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+91-9830059978 Padatik Theatre https://www.indiamart.com/padatik-theatre/ Padatik, Kolkata (estd.1972) is one of the premier institutions in the field of the performing arts in India, especially in Theatre and Dance. The group was founded by Shyamanand Jalan – one of the foremost figures in the evolving ... About Us Padatik, Kolkata (estd.1972) is one of the premier institutions in the field of the performing arts in India, especially in Theatre and Dance. The group was founded by Shyamanand Jalan – one of the foremost figures in the evolving Hindi theatre since the 1950’s. A recipient of the Sangeet Natak Academy (SNA) Award (1972), he was also later appointed Vice- Chairman of SNA (1999 – 2004). Shyamanand Jalan’s productions over the last 39 years include Evam Indrajit, Sakharam Binder, Hazaar Chaurasi ki Maa, Shakuntala, Panchhi Aise Aate Hain, Uddhwasth Dharamshala, Janata ki Shatru, Biwiyon Ka Madarsa, Aadhe Adhurey, Kauwa Chala Hans ki Chaal, Raja Lear, Lehron ka Rajhans & Madhavi to name just a few. Our productions, both in theatre and dance have toured extensively all over the globe. Padatik had also organized the ‘International Seminar on Indian Dance Traditions and Modern Theatre’ in collaboration with International Theatre Institute (UNESCO) in 1983, and the ‘International Festival and Seminar on Theatre, Dance and Martial Arts’ in 1987. For more information, please visit https://www.indiamart.com/padatik-theatre/aboutus.html F a c t s h e e t Year of Establishment : 1972 Nature of Business : Service Provider CONTACT US Padatik Theatre Contact Person: swapan mitra 6/7 AJC Bose Road Kolkata - 700017, West Bengal, India +91-9830059978 https://www.indiamart.com/padatik-theatre/.

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Contents SEAGULL Theatre QUARTERLY
S T Q Contents SEAGULL THeatRE QUARTERLY Issue 17 March 1998 2 EDITORIAL Editor 3 Anjum Katyal ‘UNPEELING THE LAYERS WITHIN YOURSELF ’ Editorial Consultant Neelam Man Singh Chowdhry Samik Bandyopadhyay 22 Project Co-ordinator A GATKA WORKSHOP : A PARTICIPANT ’S REPORT Paramita Banerjee Ramanjit Kaur Design 32 Naveen Kishore THE MYTH BEYOND REALITY : THE THEATRE OF NEELAM MAN SINGH CHOWDHRY Smita Nirula 34 THE NAQQALS : A NOTE 36 ‘THE PERFORMING ARTIST BELONGED TO THE COMMUNITY RATHER THAN THE RELIGION ’ Neelam Man Singh Chowdhry on the Naqqals 45 ‘YOU HAVE TO CHANGE WITH THE CHANGING WORLD ’ The Naqqals of Punjab 58 REVIVING BHADRAK ’S MOGAL TAMSA Sachidananda and Sanatan Mohanty 63 AALKAAP : A POPULAR RURAL PERFORMANCE FORM Arup Biswas Acknowledgements We thank all contributors and interviewees for their photographs. 71 Where not otherwise credited, A DIALOGUE WITH ENGLAND photographs of Neelam Man Singh An interview with Jatinder Verma Chowdhry, The Company and the Naqqals are by Naveen Kishore. 81 THE CHALLENGE OF BINGLISH : ANALYSING Published by Naveen Kishore for MULTICULTURAL PRODUCTIONS The Seagull Foundation for the Arts, Jatinder Verma 26 Circus Avenue, Calcutta 700017 86 MEETING GHOSTS IN ORISSA DOWN GOAN ROADS Printed at Vinayaka Naik Laurens & Co 9 Crooked Lane, Calcutta 700 069 S T Q SEAGULL THeatRE QUARTERLY Dear friend, Four years ago, we started a theatre journal. It was an experiment. Lots of questions. Would a journal in English work? Who would our readers be? What kind of material would they want?Was there enough interesting and diverse work being done in theatre to sustain a journal, to feed it on an ongoing basis with enough material? Who would write for the journal? How would we collect material that suited the indepth attention we wanted to give the subjects we covered? Alongside the questions were some convictions.
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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).
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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.
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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.
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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
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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.
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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.
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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).
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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.
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Girish Karnad 1 Girish Karnad
Girish Karnad 1 Girish Karnad Girish Karnad Born Girish Raghunath Karnad 19 May 1938 Matheran, British India (present-day Maharashtra, India) Occupation Playwright, film director, film actor, poet Nationality Indian Alma mater University of Oxford Genres Fiction Literary movement Navya Notable work(s) Tughalak 1964 Taledanda Girish Raghunath Karnad (born 19 May 1938) is a contemporary writer, playwright, screenwriter, actor and movie director in Kannada language. His rise as a playwright in 1960s, marked the coming of age of Modern Indian playwriting in Kannada, just as Badal Sarkar did in Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi.[1] He is a recipient[2] of the 1998 Jnanpith Award, the highest literary honour conferred in India. For four decades Karnad has been composing plays, often using history and mythology to tackle contemporary issues. He has translated his plays into English and has received acclaim.[3] His plays have been translated into some Indian languages and directed by directors like Ebrahim Alkazi, B. V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur, Satyadev Dubey, Vijaya Mehta, Shyamanand Jalan and Amal Allana.[3] He is active in the world of Indian cinema working as an actor, director, and screenwriter, in Hindi and Kannada flicks, earning awards along the way. He was conferred Padma Shri and Padma Bhushan by the Government of India and won four Filmfare Awards where three are Filmfare Award for Best Director - Kannada and one Filmfare Best Screenplay Award. Early life and education Girish Karnad was born in Matheran, Maharashtra. His initial schooling was in Marathi. In Sirsi, Karnataka, he was exposed to travelling theatre groups, Natak Mandalis as his parents were deeply interested in their plays.[4] As a youngster, Karnad was an ardent admirer of Yakshagana and the theater in his village.[] He earned his Bachelors of Arts degree in Mathematics and Statistics, from Karnatak Arts College, Dharwad (Karnataka University), in 1958.
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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.
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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.
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