So Far Scholars and Critics in India Have Been Discussing Themes and Quite Rarely, Their Technical Experiments of These Playwrights
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UGC MHRD E Pathshala
UGC MHRD e Pathshala Subject: English Principal Investigator: Prof. Tutun Mukherjee, University of Hyderabad Paper 09: Comparative Literature: Drama in India Paper Coordinator: Prof. Tutun Mukherjee, University of Hyderabad Module 09:Theatre: Architecture, Apparatus, Acting; Censorship and Spectatorship; Translations and Adaptations Content Writer: Mr. Benil Biswas, Ambedkar University Delhi Content Reviewer: Prof. Tutun Mukherjee, University of Hyderabad Language Editor: Prof. Tutun Mukherjee, University of Hyderabad Introduction: To be a painter one must know sculpture To be an architect one must know dance Dance is possible only through music And poetry therefore is essential (Part 2 of Vishnu Dharmottara Purana, an exchange between the sage Markandya and King Vajra)1 Quite appropriately Theatre encompasses all the above mentions arts, which is vital for an individual and community’s overall development. India is known for its rich cultural heritage has harnessed the energy of theatrical forms since the inception of its civilization. A rich cultural heritage of almost 3000 years has been the nurturing ground for Theatre and its Folk forms. Emerging after Greek and Roman theatre, Sanskrit theatre closely associated with primordial rituals, is the earliest form of Indian Theatre. Ascribed to Bharat Muni, ‘Natya Sastra or Natyashastra’2 is considered to be the initial and most elaborate treatise on dramaturgy and art of theatre in the world. It gives the detailed account of Indian theatre’s divine origin and expounds Rasa. This text becomes the basis of the classical Sanskrit theatre in India. Sanskrit Theatre was nourished by pre-eminent play-wrights like Bhasa, Kalidasa, Shudraka, Vishakadatta, Bhavabhuti and Harsha.3 This body of works which were sophisticated in its form and thematic content can be equaled in its range and influence with the dramatic yield of other prosperous theatre traditions of the world like ancient Greek theatre and Elizabethan theatre. -
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. -
A Study of Mohan Rakesh's Lehron Ke Rajhans
RECOURSE TO BUDDHIST TEXTS FOR REPRESENTATION OF MODERNITY : A STUDY OF MOHAN RAKESH’S LEHRON KE RAJHANS Pranjal Sharma Bashishtha Abstract Eminent Hindi playwright Mohan Rakesh’s (1925-72) second amateur play for the stage Lehron Ke Rajhans (‚The Great Swans of the Waves‛; Hindi: 1963) is based on Buddha’s half-brother Nanda’s conflict described in Saundarānanda, a Buddhist narrative poem composed by Ashvaghosha in the first century CE. Nanda in Saundarānanda is torn between the allure of his beautiful consort Sundari and the attraction that he feels for Buddha’s preaching of renunciation. The present paper basically investigates why Rakesh, a modern writer not interested in Buddhism per se but in representation of the nuances of modernity has chosen Nanda’s story from the Buddhist text and how he treats the Buddhist text to suit his needs. While doing so, the paper has maintained the requirements for a scientific research and has adopted the analytical method of research as a general rule, but has employed the comparative method also as and when necessary. ‚I’ve had this image in mind for a long time. Two lampstands. One tall, with a figure of a man on top of it— arms spread and eyes raised to heaven. The other short, with a woman’s figure on it— arms folded and eyes dropped to the ground,‛1— commented eminent Hindi playwright Mohan Rakesh (1925-72) on the mental image that motivated him for years to write his famous amateur play Lehron Ke Rajhans (‚The Great Swans of the Waves‛; written in 19 Hindi; published in 1963). -
Theatre & Television Production
FACULTY OF VISUAL ARTS & PERFORMING ARTS Syllabus For MASTER OF VOCATION (M.VOC.) (THEATRE & TELEVISION PRODUCTION) (Semester: I – IV) Session: 2019–20 GURU NANAK DEV UNIVERSITY AMRITSAR Note: (i) Copy rights are reserved. Nobody is allowed to print it in any form. Defaulters will be prosecuted. (ii) Subject to change in the syllabi at any time. Please visit the University website time to time. 1 MASTER OF VOCATION (M.VOC.) (THEATRE & TELEVISION PRODUCTION) SEMESTER SYSTEM Eligibility: i) Students who have passed B.Voc. (Theatre) from a recognised University or have attained NSQF Level 7 in a particular Industrial Sector in the same Trade OR ii) Bachelor Degree with atleast 50% marks from a recognised University. Semester – I: Courses Hours Marks Paper-I History & Elements of Theatre Theory 3 100 Paper-II Western Drama and Architecture Theory 3 100 Paper-III Punjabi Theatre Theory 3 100 Paper-IV Acting Orientation Practical 3 100 Paper-V Fundamentals of Design Practical 3 100 Semester – II: Courses Hours Marks Paper-I Western Theatre Theory 3 100 Paper-II Fundamentals of Directions Theory 3 100 Paper-III Theatre Production Practical 3 100 Paper-IV Production Management Practical 3 100 Paper-V Stage Craft (Make Up) Practical 3 100 2 MASTER OF VOCATION (M.VOC.) (THEATRE & TELEVISION PRODUCTION) SEMESTER SYSTEM Semester – III Courses Hours Marks Paper-I INDIAN THEATRE Theory 3 100 Paper-II MODERN THEATRE & Theory 3 100 INDIAN FOLK THEATRE Paper-III STAGE CRAFT Theory 3 100 Paper-IV PRODUCTION PROJECT Practical 3 100 Paper-V PRODUCTION ANALYSIS Practical 3 100 AND VIVA Semester – IV Courses Hours Marks Paper-I RESEARCH METHODOLOGY Theory 3 100 Paper-II SCREEN ACTING Theory 3 100 Paper-III ACTING Theory 3 100 Paper-IV TELEVISION AND FILM Practical 3 100 APPRECIATION Paper-V FILM PRODUCTION Practical 3 100 3 MASTER OF VOCATION (M.VOC.) (THEATRE & TELEVISION PRODUCTION) SEMESTER – I PAPER-I: HISTORY AND ELEMENTS OF THEATRE (Theory) Time: 3 Hours Max. -
M.P.A (Theatre Arts)
'. Code No: N-35 ENTRANCE EXAMINATION, 2017 M.P.A (Theatre Arts) MAX.MARKS:50 DATE: 04 -06-2017 TIME: 10:00 AM Duration 2 hours HALL TICKET NO: __________ Instructions: i) Write your Hall Ticket Number in OMR Answer Sheet given to you. Also write the Hall Ticket Number in the space provided above. ii) There is negative marking. Each wrong answer carries-O.33mark. iii) Answers are to be marked on OMR answer sheet following the instructions provided there upon. iv) Hand over the OMR answer sheet at the end of the examination to the Invigilator. v) No additional sheets will be provided. Rough work can be done in the question paper itself/ space provided at the end of the booklet. 1. The author of the play "Nagamandala" is ______ A) Chandrashekhara Kambar C) Bhartendu Harishchandra B) B.Y Karant D) Girish Karnad 2. Guru Birju Maharaj is an exponent of the form _____ A) Kathakali C) Kathak B) Kuchipudi D) Odissi 3. Founder of the theatre group 'Kalakshetra Manipur' is. _______ A) Ratan Thiyam C) Lokendra Arambam, B) Heisnam Kanhailal, D) S. Thanilleirna 1 '. 4. World theatre day is celebrated on ________ A) December 25 C) March 27 B) November 14 D) January 26 5. Rabindranath Tagore was awarded the Nobel Prize in the field of______ _ A) Architecture C) Sports B) Sculpture D) Literature 6. The director of the play "Charan Das Chor" of Nay a Theatre group is ______ A) Utpal Dutt C) Ram Gopal Bajaj B) Habib Tanvir, D) Badal Sarkar 7. 'Sopanam,' the theatre wing of Bhasabharati, the Centre for Performing Arts founded by ______ A) Deepan Shivaraman C) Ratan Thiyam B) C RJambe D) Kavalam Narayana Panikkar 8. -
Study of Girish Karnad As a Great Indian Drama Writer
International Journal of English Research International Journal of English Research ISSN: 2455-2186 Impact Factor: RJIF 5.32 www.englishjournals.com Volume 4; Issue 3; May 2018; Page No. 44-46 Study of Girish Karnad as a great Indian drama writer Dr. Manisha Dwivedi1, Akash Dhahariya2 1 H.O.D., Department of English, Dr. C.V. Raman University Kota, Bilaspur, Chhattisgarh, India 2 M.Phil. English Research Scholar, Dr. C.V. Raman University Kota, Bilaspur, Chhattisgarh, India Abstract This paper is to study Karnad’s plays from the point of view of Themes and Techniques. While doing so, the focus will mainly be on Man-Woman relationship with the institution of marriage in the postcolonial society. Karnad is India’s best living playwright whose journey from Yayati to Boiled Beans on Toast holds a mirror to the very evolution of a truly ‘Indian Theatre’ which can be true to its traditions and at the same time responsive to contemporary concerns. Keywords: brahminicide, byword, contemporaneity, continuance, existentialist, funny, futility, incensed, invulnerable, mythology, narrative, revenge, rues, spawned and unnerving Introduction Girish Karnad is one of the most influential playwrights of our Girish Raghunath Karnad is a playwright, poet, actor, director, time and his plays have become a byword for imagination, critic, translator and cultural administrator all rolled into one. innovation and craftsmanship. He has been honoured with the He has been rightly called the “renaissance man” (Kalidas & Padma Bhushan and was conferred the prestigious Jnanapith Merchant.”Renaissance Man”); whose celebrity is based on Award. He also received the Sahitya Akademi Award. Girish decades of prolific and consistent output on native soil. -
Girish Karnad - Tughlaq : (1)
GIRISH KARNAD - TUGHLAQ : (1) Page | 1 UNIT-1 GIRISH KARNAD- TUGHLAQ (1) 1.1.Contemporary Indian Theatre: 1.1.1. Introduction The two decades after independence represent a time of the proliferation of theatrical forms in various regions of India. This period is also distinguished by the coming-of-age of Indian theatre. The generation of playwrights who emerged and came in to prominence in the two decades following the Indian independence revolutionized theatrical practices in India. The work of these playwrights is characterized by some commonly shared features. Most of them had a firm faith in the idea that earlier forms of theatre made possible by colonial modernity and conditioned by a pre-dominantly urban culture have become obsolete. Their departures from the earlier forms of theatre like the Parsi stage or the Indian Peoples‘ Theatre Association (IPTA), which flourished in the early decades of the century, became increasingly apparent. These departures manifested themselves as radical shifts in terms of themes, forms, structures, and presentation. Apart from these, new conceptions of theatre and theatrical techniques emerged as novel directions in Indian theatre. These playwrights forged radically new ways of creative self-expression distinguished by experimentation and revival of tradition. The self-consciousness of these playwrights as shapers of a ―post-colonial‖ Indian theatre provided a different dimension to the cultural phenomenon. Almost all of the playwrights who started writing their plays in this period experienced a sense of disconnection with the previous forms of theatre. Girish Karnad, Dharamvir Bharati, Mohan Rakesh, Vijay Tendulkar, Badal Sircar, Utpal Dutt, Habib Tanvir, G.P.Deshpande, and others are the most representative of this generation of playwrights. -
00 Theatre Cover
Unit - 1 Medieval Indian literature was glorious, but it was an Learning Objectives: The learner would be era of devotional poetry, which was a little able to: indifferent to secular representation of life on stage. Know about the various personalities After the 10th century, Sanskrit drama lost its tenor who helped in the growth of drama as no longer strived through symbol and gesture to literature. realize the truth behind human experience. Religious Know about the theatre scene after and social taboos against such forms of entertainment independence was also responsible for the decline of Indian theatre, Know in detail about the contributions of: and, therefore, drama remained in a state of oblivion. Bhartendu Harish Chandra Rabindranath Tagore However, folk plays continued to entertain the Vijay Tendulkar audience. Mohan Rakesh Dharamveer Bharati Badal Sarkar Girish Karnad Dr. Shankar Shesh Know the details of some prominent plays: Andheri Nagari Chaupat Raja. Dak Ghar. Ghashiram Kotwal. Adhe Adhure. Andhayug. Evam Indrajit. Hayavadana. With the advent of the modern period and the impact Understand the importance of various of western literature, drama took a new turn and art and cultural institutions which developed as a form of literature. The Parsi theatre, played an important role in progress around 1850, started staging plays based on Indian of Indian theatre namely: mythology, history and legends. The troupes, were The Sangeet Natak Academy National School of Drama travelling to different parts of the country, and made Zonal Cutural Centers a tremendous impact on their audience. Agha Hashr Acknowledge the works of major theatre (1880-1931) was an important playwright of the Parsi practitioners, who revolutionised Modern theatre. -
Toijam Shila Devi Address : Nambol Khori Leikai, P.O./P.S
Name : Toijam Shila Devi Address : Nambol Khori Leikai, P.O./P.S. Nambol Bishnupur District, Pin code – 795134 E-mail : [email protected], [email protected] Religion : Hindu Marital Status : Married Husband’s Name : Jeevan Abhiram Ningthoujam Mother’s Name : O. Sumati Devi Father’s Name : T. Subhaschandra Singh Date of Birth : 01/01/1974 Blood Group : A +ve Nationality : Indian Language Known : English, Hindi, Manipuri (with writing) Ednl Qualification: M.A. 1st Class in Ancient Indian History form Manipur University in the year 1996 Qualification in the Theatre : i) Post Graduate Diploma in Dramatic Arts (specialized in acting) fom National School of Drama, New Delhi, 2002. ii) One Year Experience as Stint Actor-Teacher (Child Psychology) from TIE Company, 2003-2004 iii) One Year Comprehensive Course in Dramatic Arts from Institute of Performing Art, Imphal under the sponsorship of NSD, New Delhi, 1996 Present Status : i) Assistant Professor (HOD Department of Theatre and Performance Studies), Manipur University of Culture, Palace Compound, Imphal 1 ii) Director of the Prospective Repertory Theatre, Manipur (PRTM), Nambol iii) Visiting Faculty, Sikkim Theatre Training Centre Gangtok (NSD) iv) Theatre Expert for Awardee Selection Committee form Manipur in Ministry of Culture, Govt. of India. v) Theatre Faculty at Purbottar Sanskar Bharati vi) Jury Member for Song & Drama Division, Manipur, Govt. of India vii) Jury Member for Inter College Youth Festival, Manipur University EXPERIENCE IN THE FIELD OF THEATRE A. Experience in Acting (English/Hindi plays) Sl No Name of the play Character Language Direction Writer Year/Plac e 1 Island of Blood One woman English Abhilash Anita Pratap 2003-2004 show in Pillai /Germany different and Japan character 2 Cherry Orchard Duniasha Hindi Tripural Anton 1999-2000 Sharma Checkov /NSD 3 Khubsurat Bala Sahell Hindi Hema Singh Parsi Play 2001/NSD 4 Manabhagabtam Sahell Hindi B.V. -
27 March Session.Cdr
THEATRE SCHOOLS & THEATRE DEPARTMENTS OF UNIVERSITIES ONLINE IN THE CONTEXT OF NATIONAL SEMINAR EDUCATION POLICY 2020 27th March 2021 1st Session (11.00 am to 01.00 pm) Chair Prof. Daatreya Du Formerly a lecturer in English Literature and later Professor and HOD, Drama, also the Cultural Coordinator, Rabindra Bhara University , Prof du is beer known as an interdisciplinary scholar. He has authored several books in English and Bengali on literature and theatre ,including several plays and a collecon of Bengali sonnets . His books on the “Poetocs,on the Oedipus” and on Shambhu Mitra's Chaand Baniker Pala are considered landmarks in Bengali theatre cricism. Prof. Du is the Co-founder of the Shakespeare Society of Eastern India. He is also a playwright and theatre director. His translaon of Macbeth is currently being presented internaonally. He has worked with Hansguenther Heyme and Gunter Grass in Directorial capacity. A visual arst, crasman, and set- designer, musician and music director, Prof. Du has taught for nearly half a century before rerement. Zoom ID: 837 8338 4051 Passcode: nsd@semi LIVE www.nsd.gov.in @nsdnewdelhi THEATRE SCHOOLS & THEATRE DEPARTMENTS OF UNIVERSITIES ONLINE IN THE CONTEXT OF NATIONAL SEMINAR EDUCATION POLICY 2020 27th March 2021 1st Session (11.00 am to 01.00 pm) Speaker Sh. Surya Mohan kulshrestha Naonal Sangeet Natak Akademi Awardee and former director of Bhartendu Natya Akademi, Surya Mohan Kulshreshtha started pursuing serious theatre in 1974 as an actor with Meghdoot theatre group in Lucknow. He got his formal training in theatre from Bhartendu Natya Akademi in its first batch ( 1976-77), with specializaon in direcon. -
Complete Draft 4 (W:O Copyright)
Gender, Genre, and the Idea of Indian Literature: The Short Story in Hindi and Tamil, 1950-1970 by Preetha Laxmi Mani A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in South and Southeast Asian Studies and the Designated Emphasis in Women, Gender, and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Vasudha Dalmia, Co-Chair Professor George Hart, Co-Chair Professor Paola Bacchetta Professor Raka Ray Spring 2012 Abstract Gender, Genre, and the Idea of Indian Literature: The Short Story in Hindi and Tamil, 1950-1970 by Preetha Laxmi Mani Doctor of Philosophy in South and Southeast Asian Studies and the Designated Emphasis in Women, Gender, and Sexuality Professor Vasudha Dalmia, Co-Chair Professor George Hart, Co-Chair In the wake of Indian Independence, the short story emerged as the most active genre in both Hindi and Tamil literature, establishing new representations of selfhood and citizenship that would shape popular expression across India for decades to come. This is evidenced by increased circulation of short stories in post-Independence magazines and their continued study as part of the Hindi and Tamil literary canons. These short stories thus provide an important window into the cultural production of enduring paradigms of Indian modernity and citizenship in the context of national efforts to create an all-Indian identity after decolonization. My dissertation is motivated by an interest in explaining how post-Independence Hindi and Tamil short stories mobilize and construct representations of the “Indian citizen,” locating them within a regionally specific cultural context, as well as the broader imaginings of a modern India. -
Theatre Studies Class: Xii Sample Paper 2016-17 Marking Scheme
THEATRE STUDIES CLASS: XII SAMPLE PAPER 2016-17 MARKING SCHEME Q.No Expected Answer Marks Unit/T ypo 1. Relaxation/ trust/ discipline/ criticism/freedom 1 3/R 2. Space/Stage 1 3/H 3. Type casting 1 3/A 4. Baratendu Harish Chandra (Hindi), Girish Chandra Ghosh (Bengali), 1 1/R Dwijendra Lal Roy (Bengali), Dina Bandhu Mitra (Bengali, 1829-74), Ranchod bhai Udayram (Gujarati, 1837-1923), M.M. Pillai(Tamil), Balvant Padurang Kirloskar (Marathi, 1843-1885) and Rabindra Nath Tagore. (Any Two) 5. The National School of Drama 1 1/U 6. They reflect the time and place in which the character lives, his social 2 3/U standing, his present circumstances and his emotional state. 7. Theatre Educator. 2 2/H Theatre teacher instructors coach students in the techniques of acting, directing, playwriting, script analysis and the history of theatre. They help them acquire confidence, speaking skills and sense timing. They encourage students in their work, direct rehearsals and guide them in their roles. At the same time, they instruct students in backstage work including set design, production organization, set building, stage lighting and sound, properties, costuming and makeup. (1+1) 8. The ‘Theatre-In-Education Company’ (Sanskar Rang Toli) was established in 2 1/A October 16, 1989, and is one of the most important theatre education resource centres in the country. It consists of a group of actor-teachers working with and performing for children. The major focus of the TIE Company is to perform creative, curriculum-based and participatory plays in schools, specially designed and prepared for student of different age groups.