Malaysian Theatre: an Interview with Ghulam-Sarwar Yousof
ASIATIC, VOLUME 4, NUMBER 2, DECEMBER 2010 Mapping the History of Malaysian Theatre: An Interview with Ghulam-Sarwar Yousof Madiha Ramlan & M.A. Quayum1 International Islamic University Malaysia It seems that a rich variety of traditional theatre forms existed and perhaps continues to exist in Malaysia. Could you provide some elucidation on this? If you are looking for any kind of history or tradition of theatre in Malaysia you won’t get it, because of its relative antiquity and the lack of records. Indirect sources such as hikayat literature fail to mention anything. Hikayat Raja-Raja Pasai mentions Javanese wayang kulit, and Hikayat Patani mentions various music and dance forms, most of which cannot be precisely identified, but there is no mention of theatre. The reason is clear enough. The hikayat generally focuses on events in royal court, while most traditional theatre developed as folk art, with what is known as popular theatre coming in at the end of the 19th century. There has never been any court tradition of theatre in the Malay sultanates. In approaching traditional theatre, my own way has been to first look at the proto- theatre or elementary forms before going on to the more advanced ones. This is a scheme I worked out for traditional Southeast Asian theatre. Could you elaborate on this? Almost all theatre activity in Southeast Asia fits into four categories as follows: Proto-Theatre, Puppet Theatre, Dance Theatre and Opera. In the case of the Philippines, one could identify a separate category for Christian theatre forms. Such forms don’t exist in the rest of the region. -
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). -
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. -
History of Theatre the Romans Continued Theatrical Thegreek AD (753 Roman Theatre fi Colosseum Inrome, Which Was Built Between Tradition
History of theatre Ancient Greek theatre Medieval theatre (1000BC–146BC) (900s–1500s) The Ancient Greeks created After the Romans left Britain, theatre purpose-built theatres all but died out. It was reintroduced called amphitheatres. during the 10th century in the form Amphitheatres were usually of religious dramas, plays with morals cut into a hillside, with Roman theatre and ‘mystery’ plays performed in tiered seating surrounding (753BC–AD476) churches, and later outdoors. At a the stage in a semi-circle. time when church services were Most plays were based The Romans continued the Greek theatrical tradition. Their theatres resembled Greek conducted in Latin, plays were on myths and legends, designed to teach Christian stories and often involved a amphitheatres but were built on their own foundations and often enclosed on all sides. The and messages to people who could ‘chorus’ who commented not read. on the action. Actors Colosseum in Rome, which was built between wore masks and used AD72 and AD80, is an example of a traditional grandiose gestures. The Roman theatre. Theatrical events were huge works of famous Greek spectacles and could involve acrobatics, dancing, playwrights, such as fi ghting or a person or animal being killed on Sophocles, Aristophanes stage. Roman actors wore specifi c costumes to and Euripedes, are still represent different types of familiar characters. performed today. WORDS © CHRISTINA BAKER; ILLUSTRATIONS © ROGER WARHAM 2008 PHOTOCOPIABLE 1 www.scholastic.co.uk/junioredplus DECEMBER 2008 Commedia dell’Arte Kabuki theatre (1500s Italy) (1600s –today Japan) Japanese kabuki theatre is famous This form of Italian theatre became for its elaborate costumes and popular in the 16th and 17th centuries. -
Evolution of Street Theatre As a Tool of Political Communication Sangita
Evolution of Street Theatre as a tool of Political Communication Sangita De & Priyam Basu Thakur Abstract In the post Russian Revolution age a distinct form of theatrical performance emerged as a Street Theatre. Street theatre with its political sharpness left a crucial effect among the working class people in many corner of the world with the different political circumstances. In India a paradigm shift from proscenium theatre to the theatre of the streets was initiated by the anti-fascist movement of communist party of India under the canopy of Indian People’s Theatre Association (IPTA). In North India Street theatre was flourished by Jana Natya Manch (JANAM) with the leadership of Safdar Hashmi. This paper will explore the background of street theatre in India and its role in political communication with special reference to historical and analytical study of the role of IPTA, JANAM etc. Keywords: Street Theatre, Brecht, Theatre of the Oppressed, Communist Party of India (CPI), IPTA, JANAM, Safdar Hashmi, Utpal Dutta. Introduction Scholars divided the history of theatre forms into the pre-Christian era and Christian era. Aristotle’s view about the structure of theatre was based on Greek tragedy. According to the scholar Alice Lovelace “He conceived of a theatre to carry the world view and moral values of those in power, investing their language and symbols with authority and acceptance. Leaving the masses (parties to the conflict) to take on the passive role of audience...........The people watch and through the emotions of pity & grief, suffer with him.” Bertolt Brecht expressed strong disagreement with the Aristotelian concept of catharsis. -
05 Work Plan and Methodology
Work Plan and Methodology Chapter I: Introduction to Indian English Drama Chapter II: Portrayal of Political Power in Girish Karnad Chapter III: Portrayal of Political Power in Vijay Tendulkar Chapter IV: Portrayal of the Political Power in Habeeb Tanveer Chapter V: Portrayal of the Political Power in Utpal Dutt Chapter VI: Conclusion The first chapter- Introduction will take a survey of Indian drama written in Sanskrit, folk languages and regional languages. It will also take into account the slow growth in Indian English drama in pre-independence and post-independence times. The second chapter- Portrayal of Political Power in Girish Karnad’s plays will analyze the portrayal of political power as a force in the play affects functioning of all the systems. The third chapter- Portrayal of Political Power in the Plays of Vijay Tendulkar will record the visible and invisible influence of political power in the each every matter and also how it is self-destructive. The fourth chapter- Portrayal of the Political Power in the plays of Habeeb Tanveer will portray the invisible but rigid structure of the political power and what means political power uses to achieve its ends. The fifth chapter- Portrayal of Political Power in the Plays of Utpal Dutt works in the destructive way in society. The last chapter Conclusion will take into stock the conclusions drawn from the portrayal and analysis of this significant social institution in Indian English drama and will aim at prove their relevance to the present times. The research methodology employed herein will be exploratory, interpretative and analytical in nature. -
Curriculum Vitae [PDF]
1 CURRICULUM VITAE 1. John Emigh Professor Theatre, Speech, and Dance and English 2. 3591 Pawtucket Ave Riverside, RI 02915 3. Education: Ph. D. Tulane University (Theatre: Theory and Criticism) 1971 Dissertation: "Love and Honor,1636: A Comparative Study of Corneille's Le Cid and Calderón's Honor Plays" M.F.A. Tulane University (Theatre: Directing) 1967 Thesis: "Analysis, Adaptation, and Production Book of Georg Büchner's Woyzeck" B.A. Amherst College (English and Dramatic Arts) 1964 Thesis: Production of Samuel Beckett's "Waiting for Godot" Additional education and training: 1999-2000 – I Gusti Ngurah Windia (private study, Balinese masked dance]–7/99, 7/01 1983-84 - Intensive workshop in Feldenkrais technique - 1/84 1976-77 - Valley Studio Mime School (corporal mime) - 8/76 - Kristen Linklater and the Working Theatre (intensive workshop in voice and movement for the stage) - 6/77 1974-75 - I Nyoman Kakul (private study, Balinese masked dance -12/74-4/75 1971-72 - American Society for Eastern Arts (Balinese music and dance, Javanese shadow puppetry) - 6-8/72, also 8/76 1967-68 - Columbia University (voice) - 7-8/67 1966-67 - Circle in the Square Theatre School (acting) - 7-8/66 1961-62 - University of Malaga, Spain (curso para estranjeros)-12/61-2/62 4. Professional Appointments: Brown University: 1990- Professor of Theatre, Speech, and Dance and of English 1987- 92 Chairperson, Department of Theatre, Speech, and Dance 1974- 90 Associate Professor of English and Theatre Arts (1986: Theatre, Speech and Dance); Associate Director, University