The Screening Effect the Best of Opera, Ballet, Plays and Documentaries

Total Page:16

File Type:pdf, Size:1020Kb

The Screening Effect the Best of Opera, Ballet, Plays and Documentaries April 2021 ® ON Stagevolume 10 • issue 9 THE SCREENING EFFECT THE BEST OF OPERA, BALLET, PLAYS AND DOCUMENTARIES Chairman’s Note ortune favours the brave. We had just finished the SOI’s Spring 2020 Season and within a fortnight of it, the Flockdown was announced. In the last one year, we have spent time on creating infrastructure for the dissemination of our concerts through the digital medium and I am happy to say that some progress has been made. Several of our SOI musicians are resident and we are making use of that for creating a stockpile of recordings while also taking stock of our archives. We are examining various other ways in which our facilities at the NCPA can be utilised to conduct workshops, seminars, talks, etc. These will take some time. Please don’t mistake this, dear member, for us giving up our passion for live performances, which remain our raison d’être. However, until we can safely return to hosting performances, we want to make this interim period interesting for you. This long absence from the office seems to have naturally affected the quick decision-making atmosphere which was possible when colleagues could interact with each other face to face on a regular basis. Since this situation is not ending as early as we thought, the NCPA will have to garner its strength and depth of management by adopting creative managerial strategies to meet this challenge and to ensure that these decisions are scrupulously followed. Khushroo N. Suntook NCPA Chairman Khushroo N. Suntook Editorial Director Radhakrishnan Nair Chief Executive - PR, Marketing & Events, NCPA Pallavi Sahney Sharma Contents Editor Snigdha Hasan Consulting Editor 14 Vipasha Aloukik Pai 38 Editorial Co-ordinator Hilda Darukhanawalla Art Director Tanvi Shah Associate Art Director Hemali Limbachiya Assistant Art Director Nandkishor Sawant Graphic Designers Gautami Dave Advertising Anita Maria Pancras ([email protected]; 66223835) Tulsi Bavishi ([email protected]; 9833116584) Production Manager Mangesh Salvi Senior Digital Manager Jayesh V. Salvi the NCPA-Citi Online Edition brimming with an appreciative Cover Credit Features The Metropolitan Opera, celebrates a cherished association audience. But when audiences The Bolshoi Theatre, The National Theatre, through stellar performances. have a plethora of avenues of White Wall Screenings the SOI Music Academy look back on entertainment to choose from, their journey and how it has shaped how do we get them interested Produced by 06 Reflections them, inside the classroom, on the 28 in live performances of classical Musical repose. stage and out in the world. Improvised Times dance? By Usha Rk Editorial Office By Anil Dharker International Jazz Day is here, and 4th Floor, Todi Building, we take a look at how lovers of Mathuradas Mills Compound, 20 this beautiful genre of music are 38 Senapati Bapat Marg, The Instrumental Case celebrating this special day across The Big Band Theory Lower Parel, 08 Please note: Eclectic Connections When played as accompaniments, the world. By Benaifer J. Mirza High energy, good vibrations, In view of the fluid situation we find ourselves in, we do not think it fit Mumbai - 400013 The NCPA’s many they gracefully play second fiddle funky dance forms and a rich to publish information on upcoming events in this issue. We do hope Printer collaborations—old, new and to the vocalist, bolstering the and distinctive musical sound to be able to safely welcome you to our theatres very soon. Until then, Spenta Multimedia, Peninsula Spenta, renewed—are bringing a performance. As the cynosure of across crowded dance halls of please visit our website, www.ncpamumbai.com, and our social media Mathuradas Mill Compound, 30 unique experience for lovers solo recitals, their sound commands Culture, Covid and the State 20th-century America marked channels to keep abreast of the latest developments at the NCPA and do N. M. Joshi Marg, Lower Parel, Mumbai – 400013 of cinema and the arts. From a rapt audience and encores. Ahead While the world struggles to the beginning of the big band stay safe, dear readers. screenings of short films, of Saz-e-Bahar, a festival celebrating achieve normalcy, how much era. Anurag Tagat analyses Materials in ON Stage® cannot be documentaries, opera, ballet the rich diversity of instruments in cold, hard cash countries are how the sound of the big reproduced in part or whole without the and theatre, the titles on offer Indian music, a brief acquaintance willing to spend on supporting band made jazz a universally Follow us on: written permission of the publisher. Views and opinions expressed in this magazine here include world-class, with four instruments that are part the arts and its artistes is more popular form of music that has facebook.com/NCPAMumbai critically acclaimed works as of this edition, and their leading revealing than all manner of spin influenced a bevy of artistes in are not necessarily those of the publisher. @NCPAMumbai All rights reserved. well as little-known gems that contemporary exponents. relied on by any form of public subsequent decades. are not to be missed. By Snigdha Hasan relations. By Jawhar Sircar @NCPAMumbai NCPA Booking Office 2282 4567/6654 8135/6622 3724 By Kusumita Das youtube.com/user/TheNCPAMumbai1 www.ncpamumbai.com 42 27 34 Kaleidoscope 14 The Gift of Music Spectator Sport Your window to the latest in the The Graduates With a series of select Indian and The biggest applause in the performing arts across India and We look forward to your feedback and suggestions. Please do drop us an Seven graduating students of Western classical music concerts, performing arts is auditoria the world. email at [email protected]. COMMONS BERNHARD/WIKIMEDIA HANS OPINION Reflections Musical repose. By Anil Dharker If music be the food of sleep, play on. With apologies to Shakespeare, of course, who would imagine that the great music we so avidly listen to in concert halls could be prescribed by doctors for insomnia? There’s a new science out there, called Arts on Prescription. The U.K. currently offers this for people with mental health problems. Music plays an important part in the therapy; additionally, it also helps people relax and sleep soundly. The prescription can last three weeks to three months, after which presumably, listening to soothing music becomes a habit and no prescription is required. Music dosages? ‘Six longitudinal music lines to help slow down a listener’s heart Lune’ (a description of moonlight) and his sleep studies using the Pittsburgh Sleep rate, reduce blood pressure and lower levels ‘Reverie’ round up the list. Quality Index’. It is enough to make you of stress hormone cortisol. Debussy might be a master of creating a toss and turn in your bed. Nevertheless, As a genre though, classical music works dreamlike atmosphere, but since you hear the role of music in inducing better quality best. A survey of 600 people conducted by the music played by piano, we don’t hear sleep has been established clearly, and for a research group showed that as many as the original song’s disquieting lyrics, “Our that we don’t need a doctor’s prescription or 32 per cent of participants chose classical love is a dream, but in my reverie/I can see a visit to the chemist. Besides, it is the only music as the best relaxant. Apparently, the that this love was meant for me/Only a drug which is good if it becomes addictive. right kind of music works on something poor fool never schooled in the whirlpool/ But it can’t be every kind of music. called HRV (Heart Rate Variability) which Of romance could be so cruel as you are to Certainly not heavy metal. Or big band jazz measures how efficiently a person’s heart me…” Luckily, we can ignore the sadness or for that matter, many pieces of classical rate adapts to the changing demands of a and go happily to sleep. music. Imagine trying to sleep listening working day. Speak of sleep and you think of dreams. to Tchaikovsky’s 1812 Overture with its Bach wrote The Well-Tempered Clavier While writing this, it struck me with a cannon shots, or Holst’s ‘Mars, the Bringer in which he said the 24 preludes and sudden jolt of pain that I have never had of War’ from The Planets. Sleep experts (it fugues were, “for the profit and use of a dream with music in it. But a study in is a lucrative profession, by the way) tell musical youth desirous of learning, and psychomusicology made me feel better: us that the tempo of the music makes a especially for the pastime of those already they found only six per cent of participants difference; the best is music with a rhythm skilled in this study.” From this complex remembered dreams with music. And the of 60 beats per minute. As we fall asleep, our composition, the Prelude No.1, with ones who have musical dreams are more heartbeat slows down to about that level. its simple beauty consisting of broken likely to be professional musicians or those William Congreve said this rather well: chords is wonderful to sleep by. But the who listen to it for extended periods. These ‘Music hath charms to soothe the piece of music considered the very best in lucky few use their dreams creatively. In savage breast this field is ‘Wiegenlied’ by Brahms. Not fact, Paul McCartney of the Beatles and To soften rocks, or bend a knotted oak.’ surprising because the translated title is Keith Richards of The Rolling Stones said The most relaxing song ever created is ‘Cradle Song’, so it is a lullaby which goes: they dreamt full songs which they quickly ‘Weightless’ by a group called Marconi “Guten Abend, gut nacht!/ Mit Rosen wrote down and used.
Recommended publications
  • Amol and Chitra Palekar
    NATYA SHODH SANSTHAN Interview of Amol and ChitraPalekar FROM THE COLLECTIONS OF NATYASHODHSANSTHAN AUDIO LIBRARY Recorded on 1st. July, 1982 NatyaBhavan EE 8, Sector 2, Salt Lake, Kolkata 700091/ Call 033 23217667 visit us at http://www.natyashodh.org https://sites.google.com/view/nssheritagelibrary/home (Amol Palekar&ChitraPalekar came a little late and joined the discussionregarding the scope of theatre and the different forms a playwright tries to explore.) ChitraPalekar It is not that you cannot do a thing. You can do anything, you can do anything. It is not the point. The point is that the basic advantage that cinema has over theatre, the whole mass of audience, you know, all those eight hundred or nine hundred people he can put them to a close-up. This tableau we still see in theatre sitting as a design in a particular frame but here you can break that frame, you can go closer and he can focus your attention on just a little point here and a gesture here, and a gesture there and you know, on stage you will have to show with a torch yet it won’t be visible. Amol Palekar The point is …..Obviously two points come to my mind. First and foremost, suppose you are able to do it, and you are able to hold the audience then why not. The question is – yes, you do it for two hours, just keep one tableau and somebody the off sound is there. If that can hold then I think it will be a perfect valid theatre, why not? Bimal Lath Could it be that we can make 10 plays the same way? Amol Palekar Yes, why not? In fact I think on this issue I will say something which will immediately start a big fight so I will purposely started not for the sake of fight but because I believe in it also.
    [Show full text]
  • Application Employee of High Sr No
    Application Employee of High Sr No. Seq No Rollno Applicant Full Name Father's Full Name Applicant Mother Name DOB (dd/MMM/yyyy) Domicile of State Category Sub_Category Email ID Gender Mobile Number Court Allahabad Is Present Score 1 1000125 2320015236 ANIL KUMAR SHIV CHARAN ARYA MAHADEVI 6/30/1990 Uttar Pradesh OBC Sports Person (S.P.)[email protected] Male 9911257770 No PRESENT 49 2 1000189 2320015700 VINEET AWASTHI RAM KISHOR AWASTHI URMILA AWASTHI 4/5/1983 Uttar Pradesh General NONE [email protected] 8423230100 No PRESENT 43 3 1000190 2110045263HEMANT KUMAR SHARMA GHANSHYAM SHARMA SHAKUNTALA DEVI 3/22/1988 Other than Uttar Pradesh General [email protected] 9001934082 No PRESENT 39 4 1000250 2130015960 SONAM TIWARI SHIV KUMAR TIWARI GEETA TIWARI 4/21/1991 Other than Uttar Pradesh General [email protected] Male 8573921039 No PRESENT 44 5 1000487 2360015013 RAJNEESH KUMAR RAJVEER SINGH VEERWATI DEVI 9/9/1989 Uttar Pradesh SC NONE [email protected] Male 9808520812 No PRESENT 41 6 1000488 2290015053 ASHU VERMA LATE JANARDAN LAL VERMA PADMAVATI VERMA 7/7/1992 Uttar Pradesh SC NONE [email protected] Male 9005724155 No PRESENT 36 7 1000721 2420015498 AZAJUL AFZAL MOHAMMAD SHAHID NISHAD NAZMA BEGUM 2/25/1985 Uttar Pradesh General NONE [email protected] 7275529796 No PRESENT 27 8 1000794 2250015148AMBIKA PRASAD MISHRA RAM NATH MISHRA NIRMALA DEVI 12/24/1991 Uttar Pradesh General NONE [email protected] Male 8130809970 No PRESENT 36 9 1001008 2320015652 SATYAM SHUKLA PREM PRAKASH
    [Show full text]
  • New and Bestselling Titles Sociology 2016-2017
    New and Bestselling titles Sociology 2016-2017 www.sagepub.in Sociology | 2016-17 Seconds with Alice W Clark How is this book helpful for young women of Any memorable experience that you hadhadw whilehile rural areas with career aspirations? writing this book? Many rural families are now keeping their girls Becoming part of the Women’s Studies program in school longer, and this book encourages at Allahabad University; sharing in the colourful page 27A these families to see real benefit for themselves student and faculty life of SNDT University in supporting career development for their in Mumbai; living in Vadodara again after daughters. It contributes in this way by many years, enjoying friends and colleagues; identifying the individual roles that can be played reconnecting with friendships made in by supportive fathers and mothers, even those Bangalore. Being given entrée to lively students with very little education themselves. by professors who cared greatly about them. Being treated wonderfully by my interviewees. What facets of this book bring-in international Any particular advice that you would like to readership? share with young women aiming for a successful Views of women’s striving for self-identity career? through professionalism; the factors motivating For women not yet in college: Find supporters and encouraging them or setting barriers to their in your family to help argue your case to those accomplishments. who aren’t so supportive. Often it’s submissive Upward trends in women’s education, the and dutiful mothers who need a prompt from narrowing of the gender gap, and the effects a relative with a broader viewpoint.
    [Show full text]
  • Current Awareness Bulletin
    No.1 January 2016 Current Awareness Bulletin Centre for Women’s Development Studies 25, Bhai Vir Singh Marg (Gole Market), New Delhi-110001, India. Ph.: 011-32226930, 32226931 Fax: 91-23346044 E-mail: [email protected] | URL: www.cwds.ac.in/library/library.htm i CONTENTS Section 1: Journals/ Periodicals/ Newsletters Articles Arts .................................................................................. 001 Child Abuse ..................................................................... 002-004 Child Labour .................................................................... 005 Child Marriage ................................................................. 006- 007 Children ........................................................................... 008-024 Children’s Rights ............................................................. 025-026 Crimes ............................................................................. 027 Demography .................................................................... 028-037 Education ......................................................................... 038-040 Employment ..................................................................... 041-048 Family .............................................................................. 049 Family Planning ............................................................... 050-051 Feminism ......................................................................... 052 Gender Studies ................................................................
    [Show full text]
  • 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
    [Show full text]
  • Oct-Dec-Vidura-12.Pdf
    A JOURNAL OF THE PRESS INSTITUTE OF INDIA ISSN 0042-5303 October-DecemberJULY - SEPTEMBER 2012 2011 VOLUMEVolume 3 4 IssueISSUE 4 Rs 3 50 RS. 50 In a world buoyed by TRP ratings and trivia, QUALITY JOURNALISM IS THE CASUALT Y 'We don't need no thought control' n High time TAM/TRP era ended n The perils of nostalgia n You cannot shackle information now n Child rights/ child sexual abuse/ LGBT youth n Why I admire Justice Katju n In pursuance of a journalist protection law Responsible journalism in the age of the Internet UN Women: Promises to keep Your last line of defence n Alternative communication strategies help n The varied hues of community radio Indian TV news must develop a sense of The complex dynamics of rural Measuring n Golden Pen of Freedom awardee speaks n Soumitra Chatterjee’s oeuvre/ Marathi films scepticism communication readability n Many dimensions to health, nutrition n Tributes to B.K. Karanjia, G. Kasturi, Mrinal Gore Assam: Where justice has eluded journalists Bringing humour to features Book reviews October-December 2012 VIDURA 1 FROM THE EDITOR Be open, be truthful: that’s the resounding echo witch off the TV. Enough of it.” Haven’t we heard that line echo in almost every Indian home that owns a television set and has school-going children? “SIt’s usually the mother or father disciplining a child. But today, it’s a different story. I often hear children tell their parents to stop watching the news channels (we are not talking about the BBC and CNN here).
    [Show full text]
  • Sl. No. Roll No. Form No. Candidate Name Father Name Online Test
    RUHS Paramedical UG/Diploma Entrance Examination 2018 held on 22-July-2018 Provisional Result Sl. Roll Form Candidate Name Father Name Online test No. No. No. Score 1 774709 157580 AADIL ALI AKHTAR JAWED ALI 24 2 776110 152356 AADIL HUSSAIN MOHD. SADDIK 23 3 775335 158688 AADIL KHAN ZAFAR KHAN 30 4 773345 153862 AADIL KHAN ILIYAS AHMED 34 5 775548 158239 AADIL SHEKH MOH ANWAR SHEKH 27 6 770300 150497 AAFTAB KHAN AZIZ KHAN 27 7 771637 154595 AAKANSHA SHARMA KAMAL SHARMA 27 8 774515 157095 AAKASH KUMAR MAHENDRA SINGH 53 9 775699 150357 AAKASH KUMAWAT MUKESH KUMAWAT 28 10 775130 156807 AAKASH KUMAWAT SURESH KUMAWAT 31 11 774711 152808 AAKASH OJHA PREM PRAKASH 33 12 774032 155356 AAKASH SHARMA LALITA SHARMA 19 13 774263 157776 AAKASH SHARMA RAMDHAN SHARMA 20 14 775634 156007 AAKASH VERMA RAJESH KUMAR VERMA 28 15 773588 151461 AAKIF AKHTAR ARSHAD AKHTAR 28 16 776626 158824 AAKRTI KANWAR SINGH 26 17 770659 155640 AANCHAL DINDOR MAGANLAL DINDOR 22 18 775121 154734 AANCHAL SHARMA MAHESH CHANDRA SHARMA 24 19 772086 158087 AANCHAL SUMAN SURESH SUMAN 25 20 775097 150908 AANCHAL VERMA RAJENDRA VERMA 49 21 774632 152376 AARAV YADAV JAI NARAYAN YADAV 23 22 771846 157780 AAROHEE SHARMA Kishan lal loknathaka 30 23 772930 155169 AARTI DHABHAI BADRI NARAYAN DHABHAI 29 24 770741 151563 AARTI GURJAR DEVKARAN GURJAR 24 25 773160 156830 AARTI JAIN BHAGCHAND JAIN 34 26 773407 154289 AARTI JAIPAL TEJARAM JAIPAL 32 27 771420 157114 AARTI MEGHWAL ASHOK KUMAR 31 28 772749 152887 AARTI PANWAR SUBHASH CHAND VERMA 19 29 775073 153889 AARTI SHARMA ROOP NARAYAN SHARMA
    [Show full text]
  • 42420Revised Seniority List of Itis.Pdf
    Income Tax Department, Andhra Pradesh Telangana Region Date:03/12/2015 Revised Seniority List of Income Tax Inspectors (from 1986-87 to 2014-15) ANNEXURE - 8 S.NO Name of the ITI DR/PR Category Date of Birth Recruitment year 1 MAHABOOB SHARIFF PR UR 24/07/1934 1986-87 2 SITARAMA PANTULU AV PR UR 02/04/1939 1986-87 3 I S MAZHONIA DR UR 16/03/1945 1986-87 4 NAGENDRA RAO TPVK PR UR 01/04/1938 1986-87 5 SHARMA TVK PR UR 19/11/1937 1986-87 6 SANJEEV CH DR SC 29/05/1959 1986-87 7 N T R SATKOPACHARYULU PR UR 01/10/1935 1986-87 8 PRASAD RAO MSV PR UR 10/01/1936 1986-87 9 FAZAULLAH SA DR UR 23/12/1959 1986-87 10 K DAMODAR PILLAI PR UR 16/02/1934 1986-87 11 KAMESWARA RAO J PR UR 15/12/1937 1986-87 12 VENKATARAMANA R DR UR 24/12/1950 1986-87 13 NARAYANA RAO GV PR UR 30/07/1938 1986-87 14 ANJANEYULU KVSR PR UR 02/07/1937 1986-87 15 SUBBA RAO P DR UR 18/06/1958 1986-87 16 APPADORAI KV PR UR 31/12/1945 1986-87 17 B SATYANARAYANA MURTHY PR UR 04/04/1934 1986-87 18 VENKATANARAYANA B DR UR 14/08/1941 1986-87 19 S A KAREEM PR UR 01/07/1934 1986-87 20 RAMA MOHAN RAO CH PR UR 01/07/1936 1986-87 21 SOMLAL RATHOD DR ST 02/07/1949 1986-87 22 KOTILINGAM B PR UR 01/06/1948 1986-87 23 KRISHNA RAO P PR UR 01/07/1939 1986-87 24 RAMA MOHAN V DR SC 10/07/1960 1986-87 25 JAGANNNADHA SWAMY J PR UR 16/11/1944 1986-87 26 SHYAM SUNDER RAO V PR UR 02/01/1938 1986-87 27 NARAYANA RAO M DR UR 01/07/1957 1986-87 28 SRI HARI PRASAD P PR UR 04/11/1946 1986-87 29 SESHAIAH D PR UR 22/05/1943 1986-87 30 RASMI DR UR 14/08/1964 1986-87 31 RAJA SESHAIAH PR UR 01/07/1939 1986-87 32
    [Show full text]
  • CURRICULUM – VITAE [email protected]
    CURRICULUM – VITAE [email protected] DR. PAMIL MODI A VERSATILE SINGER AND PERFORMER Assistant Professor Dept. of Music M.L.S. University, Udaipur Educational Qualifications Degrees Year Board/University SET 2015 RPSC, Ajmer Ph.D. 2009 Mohan Lal Sukhadia University, Udaipur M.A. Music (Vocal) 2004 Mohan Lal Sukhadia University, Udaipur Sangeet Alankar 2003 Surnanandan Bharti-Kolkotta M.A. Music (Alankar) 2001 Akhil Bhartiya Gandharv Mahavidhyalya Mandal-Mumbai B.A. 2002 Mohan Lal Sukhadia University, Udaipur (Music,Eng.Lit, Geog.) Teaching Experience Presently working in the Department of Music as Assistant Professor, MLSU, Udaipur. Teaching experience in the Department of Music as a Lecturer in Aishwarya College for 2 years, (2008 to 2010). Had been associated with Mohan Lal Sukhadia University as a Guest Faculty in Dept. of Music for past 12 years, (2006 – 2018). Training and Teaching to students in Hindustani Vocal Classical Music of various age groups under the Organisation, Maharana Kumbha Sangeet Parishad. Worked as a Resource Person for Vocal Music Training in PIE, Rajasthan Patrika, Udaipur, 2004. Awards / Appreciations Bhaskar Woman of The Year Award-2019 by Deputy Chief Minister Sachin Pilot Jaipur. Woman of Substance by Big FM 92.7 and Aravli Foundation in 2019, Udaipur. Excellency Certificate by Ghazal Academy, Udaipur and Maharana Kumbha Sangeet Parishad, Udaipur, towards Music, July 2018. Received Gold Medal from Governor for Standing First in order of Merit in Music, in 2005. Awarded on International Women's Day in “Chingari Utsav” for contribution in Indian Classical Music by Rotary Club, Udaipur, 2016. Awarded by His Highness Maharana Arvind Singh Ji Mewar of Udaipur for excellent performance of Indian Classical Vocal Music on Guru Purnima, 2004.
    [Show full text]
  • Indian Music Instruments Sarangi Sitar Sitar Is of the Most Popular Music
    Indian Music Instruments Sarangi Sitar Sitar is of the most popular music instruments of North India. The Sitar has a long neck with twenty metal frets and six to seven main cords. Below the frets of Sitar are thirteen sympathetic strings which are tuned to the notes of the Raga. A gourd, which acts as a resonator for the strings is at the lower end of the neck of the Sitar. The frets are moved up and down to adjust the notes. Some famous Sitar players are Ustad Vilayat Khan, Pt. Ravishankar, Ustad Imrat Khan, Ustad Abdul Halim Zaffar Khan, Ustad Rais Khan and Pt Debu Chowdhury. Sarod Sarod has a small wooden body covered with skin and a fingerboard that is covered with steel. Sarod does not have a fret and has twenty-five strings of which fifteen are sympathetic strings. A metal gourd acts as a resonator. The strings are plucked with a triangular plectrum. Some notable exponents of Sarod are Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Pt. Buddhadev Das Gupta, Zarin Daruwalla and Brij Narayan. Sarangi Sarangi is one of the most popular and oldest bowed instruments in India. The body of Sarangi is hollow and made of teak wood adorned with ivory inlays. Sarangi has forty strings of which thirty seven are sympathetic. The Sarangi is held in a vertical position and played with a bow. To play the Sarangi one has to press the fingernails of the left hand against the strings. Famous Sarangi maestros are Rehman Bakhs, Pt Ram Narayan, Ghulam Sabir and Ustad Sultan Khan.
    [Show full text]
  • 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.
    [Show full text]
  • HAYAVADANA-Kumud Mehta.Pdf
    HAYAVADANA Kumud Mehta Hayavadana had its premiere on May 20, 1983 at the Tata Theatre. Shri Vasantrao Patil, Chief Minister of Maharashtra, was the Chief Guest. Sponsored by the National Centre for the Performing Arts and the Goa Hindu Association, the first five shows scheduled at the Tata Theatre received an enthusiastic response from theatre-lovers and connoisseurs. Hayavadana was written by Girish Karnad during his tenure as a Homi Bhabha Fellow, and designed by the same creative team (Vijaya Mehta and Bhaskar Chandavarkar) which had successfully produced Shakuntala during the inaugural week of the Tata Theatre. Why did Vijaya Mehta and Bhaskar Chandavarkar, who had just recently concentrated their energies on a burning contemporary theme, the psyche of the dalit (Vijaya Mehta while directing Purusha and Bhaskar Chandavarkar in his film Atyachara) turn now to this play based on the Vetalapanchavimshati, the cycle of twenty-five tales related by a demon, · from one of the oldest collection of stories in Sanskrit literature? It is not difficult to surmise the reasons for the choice. For Hayavadana, as conceived by Girish Karnad, focusses on a crucial aspect of any kind of modern self-enquiry. Wherein lies an individual's identity? In mental equipment, knowledge as embodied in Devadatta's personality? Or, in the sheer evidence of the world known to Kapil through the sensat1ons of his body? Or, perhaps, in Padmini's subconscious yearning for a perfect partner embracing both these attributes? Besides, even as a modern seeks to understand the meaning of ·selfhood, does he not, with equal anguish, long to be unfragmented, integrated, whole? It is this philosophical undercurrent that runs through The Transposed Heads, Thomas Mann's renowned version of this story.
    [Show full text]