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Mahendra Singh Dhoni Exemplified the Small-Town Spirit and the Killer Instinct of Jharkhand by Ullekh NP
www.openthemagazine.com 50 31 AUGUST /2020 OPEN VOLUME 12 ISSUE 34 31 AUGUST 2020 CONTENTS 31 AUGUST 2020 7 8 9 14 16 18 LOCOMOTIF INDRAPRASTHA MUMBAI NOTEBOOK SOFT POWER WHISPERER OPEN ESSAY Who’s afraid of By Virendra Kapoor By Anil Dharker The Gandhi Purana By Jayanta Ghosal The tree of life Facebook? By Makarand R Paranjape By Srinivas Reddy By S Prasannarajan S E AG IM Y 22 THE LEGEND AND LEGACY OF TT E G MAHENDRA SINGH DHONI A cricket icon calls it a day By Lhendup G Bhutia 30 A WORKING CLASS HERO He smiled as he killed by Tunku Varadarajan 32 CAPTAIN INDIA It is the second most important job in the country and only the few able to withstand 22 its pressures leave a legacy By Madhavankutty Pillai 36 DHONI CHIC The cricket story began in Ranchi but the cultural phenomenon became pan-Indian By Kaveree Bamzai 40 THE PASSION OF THE BOY FROM RANCHI Mahendra Singh Dhoni exemplified the small-town spirit and the killer instinct of Jharkhand By Ullekh NP 44 44 The Man and the Mission The new J&K Lt Governor Manoj Sinha’s first task is to reach out and regain public confidence 48 By Amita Shah 48 Letter from Washington A Devi in the Oval? By James Astill 54 58 64 66 EKTA KAPOOR 2.0 IMPERIAL INHERITANCE STAGE TO PAGE NOT PEOPLE LIKE US Her once venerated domestic Has the empire been the default model On its 60th anniversary, Bangalore Little Streaming blockbusters goddesses and happy homes are no for global governance? Theatre produces a collection of all its By Rajeev Masand longer picture-perfect By Zareer Masani plays performed over the decades By Kaveree Bamzai By Parshathy J Nath Cover photograph Rohit Chawla 4 31 AUGUST 2020 OPEN MAIL [email protected] EDITOR S Prasannarajan LETTER OF THE WEEK MANAGING EDITOR PR Ramesh C EXECUTIVE EDITOR Ullekh NP Congratulations and thanks to Open for such a wide EDITOR-AT-LARGE Siddharth Singh DEPUTY EDITORS Madhavankutty Pillai range of brilliant writing in its Freedom Issue (August (Mumbai Bureau Chief), 24th, 2020). -
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) Habib Tanvir’s Naya Theatre: Towards the Revival of Folk Theatre Sangeeta Mishra, Ph.D. Scholar Dept. of Modern Indian Languages and Literary Studies University of Delhi Abstract During 1943- 1944, the rise of IPTA (Indian People‟s theatre Association) brought life to the theatre in many regions of the country giving it a new strength and direction. This movement made a significant effort to bring theatre close to the people and make them socially relevant in terms of the content. Habib Tanvir, among others has been a part of this movement. Since the beginning of 1960s, Habib Tanvir started his attempts to forge a new indigenous form of theatre for which he went to Sanskrit and traditional theatre. This paper attempts to explore the salient features of Habib Tanvir‟s Naya Theatre and his plays as a medium to study the different dimension of folk and indigenous forms that could relate to common man‟s life and hence highlight the social and political impact. Keywords: Indian theatre; IPTA; Naya Theatre; theatre for the people; Chhattisgarhi tribes INTRODUCTION As B.V Karanth states: “Whenever we look for our own identity or legacy, our Quest automatically ends at the same emotional destination- there- at the folk theatre.”i Habib Tanvir, a popular Hindi playwright, a theatre director, a poet, an actor, was the pioneer of a very special genre of Hindi theatre and was known for his works with the Chhattisgarhi tribes, at Naya Theatre, Bhopal, 1964. -
CURRICULUM VITAE NAME Staniunas, John F. Website Http
CURRICULUM VITAE NAME Staniunas, John F. Website http://staniunas.faculty.ku.edu/ EDUCATION M.F.A. University of Arizona, Tucson, 1984. Acting and Directing Thesis: Reviewing the Rules of Musical Revue: The Direction and Choreography of Rodgers and Hart's: Sing For Your Supper. Advisor Richard T. Hanson. B.A. University of Arizona, Tucson,1982. Dramatic Theory (Minor: Musical Theatre) EMPLOYMENT HISTORY University of Kansas Chair, Department of Theatre, 2009-present Chair, Department of Theatre and Film, 2006-2009 Artistic Director for the University Theatre, 2001-2006 Acting Artistic Director, 2008-2009 and Spring 2012 Associate Professor 2001-present Assistant Professor, 1998-2001 Visiting Assistant Professor 1997-98 University of Wisconsin-Madison Visiting Assistant Professor, 1996-1997 Assistant Professor, University of Wisconsin-Madison, Advisor and Head of Acting Specialist Program, 1990-1996 University of California at Davis Instructor, 1988-1990 Southern Illinois University at Carbondale Visiting Instructor, 1987-1988 University of Florida at Gainesville Assistant Professor, 1985-1986 Visiting Instructor, 1984-1985 University of Arizona Graduate Teaching Assistant, 1982-1984 RESEARCH RECORD Artistic Performance Professional Direction and Choreography Elfu Teatras, Vilnius, Lithuania. No Way to Treat a Lady, Director and Choreographer, 2010. Metropolitan Ensemble Theatre, AEA, Kansas City, MO. The Light in the Piazza, Director and Choreographer, 2010. No Way to Treat a Lady, Director and Choreographer, 2009. A Little Comedy from Romance, Romance, Director and Choreographer, 2006. Theatre League, Kansas City New Musicals Festival, Overland Park, KS. The Wild Goat, Director (Staged Reading), 2007. Overture Center for the Arts, Madison, WI. Grand Opening Gala Performance with Andre de Shields, Ethan Steifel, Tracy Nelson, Ben Sidron and others. -
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. -
Theater Arts (THEA) 1
Theater Arts (THEA) 1 THEA 142 INTRODUCTION TO THEATRE DESIGN (3) THEATER ARTS (THEA) Creative aspects of theatrical design from concept to realization. Core: Creativity & Creative Development. Lab/Class fee will be assessed. THEA 100 INTRODUCTION TO THEATRE (3) Theatrical experience through study of the various types, styles and THEA 201 SCENIC DESIGN I (3) production processes of the theatre. Theatre as a public art and its Influence of acting, directing, audience and aesthetics on the relationship to Western and other cultures. Core: Arts and Humanities. development of scenic design. Lab/Class fee will be assessed. THEA 101 ACTING I (3) THEA 202 ACTING II (3) Development of imagination through improvisation, exercise, and simple Technique and practice of scene study: analyzing a script, rehearsing a scenes. Core: Creativity & Creative Development. scene and playing an action. May be repeated for a maximum of 6 units. Prerequisite: THEA 110, THEA 105 and THEA 111 or consent of instructor. THEA 102 HONORS ACTING I (3) Development of imagination through improvisation, exercise, and THEA 204 CREATING COMMUNITIES OF ACTION (3) simple scenes. Honors College course. Students who have successfully Explorations and exercises in structured and improisational theatre completed the non-honors version of this course will not receive games to empower students as facilitators in a variety of fields to build additional credit for this course. Core: Creativity & Creative Development. classroom, work-related and community-based ensembles for enhanced learning and productivity outcomes. Class is repeatable for a maximum THEA 103 INTRODUCTION TO AMERICAN THEATRE (3) of six units. Prerequisite: Towson Seminar. Core: Creativity. -
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. -
Chapter 1: Introduction
CHAPTER 1: INTRODUCTION Corporate social responsibility (CSR, also called corporate responsibility, corporate citizenship, and responsible business) is a concept whereby organizations consider the interests of society by taking responsibility for the impact of their activities on customers, suppliers, employees, shareholders, communities and other stakeholders, as well as the environment. This obligation is seen to extend beyond the statutory obligation to comply with legislation and sees organizations voluntarily taking further steps to improve the quality of life for employees and their families as well as for the local community and society at large. The practice of CSR is subject to much debate and criticism. Proponents argue that there is a strong business case for CSR, in that corporations benefit in multiple ways by operating with a perspective broader and longer than their own immediate, short-term profits. Critics argue that CSR distracts from the fundamental economic role of businesses; others argue that it is nothing more than superficial window-dressing; still others argue that it is an attempt to pre- empt the role of governments as a watchdog over powerful multinational corporations. 1.1 DEVELOPMENT Business ethics is a form of the art of applied ethics that examines ethical principles and moral or ethical problems that can arise in a business environment. In the increasingly conscience-focused marketplaces of the 21st century, the demand for more ethical business processes and actions (known as ethicism) is increasing. Simultaneously, pressure is applied on industry to improve business ethics through new public initiatives and laws (e.g. higher UK road tax for higher-emission vehicles). -
Andha Yug: the Age of Darkness by Dharamvir Bharati (Review)
UvA-DARE (Digital Academic Repository) [Review of: A. Bhalla (2010) Dharamvir Bharati. Andha yug: the age of darkness] Bala, S. DOI 10.1353/atj.2014.0010 Publication date 2014 Document Version Final published version Published in Asian Theatre Journal Link to publication Citation for published version (APA): Bala, S. (2014). [Review of: A. Bhalla (2010) Dharamvir Bharati. Andha yug: the age of darkness]. Asian Theatre Journal, 31(1), 334-336. https://doi.org/10.1353/atj.2014.0010 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:25 Sep 2021 Andha Yug: The Age of Darkness by Dharamvir Bharati (review) Sruti Bala Asian Theatre Journal, Volume 31, Number 1, Spring 2014, pp. 334-336 (Article) Published by University of Hawai'i Press DOI: 10.1353/atj.2014.0010 For additional information about this article http://muse.jhu.edu/journals/atj/summary/v031/31.1.bala.html Access provided by Amsterdam Universiteit (22 Apr 2014 08:11 GMT) 334 Book Reviews directly engaging in the existing scholarly debate over whether or not the two plays embrace feminist causes or ultimately adhere to the patriarchy. -
Raamesh Gowri Raghavan Editor Managing Our Heritage 12 Anuradha Dhareshwar Anand Kanitkar
Vol 22/05 Dec 2018 Patriotism Redefined ARCHAEOLOGY 2018 FACE TO FACE Dr. Tejas Madan Garge know india better The state of archaeology Mathura & Vrindavan Yavanas in India In the footsteps of Lord Krishna Securing our intangible heritage Great Indians : COL. HARWANT SINGH, MC | YASHWANT DEV | E.C.G. SUDARSHAN MORPARIA’S PAGE Contents December 2018 VOL. 22/05 THEME: Morparia’s Page 02 INDIAN The state of archaeology 04 ARCHAEOLOGY, 2018 Abhijit Dandekar & Andre Baptista Managing Editor Yavanas in India 06 Mrs. Sucharita R. Hegde Dr. Manjiri Bhalerao Securing our intangible heritage 09 Raamesh Gowri Raghavan Editor Managing our heritage 12 Anuradha Dhareshwar Anand Kanitkar 'Adopt a Heritage' - the good and the bad 14 Dr. Kurush F. Dalal & Raamesh Gowri Raghavan Assistant Editor E.Vijayalakshmi Rajan Know India Better Mathura & Vrindavan 17 Design In the footsteps of Lord Krishna Gustasp & Jeroo Irani Resurgam Digital LLP Face to Face Dr. Tejas Madan Garge 25 Raamesh Gowri Raghavan Subscription In-Charge Nagesh Bangera General Deterrence and retribution 28 Rashmi Oberoi Advisory Board Sucharita Hegde The India focus at IFFI 30 Shoma A. Chatterji Justice S. Radhakrishnan Venkat R. Chary A mirror to our society 32 Prof. Avinash Kolhe Don’t worry, be happy! 34 A. Radhakrishnan Printed & Published by Mrs. Sucharita R. Hegde for One India One People Foundation, Mahalaxmi Chambers, 4th floor, Great Indians 36 22, Bhulabhai Desai Road, Mumbai - 400 026 Tel: 022-2353 4400 Fax: 022-2351 7544 e-mail: [email protected] [email protected] visit us at: COL. HARWANT SINGH, MC YASHWANT DEV E.C.G. -
Paper 14; Module 16; E Text (A) Personal Details Role Name Affiliation Principal Investigator Prof
Paper 14; Module 16; E Text (A) Personal Details Role Name Affiliation Principal Investigator Prof. Tutun University of Hyderabad Mukherjee Paper Coordinator Prof. Asha Kuthari Guwahati University Chaudhuri, Content Writer/Author Dr. Saurabhi Guwahati University (CW) Sarmah, . Content Reviewer (CR) Dr. Lalan Kishore Dept. of English, Guwahati Singh University Language Editor (LE) Dr. Dolikajyoti Assistant Professor, Guwahati Sharma, University (B) Description of Module Item Description of module Subject Name English Paper name Indian Writing in English Module title Recreating the Past: Girish Karnad’s Tughlaq Module ID MODULE 16 Module -16 Recreating the Past: Girish Karnad’s Tughlaq Introducing the playwright: A playwright, director, screen writer and an actor, Girish Karnad has made a remarkable contribution to the world of Indian theatre by writing plays in Kannada and translating them into English. Born in 1938 in Maharashtra, Karnad had his schooling in Marathi. Later on, when he was 14 years old, his family moved to Dharward in Karnataka where he grew up. He did his graduation from Dharwad University and then went to England to pursue his higher studies in philosophy, politics and Economics. After coming back to India, he worked with the Oxford University press; but finally he left his job to pursue writing as his full time career. During his tenure at the University of Chicago, his play Nagamandala had its world premiere at the Guthrie theatre in Minneapolis. The performance was based on Karnad’s translation of Nagamandala into English. Karnad is one of the leading figures of what is known as the Theatre of the Roots movement in India. -
Drama/Theatre Framework for California Public Theatre
4 0- DOCUMENT RESUME ED 113 765, CS 561.134 TITLE Drama/Theatre Framework for California Public Schools; A Process - Concept Framework for a Program in Theatre Arts for All Students, Kindergarten through Grade Twelve. INSTITUTION California State Dept. of Education, Sacramento. PUB DATE 74 NOTE 90p, EDRS PRICE MF-$0.76 HC-$4.43 Plus Postage DESCRIPTORS Acting; Communication Skills; CreativqDxamatics; *Curriculum Guides; Dance; *Drama; Elementary Secondary Educationr*Guidelines; Oral Communication; Pantomime; Playwritingi Production Techniques; *Theater Atts IDENTIFIERS *California 4-BST17ACT The material in this publication outlines iayd in Which drama/theatre may be used to help students develop their imagination and their communication skills. This framework presents a process-concept organization which spans the grade levels fron kindergarten through twelfth grade and which provides guidelines for- determining expectancies for student achievement, devising strategies for realizing expectancies, and implementing the progaQ (information on teachef training, resources, and instructional materials) . Chapters explore the following topics: drama/theatre ap education; componentd of the curriculum; continuum of expectancies and strategies; sensory and emotional awareness; rhythm and movement; 'pantomime; oral communication; improvisation; playmaking/playwriting; formal acting; designing; directing;\managing; executing technical elements; viewing; reviewing; and training; materials, and sources. 0111 Documents acquiredby ERIC ,include many informal unpublished * * materiald not available from other sources. ERIC makes every effort * * to obtain' the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible tor the quality of the original document. -
Communication Arts BFA Theatre – Musical Theatre Track
Department of Communication Arts BFA Theatre – Musical Theatre Track The B.F.A. with a major in Theatre prepares students for a broad range of opportunities including performance, teaching, arts administration, and many non-arts based careers such as sales, training and development, and management. The Theatre program at VSU offers numerous productions throughout the year, providing students with significant performance experience. Theatre graduates learn a host of life skills including collaboration, working to deadlines, self-discipline, patience, perseverance, analytical skills, and critical thinking. Valdosta State University is an accredited institutional member of the National Association of Schools of Theatre. University Core (Areas A to E) ...............................................................................42 hours Core curriculum Area F .............................................................................................18 hours DANC 1500 Introduction to Dance (3 hours) THEA 1000 Voice and Diction (3 hours) THEA 1100 Theatre Appreciation (3 hours) THEA 1120 Introduction to Theatrical Design (3 hours) THEA 2750 Basic Technical Theatre and Stage Lighting (3 hours) THEA 2800 Fundamentals of Acting (3 hours) Senior Core Curriculum.............................................................................................28 hours THEA 2730 Theatrical and Film Makeup THEA 2810 Basic Stage Movement THEA 3700 Play Analysis for Production THEA 3710 Theatre Performance THEA 3720 Theatre Production THEA 3740 Theatre