Krishi Prayukti Sahayak Rectt. Exam.,16

Total Page:16

File Type:pdf, Size:1020Kb

Krishi Prayukti Sahayak Rectt. Exam.,16 Krishi Prayukti Sahayak Rectt. Exam.,16 PUBLIC SERVICE COMMISSION, WEST BENGAL 161-A, S.P. MUKHERJEE ROAD, KOLKATA-700026. -------------------------------------------------------------------------------------------------------------------------------- No : A- 131 -P.S.C.(A) Dated : The 6th October,2018 THE FOLLOWING CANDIDATES HAVE BEEN RECOMMENDED TO THE POST OF KRISHI PRAYUKTI SAHAYAK ON THE BASIS OF THE RESULTS OF THE KRISHI PRAYUKTI SAHAYAK RECTT. EXAMINATION, 2016 (CONDUCTED BY ERSTWHILE WBSSC & FINALIZED BY WBPSC) UNDER : Department of Agriculture rd “NABANNA” 3 Floor, 325,Sarat Chatterjee Road, Mandirtala, Shibpur Howrah-711102 Sl.No. Roll Name 1 190130480 SUJAY BHATTACHARYA 2 190040020 TAMASA DEY SARKAR 3 160220195 ABHRAJIT ROY 4 020650129 SUBHRA GHOSH 5 190330471 SUMITRO BHATTACHARYA 6 190010932 SANJIB ROY 7 190220951 SIRSHENDU SAMANTA 8 200230009 SURAJIT PRAMANIK 9 190270178 SOMNATH PAUL 10 080290343 SAIKAT KUMAR SARKAR (BC-B) 11 240100075 PINTU SARKAR 12 190040205 SAHELI GANGULY 13 200020348 DEBOLEENA PODDAR 14 190420300 MONAN NAYEK 15 190020269 ROHAN GHOSH 16 020140294 MD HABIB ALI 17 190060073 SHUBHANKAR PODDER 18 200320178 RANITA KARAR 19 190310378 SUKANYA SAMANTA 20 190380014 SWATI DASGUPTA 21 190430346 SARBAJIT BANDYOPADHYAY 22 200010712 SRINANDANA PATTANAYAK 23 060280058 INDIRA GOSWAMI 24 060120239 SUJIT BOSE 25 131040488 SUJIT SAHA 26 200090564 SHOVAN PAHARI 27 190370205 SAMIRAN NAYEK 28 200180379 MANISHA DEY 29 190220344 MALAY SENGUPTA 30 200250635 SOM SATPATHY 31 190190416 SILPA PODDAR 32 190130197 CHAYAN ROY CHOWDHURY 33 160120386 SANTANU MONDAL 34 150400523 DEBIKA MUKHERJEE 35 190340427 SANJAY CHANDA 36 150690400 DEBANJAN SARDAR (SC) 37 200380146 SUSANTA KUMAR GHOSH 38 010360558 ABHISEK KHAN 39 061060235 KOUSHIK BANERJEE << Page 1 of 17 >> Krishi Prayukti Sahayak Rectt. Exam.,16 Sl.No. Roll Name 40 200110477 MOULI BOSE ROY 41 190390455 SAYONI PAN 42 150640582 SUROJIT DEY 43 160030592 SOUBHIK DHOLE 44 200320208 DIMPI NAHA 45 190470436 SUDIPTA DAS 46 200020400 JOYDEEP MONDAL 47 200260345 SWAPNAPRIYA NATH 48 060830244 ABHISHEK MONDAL 49 130110375 CHIRANJIT GHOSH (BC-B) 50 190110098 MOUMITA DINDA 51 200410111 SANCHARI BHOWMIK 52 220230330 MANOJIT ROY (SC) 53 190400216 ARUNABHA BHATTACHARYYA 54 190350086 PAMPA SADHU 55 200390437 DEBDATTAA GUHA 56 190430187 MRITYUNJOY DEY 57 110070377 SATADAL DAS 58 131000267 CHHANDA SAHA 59 030360288 SAYANTANI GARAI 60 190150310 DEBAYAN KUNDU 61 200010415 RUHI RAY 62 200290287 MADHURIMA JANA 63 200250266 SURAVI BOSE 64 190280206 ATREYA SETT 65 200090554 PRATEEP ADHYA 66 200220212 RAJASHREE GIRI 67 130970101 PARTHA SIKDAR 68 010190332 KOUSHIK ROY 69 190230159 CHITRAN GUPTA 70 160030251 KUNAL MALLICK 71 160150482 ANURAG DAS (BC-B) 72 200230262 JAYANTA SARKAR 73 190430393 SAMPRIT DEB ROY 74 190300194 RAJDEEP NAYAK 75 130490356 KALYAN CHAKRABORTY 76 190420148 KABERI BISWAS (SC) 77 220160154 SAURAV BASNET 78 200430386 UJJAL KARMAKAR 79 200510168 GOPAL CHAKRABORTY 80 200130211 SUMANA DAS 81 190120565 SAIKAT MUKHERJEE 82 190130316 RAKESH MONDAL 83 190080226 TANIYA BAKSI 84 050320319 SUBHABRATA SOM 85 190060543 AYAN BHAUMIK 86 190450159 UTTAM BANIK 87 150720379 SHYAMALI KOUR BHATTI 88 190010837 SOUMEN KARMAKER 89 190190313 SAJIB DAS 90 200160537 BISHAL DAS 91 131110422 ANIRBAN SAHA 92 190260488 KAUSTAV SINHA << Page 2 of 17 >> Krishi Prayukti Sahayak Rectt. Exam.,16 Sl.No. Roll Name 93 200110678 RIMI MONDAL 94 190010048 TAMAL GOSWAMI 95 210070961 DWAIPAYAN DATTA 96 200510006 SRIJIT CHAKRAVARTI 97 190190432 ARANYA SARKAR 98 190130683 TANMOY BRAHMA 99 160040100 KUNTAL ROY 100 190390527 DEBANGANA GHOSH 101 190140546 NUPUR BISWAS 102 200450196 SUBHASHISH BHATTACHARJEE 103 050040944 SHREYASI GHOSAL 104 160150530 TUHIN KANTI DEBNATH (BC-B) 105 190160193 ASISH KUMAR DHARA 106 180030290 TAPASH KUMAR DAS 107 130900367 SANJAY THAKUR (SC) 108 131130115 SANATAN SAHA 109 190090486 SUBHAJIT SANTRA 110 130080013 UTSAB CHOWDHURY 111 190310195 BAPIN MANADL 112 190220877 DIPANJAN DAS 113 190010571 MONOLIPA MITRA 114 190110707 RIA SARKAR 115 050130249 BAISAKHI CHATTERJEE 116 150300192 SUSMITA SADHUKHAN (BC-B) 117 130860114 ANIMESH KARMAKAR (BC-B) 118 150690195 SUMAN BISWAS 119 190430259 SUSMIT BAKSHI 120 060010157 DIBAKAR BHOWMIK 121 160320850 ARIF HOSSAIN CHOWDHURY 122 200260407 EMON MUKHERJEE 123 160030713 ARINDAM MUKHERJEE 124 240110277 SOURAV SEN 125 190460328 KAJAL KUMAR DUTTA 126 190350011 SWASTIKA BANERJEE 127 160320603 JOYDEEP NAG 128 200240447 ANIRBAN BASU 129 190180532 TUHIN CHITRAKAR 130 200150415 AYAN KAYAL 131 200510036 NILAYAN MUKHERJEE 132 060280332 DIPTENDU BHATTACHARYA 133 200260173 HASANUJJAMAN SK (BC-A) 134 020460095 SAMBIT RAY 135 090370437 PRALAY GHOSH 136 200170026 PRITAM BANERJEE 137 100300165 KRISHNENDU DAS 138 120640296 SOUMENDU DUTTA 139 190100327 TANMAY GHOSH 140 240370466 APARNA PRAMANIK (BC-B) 141 190350039 PRANAYAN DAS 142 150130440 SAMRAT KUMAR DAS 143 190290046 SAYANI CHAKRABORTY 144 200310386 SUBHANKAR MAITY 145 020440466 SHYAM SUNDAR DEY << Page 3 of 17 >> Krishi Prayukti Sahayak Rectt. Exam.,16 Sl.No. Roll Name 146 190430126 CHAITALI HALDER 147 190260390 KAUSTAV SARKAR 148 190110516 SOUMITA CHAKRABORTY 149 200250234 DIBYENDU MOHANTA 150 200450294 SUSHMIT SAHA PODDER 151 200310398 ARPITA BAG 152 200200536 PARTHA POREY 153 200340258 RAJESH PAL 154 210060147 ARITRA KUNDU 155 190130782 SUVANU CHOWDHURY 156 200200534 NANDINI BANERJEE 157 240190239 ANIKET ROY 158 190430184 MANIKUNTALA MUKHERJEE 159 190061045 BISHWAJIT DAM 160 240260048 KINGSHUK MAITY 161 190340058 BAPPADITYA GHOSHAL 162 180120458 SUBHAJIT SAHA 163 190060322 SHAMBHUNATH DUTTA 164 190250175 RINTU GHOSH 165 200170153 BISHAL YADAV 166 200310258 ATANU DEY 167 200030199 AVIK CHAKRABORTY 168 190270123 SAMBIT PAL 169 100680169 AMIT KUMAR JANA 170 150550017 TULIKA CHAKRABORTY 171 150140515 AMIT CHAKRABORTY 172 210041076 SUMIT SENGUPTA 173 090050116 TANMAY KUMAR TALAPATRA 174 200040546 LABANYA DOLAI 175 220380113 SNEHA GHOSH 176 190380409 ABHRA CHAKRABORTY 177 190430553 SUSMITA BANIK 178 130130046 AIKYA CHATTERJEE 179 160120086 ANUPAM PAUL (BC-B) 180 200230028 KALYAN MUKHERJEE 181 190420230 UTPAL MAHATO 182 200090571 SUMAN PATRA 183 131040696 SUSWAGATAM GHOSH (BC-B) 184 200120887 NRIPEN MONDAL 185 020610264 SOURAV KHAN 186 200530543 SAIKAT KUMAR SARKAR 187 190070242 AINDRI BHAUMIK 188 190210306 TANMOY ROY CHOWDHURY 189 190180522 SOMENATH MAHAPATRA 190 130270112 KRISHNENDU JANA 191 190410132 DEEPON GIRI 192 190130298 DEBASMITA BHATTACHARYYA 193 220340106 GORA DUTTA 194 190060403 KOUSTAV GOSWAMI 195 170120014 BISWAJIT KUMAR SAHA 196 200100311 TOTAN MANDAL 197 200360177 SANJOY KUMAR MONDAL 198 050100132 DIPAYAN GHOSH << Page 4 of 17 >> Krishi Prayukti Sahayak Rectt. Exam.,16 Sl.No. Roll Name 199 200110580 RAHUL MONDAL 200 150500153 SUDIPTO GUHA THAKURATA 201 190070278 SOMA BANIK 202 240200049 BIDHAN CHANDRA KUITI 203 190130441 APRATIM GHOSAL 204 200440010 CHUMKY JANA 205 210030001 REETAM MAJUMDAR 206 150390086 SHREYA ACHARYA 207 020300013 ANIMESH MONDAL 208 061010096 PRITAM DEY 209 130610225 BISWAJIT SAHA 210 190390068 SOURAV DEY 211 190250140 SUKANTA BHOWMICK 212 190210655 ARCHISMAN KUMAR GHOSH 213 200530058 KAUSHIK PAL 214 200210210 SOURAV SHAW 215 150650063 DEEPIKA DAS 216 200430165 INDIRA CHAKRABARTI 217 150630048 BIPLAB BISWAS (BC-B) 218 210070555 ARNAB DUTTA (BC-B) 219 190420260 RANU GHOSH (BC-B) 220 131120355 SOUMYA PRASAD MANDAL 221 190330625 ANIKET GHOSH 222 200150319 AYAN KANTI MUKHERJEE 223 190430089 MRITYUNJOY BAKSI 224 240360291 SHITAL SARKAR 225 200090329 SUBHRANIL RAY 226 200090457 PIYALI MARIK (BC-B) 227 180170137 ANIMESH MUKHERJEE 228 190110027 ABHIJIT MANDAL 229 220100221 PABITRA KUMAR SHIL 230 150210305 TANUMAY BANIK 231 150110042 ANKITA MONDAL 232 200530554 SUMAN DEY 233 061080279 ARKATANU KUNDU 234 200430290 SYEDA HASSIBA RAHAMAN 235 190260414 SRIJANI DAS GUPTA 236 200360214 PALLAB MONDAL 237 200040164 MD NASIRUDDIN 238 190380555 UPASANA SEN (BC-B) 239 110240307 ASHIS KUMAR JANA 240 100100473 ABHIJIT CHAKRABORTY 241 190090374 RAKESH GHOSH 242 190270008 JOYDEB PAL 243 060570271 KEKA PAL 244 190070222 ROSHNI GHOSAL 245 190250051 ANKITA BISWAS 246 150020672 PAPIYA DUTTA 247 220320256 AKASHNEEL BASAK 248 190360086 KINGSHUK ROY 249 130600482 ANANYA MANDAL (SC) 250 210010299 HASNAT MOLLICK (BC-A) 251 130860186 ATANU GHOSH (BC-B) << Page 5 of 17 >> Krishi Prayukti Sahayak Rectt. Exam.,16 Sl.No. Roll Name 252 150750473 SUNAM SARKAR (SC) 253 200070328 JUTHIKA BASAK 254 200210195 PARTHA PRATIM BAIRY 255 240370241 CHANDAN ACHARJEE 256 060350195 ARGHA BHATTACHARYA 257 200180167 TUFAN PAUL 258 200480087 TAMAL DUTTA 259 050270942 SAYANTANU KOLEY 260 130120148 PRASENJIT MAJUMDER (BC-B) 261 200060125 ARINDAM KAPAT 262 150770254 ARPITA BHATTACHARYA 263 200070228 DEEP AUDDYA 264 200040142 TANIA SARDAR (BC-B) 265 050210142 SUMIT BHATTACHARJEE 266 010190010 TANUSHREE DE (BC-B) 267 200240359 BISWAJIT DAS 268 200060188 MD SABBIR AHMAD MOLLA (BC-A) 269 060320542 NIRUPAM GANGOPADHYAY 270 200040086 SONA DATTA BANIK 271 200050537 SANDIPAN DAS 272 190250535 ABHISHEK CHAKRABORTY 273 190140541 MAHUA CHAKRABORTY 274 230230243 SWARNAV CHAKRABORTY 275 050280208 PRIYANKA SAMANTA 276 220180076 SAURAV SHARMA 277 190310272 SAYANTA PAUL 278 190061277 SUBHAJIT MOHANTA 279 190190063 PROSENJIT CHAKRABORTY 280 240070028 SOURAV MUKHERJEE 281 130150071 APU GHOSH (BC-B) 282 150770415 SAIKAT GUHA (BC-B) 283 190320011 SAMIR KUMAR BASAK (BC-B) 284 210070631 UPAMA RAJWAR (SC) 285 200530307 RUCHIRA MANDAL 286 190050617 SUSMITA SAHA 287 240270396 AMIT KUMAR SHAW 288 130300194 DEBASISH SARMA 289 160070235 SANDIP BAG 290 190040177 ANUPAM ROY
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Minutes of the Meeting of the Expert Committee Held on 14Th, 15Th,17Th and 18Th October, 2013 Under the Performing Arts Grants Scheme (PAGS)
    No.F.10-01/2012-P.Arts (Pt.) Ministry of Culture P. Arts Section Minutes of the Meeting of the Expert Committee held on 14th, 15th,17th and 18th October, 2013 under the Performing Arts Grants Scheme (PAGS). The Expert Committee for the Performing Arts Grants Scheme (PAGS) met on 14th, 15th ,17thand 18th October, 2013 to consider renewal of salary grants to existing grantees and decide on the fresh applications received for salary and production grants under the Scheme, including review of certain past cases, as recommended in the earlier meeting. The meeting was chaired by Smt. Arvind Manjit Singh, Joint Secretary (Culture). A list of Expert members present in the meeting is annexed. 2. On the opening day of the meeting ie. 14th October, inaugurating the meeting, Sh. Sanjeev Mittal, Joint Secretary, introduced himself to the members of Expert Committee and while welcoming the members of the committee informed that the Ministry was putting its best efforts to promote, develop and protect culture of the country. As regards the Performing Arts Grants Scheme(earlier known as the Scheme of Financial Assistance to Professional Groups and Individuals Engaged for Specified Performing Arts Projects; Salary & Production Grants), it was apprised that despite severe financial constraints invoked by the Deptt. Of Expenditure the Ministry had ensured a provision of Rs.48 crores for the Repertory/Production Grants during the current financial year which was in fact higher than the last year’s budgetary provision. 3. Smt. Meena Balimane Sharma, Director, in her capacity as the Member-Secretary of the Expert Committee, thereafter, briefed the members about the salient features of various provisions of the relevant Scheme under which the proposals in question were required to be examined by them before giving their recommendations.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Department of English University of Delhi Delhi - 110007
    DEPARTMENT OF ENGLISH UNIVERSITY OF DELHI DELHI - 110007 DEPARTMENT OF ENGLISH UNIVERSITY OF DELHI DELHI - 110007 Structure of BA Honours English English for BA/ BCom/BSc Programme and English for BA(H)/BCom(H)/BSc (H) under Learning Outcomes-based Curriculum Framework for Undergraduate Education SEMESTER 1 Core, Ability Enhancement Course Compulsory (AECC), B.A/B.Com Program, B.A. English Discipline and Generic Electives (GE) Syllabus applicable for students seeking admission to the BA Honours English, BA/BCom/BSc Programme and BA(H)/BCom(H)/BSc(H) under LOCF w.e.f. the academic year 2019-20 SEMESTER I B. A. & B. COM. PROGRAMME CORE ENGLISH LANGUAGE General Course Statement 1. The course will retain streaming. The structure of three graded levels of English language learning is required in a diverse central university like Delhi University to address the differential learning levels of students and achieve the desired competence. 2. The existing English A, B, and C will be renamed as English Language through Literature, English Fluency and English Proficiency respectively. This will remove any discriminatory, hierarchical attributes in the existing nomenclature and refocus the pedagogic exercise on the respective objectives of the three streams in an academically thorough and non-hierarchical way. As 98% of the BA &B.Com Programme students have done English in class 12, streaming will be now based on their Class XII marks in English. There will be three streams: 1. 80% and above: ENGLISH LANGUAGE THROUGH LITERATURE 2. 60% and above up
    [Show full text]
  • Download Download
    Sanglap: Journal of Literary and Cultural Inquiry 5:1 (Sept. 2018) Losing the Politics in Translation: Reading Radical Bengali and Hindi Plays in American Classrooms Arnab Banerji English translations of contemporary Indian plays, outside of a very limited canon, are not readily accessible on the Western market.1 As a specialist on modern Indian theatre, this lacuna is especially disconcerting since I often struggle to find material to teach in my own classes. To circumvent this challenge for my immediate teaching purposes, I decided to don the hat of the translator and translate contemporary Indian plays from their original languages into English. It is important to understand here that the scope of this endeavor is limited from the very outset, since I am fully conversant in only two Indian languages – Bengali and Hindi. My project began with the translation of Bijan Bhattacharya’s 1945 classic Nabānna (New Harvest). I followed this with the translation of several of Tagore’s shorter plays from the comedy and satire sections of his expansive theatrical oeuvre.2 Bijan Bhattacharya (1915 - 1978) and Tagore (1861 - 1941) are undoubtedly political artists. Bhattacharya was responding to the disastrous Bengal famine of 1944-45 with Nabānna. The play is a complex tapestry of language, marking a shifting theatrical aesthetic in twentieth century Bengali drama, and the awakening of a middle class from its political nonchalance to active participation in campaigns for political awareness (Ghosh 37-38). Translating this full-length play was a challenge not only because it is so layered, but also because Bhattacharya experimented with the Bengali language to arrive at an idiom that is a freewheeling adaptation of multiple Bengali dialects.
    [Show full text]
  • Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English Vol
    About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 10, Issue-V, October 2019 ISSN: 0976-8165 Ban Theatre of Tezpur and the Development of Modern Assamese Theatre Dipankar Saikia PhD Scholar, Dept. of MIL & LS, Gauhati University. & Dr. Sukdev Adhikari Principal, LOKD College, Assam Research Supervisor, Dept. of MIL & LS, Gauhati University. Article History: Submitted-27/09/2019, Revised-05/11/2019, Accepted-10/11/2019, Published-20/11/2019. Abstract: Modern Assamese theatre is basically amateur in nature and the permanent playhouses erected by various amateur theatre societies of Assam played the pivotal role in the development of western-style Assamese dramaturgy. Ban Theatre of Tezpur in the Sonitpur district of Assam occupied the central place in the development of modern Assamese theatre. The playhouse gave birth to the greatest Assamese dramatist Jyotiprasad Agarwala and raised stellar performers like Bishnu Rabha and Phani Sarma. It introduced the first theatrical orchestra in the State, standardised native Assamese songs and music and employed innovative styles of playwriting and play-production. The present study makes an analytical attempt to trace the history of performance at Ban Theatre and situate its vibrant tradition of theatre practice in the context of the development of modern Assamese theatre.
    [Show full text]
  • Literary Herald ISSN: 2454-3365 UGC-Approved Journal an International Refereed English E-Journal Impact Factor: 2.24 (IIJIF)
    www.TLHjournal.com Literary Herald ISSN: 2454-3365 UGC-Approved Journal An International Refereed English e-Journal Impact Factor: 2.24 (IIJIF) IPTA and National Identity: History, Theatre and a Culture of Touring Dr Samipendra Banerjee Assistant Professor Department of English University of Gour Banga Malda, West Bengal Abstract: Over the past decades there has been a growing interest in the historiography of Modern Indian Theatre. This paper is an attempt to focus on one of the most dynamic moments in the history of Modern Indian Theatre, the emergence of the Indian People‘s Theatre Association. The formation of IPTA in 1943 is an event of immense historical significance that needs greater critical inquiry. I attempt a review of the history of the IPTA with a focus on its theatre and show how the IPTA in its activist stance towards anti-colonial rule was also a key factor in imagining an emerging nation. IPTA‘s diverse theatrical oeuvre, including plays like Sambhu Mitra‘s Nabanna was instrumental in the construction of national identity. I also argue that despite its organizational decentralization, IPTA‘s role in the imagining of the nation became possible because of a crucial ploy of ‗touring‘, what I refer to as a ‗culture of touring‘. Keywords: IPTA, Modern Indian Theatre, historiography, National Identity, Nabanna, Culture of Touring. With the achievement of political independence in 1947 and the end of British rule, India stepped on to a phase of massive reconstruction of the nation. This was a project of asserting an identity, of simultaneous reconstruction and deconstruction, of decolonization and a rising postcolonial practice in various ways.
    [Show full text]
  • Bengali Theatre Overview: India Utpal K Banerjee 3 Bengali Theatre Overview: Bangladesh Mumtajuddin Ahmed 9
    CONTENTS I—PROLOGUE 1 Bengali Theatre Overview: India Utpal K Banerjee 3 Bengali Theatre Overview: Bangladesh Mumtajuddin Ahmed 9 II—BENGALI THEATRE: LEGACY 19 My Statement Binodini Dasi 21 Golapsundari: The First Actress Debashis Roy Chowdhury 29 Rakhaldas Banerjee: Pioneer Theatre Critic Durga Dutta 33 Girish Chandra Ghosh: Actor and Playwright Samik Bandyopadhyay 37 Girish Chandra and Mythical Plays Samik Bandyopadhyay 41 Views of Sisir Kumar on Theatre Debnarayan Gupta 45 HI—BENGALI THEATRE: EVOLUTION 47 Old Calcutta's English Theatres Kironmoy Raha 49 Nabanna' and Mainstream Theatre Kumar Roy 54 The Theatre of the Post-Thirties Purabi Mukherjee 63 Proscenium Theatre of Bangladesh Ramendu Majumder 65 Changing Role of Theatre in Society Rustam Barucha 72 Evolution Behind the Theatre Curtain Suresh Dutta 78 IV—BENGALI THEATRE: PLURALITY 83 Innovation and Experimentation in Theatre Utpal Dutt 85 Bengali Theatre: The Folk and The Foreign Bibhas Chakraborty 92 The Hijack of Yatra Rudraprasad Sengupta 96 My Narrative Theatre Saoli Mitra 102 Theatre of Politics, Protest and Commitment Bishnupriya Pal 109 Commercial Stage and Group Theatre: Similarities and Contrasts Meghnad Bhattacharjee 120 Bengali Puppet Theatre Sampa Ghosh 125 V—BENGALI THEATRE: EXPRESSION 133 The Sailboat of Fantacy Shyamal Ghosh 135 The Actress: Down the Ages Shova Sen 139 Acting in Multiple Media Mohammad Zakaria 143 Acting and Transcendental Time Debashis Majumdar 147 Advent of New Playwrights Manoj Mitra 153 Terms of Our Art-Form Khaled Choudhury 158 A Tradition of Stagecraft Durga Dutta 170 The Luminous Beginning Tapas Sen 172 VI—INTERACTIONS WITH BENGALI THEATRE 181 The Expanded Theatre Mrinal Sen 183 Bengali Theatre: Persons and Performances J.N.
    [Show full text]
  • City Disaster Management Plan of Kolkata
    CITY DISASTER MANAGEMENT PLAN OF KOLKATA 2020 KOLKATA MUNICIPAL CORPORATION 5, S.N. BANERJEE ROAD, KOLKATA - 13 Foreword Cities are important centres of modern societies that will continue to gain in importance in the future. Today, more than half the world’s population lives in urban areas. The high density and interdependence of urban lifestyles and work, and the growing dependence on increasingly complex infrastructure systems and services, are making cities more vulnerable to a variety of hazards — natural and man-made. These can be the result of technological, natural or social causes. The populous City of Kolkata is situated in the multi-hazard prone southern part of the state of West Bengal which has considerable risk of damage/loss of lives and property due to natural hazards like Cyclone, Earthquake and Flood even if we keep aside the threats due to human induced hazards as Fire, Accidents, Industrial & Chemical hazards etc. To minimize the losses due to disasters and to have a disaster resilient society, we must have clear understanding in regard to the type and strength of each of the probable threats which may cause disasters of medium or large scale in the city. The perception about disaster and its management has undergone a change following the enactment of the Disaster Management Act, 2005. The definition of disaster is now all encompassing that includes not only the events emerging from natural and man-made causes, but even those events which are caused by accident or negligence. There was a long felt need to capture information about all such events occurring across the sectors and efforts made to mitigate them in the city and to collate them at one place in a global perspective.
    [Show full text]