Thespian 3Rd Issue in PAGE

Total Page:16

File Type:pdf, Size:1020Kb

Thespian 3Rd Issue in PAGE ISSN 2321 - 4805 è sz, è O^ ; x ] ] ] y] _l x n , t ql Y]g g !_ " © Copyright 2013 y # !]l , $s xq%w, swt' u $m*qè c,o. lt s/% $01o%w 33, sx ] Yt 4, sq5, s w l 6 7338, 4w qw_ , q9us:, t wl; u%!h !r : ?@ @A, ?@ @@37A SC$uSx : [email protected]/[email protected] D!ès Sg : www.thespianmagazine.com Autumn Edition 1 ISSN 2321 - 4805 Er. 3, Issue 2, 1N th October 201T Publisher Gitanjali Das , President DAUL a theatre group © Copyright 2013 Santiniketan, Bolpur, Birbhum THESPIAN c/o. Prativa Bishnu Chowdhury 400, Balaka Avenue, Nabapally, Barasat – 70012 6, North 24 Paraganas West Bengal, India. Mobile : +91 9434348114, +91 9932220718 E-mail : [email protected]/[email protected] Website : www.thespianmagazine.com Autumn Edition 2 ISSN 2321 - 4805 gu $m qè U n] st s/% $01o%w V!v _ U n] XYq yO]w uZ y[ !ny Ryw r% x S x u g% g% x $m*qè V!v ] s^_ s!ny 6 _w u%^ dÇ as Ox !nyb s % è aU.S.A ) nè Rrw (U.K ) $ny 6 d. $_ s aqc!0wb y # d%nw a$]wxb 0e!y^w S_ x aXg!nyb Xdl ]% u w asV wb Xul $01V a0c_hb 4q!ni ucx !r w Y . w u %d u, j o , g st _, l ux sksn xè, l !1w, l ux h% , t wl; !r w . wse , j o , Ro% ] t z D Vl , n5 sksn xè, t wl; i: %y # ]% u w Xo] w, V!v _ Xo q], 0 Y]x st _, w dy V sksn xè, s Ox !ny; ]^ lml n] w n l w è $01o%w ol u !u pzÇ w è Xks 0 g dÇ %u V l^ k rus xx w k $ns sts s/% $01o%w Autumn Edition 3 ISSN 2321 - 4805 Team THESPIAN Editor Bivash Bishnu Chowdhury Associate Editor Arup Sankar Misra Art Director Ashraful Islam Tutul THESPIAN Correspondents International – Sagar Mukharjee (Bangladesh) Basunia (U.S.A.) Sadia Afrin (U.K.) National – G. Gobi (Pondicherry) Prasanth Namboothiri (Kerela) Chandrasekhar Indla (Andhra Pradesh) Amit Chauhan (Chandigarh) Ajit Kumar (Bihar) Advisory Board Prof. S. Ramanujam, Former Head, Department of Drama, Tamil University, Thanjavur, Tamilnadu, India. Prof. C. Raveendran, Former Head, Department of Modern Indian Language and Literary Studies, University of Delhi, Delhi, India. Dr. Sushanta kumar Adhikary, Associate Professor, Department of Fine Arts, University of Rajshahi, Rajshahi, Bangladesh. Our Sincere Thanks to Swati Roy Chowdhury Stuti Mamen Saptarshi Roy Arnab Chatterjee Suman Saha Trina Maitra Lila Bishnu Chowdhury Biplab Bishnu Chowdhury Autumn Edition 4 ISSN 2321 - 4805 U n]è R _!x !] u:x !x !]...... uv!n!sw YS u!w nx $V ] ]x u s d!yw; t l w $] x V!x n]zi u %!zw qn0 wk è qi Rd sk t l ; sĞS 0x!c |sx 4} s’; o w d S $ S s ^k w!]w 4i!nw v !nw Xl 0 !w Ru !nw %dx , %rx YS s %w Rd l^ zl; sswlu YS ]x ouÅqq % qy 0!nw Y]SY!q sx n!xD Vè!l ]u V!è v !s; l S Ru !nw X#!ww sswl ] y ]w S u:x; t l Rw ] !] sx; Autumn Edition 5 ISSN 2321 - 4805 Editorial Anandalok-e Mangalalok-e... Let these words of Gurudeva be the inspiration of every human being. The entire race is being distressed by the uncontrolled stampede caused by the wayward byproducts of the civilization. The ‘festivity of decapitation’ has loomed large everywhere. We express our strong repugnance toward those heinous creatures who have been tormenting our fertile and ‘green’ mother earth. Probably beheading these dangerous religious extremists would be the minimum punishment for them. But, unlike them, we should not arouse the barbaric self of ours. This is civilization ... Autumn Edition 6 ISSN 2321 - 4805 $m*qè qw0l $m*qè y[C O^ l szè] Y]g z y ] ] y ; s Ox u ! w n q $u! S Yw v Rw s Ox t z !lS l w s] y ]… l w q!wD Yw X!w q%!w XOy s Ox w q y q y sd t z V! !s n]^ l SO!wd t z è Yw Rxw] X %s !nw !m SO!wd t z è x^l s D X szè sxw Rxw] s Ox X %s n Ru !nw X! ] u^] ]w!s s!xS sk ; ] wk Ru !nw qm0x w v $m!]S Ruw $v t s è l cx u l V!x s Ox y[ D V!l w %sy x t c w s!kw u %!zw ] !c $q!c $nDè ; l!s vw R!_S $y!zw ]m sx u0 è ]… mu]t !s sx v è, vln $m*qè CYw qm 0x!s lln YS Rny $u! S 0x!s; ] y gw | ssz O^ ’ $m!] v ]!w s Ox ! w l cè u X#w $v O^ w !m q h!]w qw0è g!s l V!x |yw} O^ ’; ] y g!l |s’, | x }] w’ YsO |$m*qè 0sy x ’ XOy c h D YS ] y qws !ww ^%sS " n%’d t ] w ^iyxl è Ov%j V!è!c RwD n%g XOy 6 mug V!x |Y!q d w’ v w Rto ] s Ox Xm V!x $] ! X s^l XO!yw Xsu%j]wk Rw lèg V!x |_[ O]x ’; |s’ XO!y m ]!s st• t z t zw l ½]!nw _!szk x• $x^ as Ox D SO!wdb; Rw sd snl YsO $ny, ] x D q !sw 4!• v !nw ‘V $ S skd O^ ld !nw !m ]!m q]m! ^i | x }] w’ qs YsO w t wl sz lm u– s!kw st• O^ l]n!xw !v d w 0s nyp m ]!s |$m*qè 0sy x ’ XO!y; |Y!q d w’ y“gw Rto ] Xm sx!l $_!x sx!l Vè $] ! %p d ! w Xsu%j]wk; YS q!s u'xl: $0i ]w V!s è V w!è v Dè 0 $x ] g , x%p è g ”n è, 0 ‘V ql t^ l szè U]l u'x s lm 4q O–V ]w w Xms sx v è $v V w!è $v!l s s s i V!è v Dè Autumn Edition 7 ISSN 2321 - 4805 t wlè y[ O^ lw szè!] q% w è w s!kw ] !c Y]s w l% !x ow $l s!gS $ S !m l% d!yw !mD Yw qw0è g ! ; U] ‘V q ]w q%w l! w !m l% ! w; V w!è $v!l s Ru !nw YS 0 ZlV u'!Vw q% v] !w y[C Vl X %w _ ]x u %!zw V!v _l Ru !nw Y] #t !s ] u 6 Y] $m*qè CYw q!x v X –s; Rw l S, Rq w R!yq !y Yu ]c% n%xt szè v Rq !] l% ]!w t s !l 0 è l!s $ S U!] s wl lm d !x Ruw u^] Vs; Ywqw |_[ O]x ’ !è Y]g% sx !è d ; YS qsÅg ^%sS uv V] !w s!s0l; ]ml R!c, 0 $n!y s Ox t z w s!yz rsyi V!x 6 Y t z è w0l Vl ^%sS u^]; l!s X t z w l ]^ S rsu !sè n^i !xq YS ]m w 4!—y è sw sx v è, Rqx ump w s Ox t z w _twl U!] ]c%g R!x ]q l ]w w $0i u s; v !V , s Ox w %sy x Vl t c !ww sy x Ylg S sw g ] è $v, l w X %s n l u ! Y] yl u _ d! w q l d%!h c q !xD ny sc!w l w X!o] ] y ]w v !s ] v!m" !_V R!c, $ !x!s |$m*qè ’ $l Y]g x% !0i u s; Rw l S Y qvÄ!è, |_[ O]x ’ q!s s Ox V!l w mlvy ]s, Vl ], g ] w, _[] w!nw _[, g , ]sl XO!yw SO!wd X %s n YsO X %Yqt !s s Ox t• X t z w 4!5 ^!v _ _[, g , ]sl XO!yw s Ox X %s n s!yz uv q !s v w s!kw st• t z t z ]x u %!zw !m s Ox V!l w w w qw0è g!s s!xS Ru !nw sk ; ] y gw ku%]% x $m!]S y[!u n ]x u %!zw X]^ qk V!v _l cx s!xS l w Yl^ s^] !g!c v !l ul ] !yw $] ! Xs] y $ S; Rw l S Ru !nw v s q!m sk O^ lw ]x u %!zw V!v _l Y] #t !s ] u ; Autumn Edition 8 ISSN 2321 - 4805 About Thespian Thespian is a half-yearly publication premised upon art, culture and literature. It has begun following the Bengali calendar and being circulated in the Bengali language but still for a wide existence it needs to be translated in the universally accepted English language along with Bengali translations of the essays written in English and the literal translation of different subject into Bengali which will hopefully enrich us. This is because the view with which we began our journey was to introduce the theatre loving people of the world to the great treasure trove of Bengali art and literature.
Recommended publications
  • Annual Bulletin
    Director / President's Note Since 2004, Purba Paschim beginning to roll, the philosophical base has been leading us in making better productions, arranging theatre workshops, seminar, exhibition, social awareness with our artists, members along with reputed theatre personalities, artistes, writers of fame, who have been interacted with us. Apart, every year we are publishing an Annual Theatre Magazine with rich contents and photographs. We also have been able to hold the Twelveth Annual Theatre Festival in November 2019. We are happy to revive this year one of our remarkable production ‘Potol Babu Film Star’ and this production had visited Darshana, Bangladesh in Anirban Theatre Festival along with other shows. It is needless to mention that with the revival of this production we have been able to perform more than 180 shows till it's first premiere a decade ago. Moreover, our regular productions 'Ek Mancha Ek Jibon' and 'Athoijol' have simultaneously been performed in different stages both from our end and also invitation. We have invited Mr Manish Mitra, to prepare a workshop based production involving our talents ‘O' Rom Mone Hoi’ and it also have been successfully staged and performed 11 shows. Purba Paschim have been invited in various theatre festival in different states of the country and different parts of West Bengal, amongst Paschimbanga Natya Academy. The most vital thing of our group is getting an invitation to prepare a special production on the Bi Centenary of Iswar Chandra Vidyasagar specially his meeting with Sri Ramakrishna Dev. Eastern Zonal Cultural Centre invited Purba Paschim and ‘ Yugo Drashta’ (Man of the Epoch) written by Ujjwal Chattopadhyay and directed by Soumitra Mitra was staged at EZCC auditorium in Kolkata.
    [Show full text]
  • Inaugural Function Date: 17 December 2016 Time: 7:00 Pm Venue – Swatantrata Bhawan, BHU
    Annexure - 1 RaashtriyaSanskritiMahotsav, Varanasi Inaugural Function Date: 17 December 2016 Time: 7:00 pm Venue – Swatantrata Bhawan, BHU Inauguration by Shri Mahesh Sharma, Honorable Minister of State- Ministry of Tourism & Culture (Independent Charge), Government of India Programme: 1) Indian Folk Music & Dance performances 2) Indian classical vocal by Padmavibhushan Smt. Girija Devi 3) Special attraction – Mallkhamb, Bajigars of Punjab, Martial arts of Kerala, North-East and Punjab, Been Jogi &Nagada from Haryana, KachhiGhodi&Bahrupiya of Rajsthan, Panchvadyam of Kerala. 4) Tat-Tvam-Asi -ArtExhibition on SimhasthKumbh. 5) Display of ‘ShirshPratishirsh’ Exhibition of Masks. 6) Display of Art Book’s Exhibition. 7) Display and Demonstration of Portrait Rangoli of Maharashtra. Annexure - 2 Raashtriya Sanskriti Mahotsav, Varanasi National Theatre Festival Date: 18 – 24 December, 2016 Time: 4:00 pm to 6:00 pm daily Venue: Swatantrata Bhawan, BHU, Varanasi Sl. Date Name of the Play and Direction 1. 18.12.2016 Name of the play: Andhayug Direction: Sumit Srivastava (Varanasi) 2. 19.12.2016 Name of the play: Vivekanand Direction: Shekhar Sen (New Delhi) 3. 20.12.2016 Name of the play: Rashmi Rathi Direction: Shant Srivastava (Gorakhpur) 4. 21.12.2016 Name of the play: Mohe Piya Direction: Waman Kendre (Mumbai) 5. 22.12.2016 Name of the play: Chanakya Direction: Manoj Joshi (Mumbai)Time: 11:30 am (Morning) 6. 23.12.2016 Name of the play: Raju Raja Ram Direction: Sharman Joshi (Mumbai) 7. 24.12.2016 Name of the play: Chakrvyuh Direction: Nitish Bharadwaj (Mumbai) Annexure-3 RASTRIYA SANSKRITI MAHOTSAV , VARANASI National Folk Music & Dance Festival 18.12.2016 – SwatantrataBhavan Sl.
    [Show full text]
  • S Play: Bhanga Bhanga Chhobi
    Girish Karnad’s Play: Bhanga Bhanga Chhobi Playwright: Girish Karnad Translator: Srotoswini Dey Director: Tulika Das Group: Kolkata Bohuswar, Kolkata Language: Bengali Duration: 1 hr 10 mins The Play The play opens with Manjula Ray in a television studio, giving one of her countless interviews. Manjula is a successful Bengali writer whose first novel in English has got favourable reviews from the West. She talks about her life and her darling husband Pramod, and fondly reminisces about Malini, her wheel-chair bound sister. After the interview, Manjula is ready to leave the studio but is confronted by an image. Gradually Manjula starts unfolding her life showing two facets of the same character. The conversations between the character on stage and the chhaya-murti go on and Manjula peels layer after layer, revealing raw emotions and complexities of the relationship between Manjula, Promod and Malini. We can relate to both Manjula and Malini… all of us being flawed in some way or the other, and that’s what makes us human. Director’s Note I wanted to explore the text of Girish Karnad’s Broken Images with my own understanding of Manjula, the lady portraying two facets of the same character. Despite all her shortcomings and flaws, she did not degenerate into a stereotypical vamp. Although she had made unforgivable mistakes, wasn’t there enough reason for her to exercise duplicity and betrayal? I found myself asking this question and wanting to see the larger picture through another prism. It has taken years for the Bengali stage to come up with an adaptation of the 2004 play.
    [Show full text]
  • Hindi Theater Is Not Seen in Any Other Theatre
    NATYA SHODH SANSTHAN DISCUSSION ON HINDI THEATRE FROM THE COLLECTIONS OF NATYA SHODH SANSTHAN AUDIO LIBRARY THE PRESENT SCENARIO OF HINDI THEATRE IN CALCUTTA ON th 15 May 1983 AT NATYA SHODH SANSTHAN PARTICIPANTS PRATIBHA AGRAWAL, SAMIK BANDYOPADHYAY, SHIV KUMAR JOSHI, SHYAMANAND JALAN, MANAMOHON THAKORE SHEO KUMAR JHUNJHUNWALA, SWRAN CHOWDHURY, TAPAS SEN, BIMAL LATH, GAYANWATI LATH, SURESH DUTT, PRAMOD SHROFF NATYA SHODH SANSTHAN EE 8, SECTOR 2, SALT LAKE, KOLKATA 91 MAIL : [email protected] Phone (033)23217667 1 NATYA SHODH SANSTHAN Pratibha Agrawal We are recording the discussion on “The present scenario of the Hindi Theatre in Calcutta”. The participants include – Kishen Kumar, Shymanand Jalan, Shiv Kumar Joshi, Shiv Kumar Jhunjhunwala, Manamohan Thakore1, Samik Banerjee, Dharani Ghosh, Usha Ganguly2 and Bimal Lath. We welcome all of you on behalf of Natya Shodh Sansthan. For quite some time we, the actors, directors, critics and the members of the audience have been appreciating and at the same time complaining about the plays that are being staged in Calcutta in the languages that are being practiced in Calcutta, be it in Hindi, English, Bangla or any other language. We felt that if we, the practitioners should sit down and talk about the various issues that are bothering us, we may be able to solve some of the problems and several issues may be resolved. Often it so happens that the artists take one side and the critics-audience occupies the other. There is a clear division – one group which creates and the other who criticizes. Many a time this proves to be useful and necessary as well.
    [Show full text]
  • 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]
  • IJRESS Volume 6, Issue 2
    International Journal of Research in Economics and Social Sciences (IJRESS) Available online at: http://euroasiapub.org Vol. 7 Issue 7, July- 2017 ISSN(o): 2249-7382 | Impact Factor: 6.939 | Thomson Reuters Researcher ID: L-5236-2015 Dissemination of social messages by Folk Media – A case study through folk drama Bolan of West Bengal Mr. Sudipta Paul Research Scholar, Department of Mass Communication & Videography, Rabindra Bharati University Abstract: In the vicinity of folk-culture, folk drama is of great significance because it reflects the society by maintaining a non-judgemental stance. It has a strong impact among the audience as the appeal of Bengali folk-drama is undeniable. ‘Bolan’ is a traditional folk drama of Bengal which is mainly celebrated in the month of ‘Chaitra’ (march-april). Geographically, it is prevalent in the mid- northern rural and semi-urban regions of Bengal (Rar Banga area) – mainly in Murshidabad district and some parts of Nadia, Birbhum and Bardwan districts. Although it follows the theatrical procedures, yet it is different from the same because it has no female artists. The male actors impersonate as females and play the part. Like other folk drama ‘Bolan’ is in direct contact with the audience and is often interacted and modified by them. Primarily it narrates mythological themes but now-a-days it narrates contemporary socio-politico-economical and natural issues. As it is performed different contemporary issues of immense interest audiences is deeply integrated with it and try to assimilate the messages of social importance from it. And in this way Mass (traditional) media plays an important role in shaping public opinion and forming a platform of exchange between the administration and the people they serve.
    [Show full text]
  • THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice
    Paper 11: Special Interest Tourism Module 34: Performing Arts of India: Classical Dances, Folk Dance & HistoricalFolk Culture Development of Tourism and Hospitality in the World THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice Chancellor, Indira Gandhi University, Rewari Co-Principal Investigator Dr. Prashant K. Gautam Director, UIHTM, Panjab University, Chandigarh Paper Coordinator Prof. Deepak Raj Gupta School of Hospitality & Tourism Management (SHTM), Jammu University Content Writer Dr. Arunesh parashar, Chief Coordinator Department Of Tourism Management, Dev Sanskriti University Content Reviewer Prof. Pariskhit Manhas Director , school of hospitality & tourism management Jammu university, Jammu ITEMS DESCRIPTION OF MODULE Subject Name Tourism and Hotel Management Paper Name Special Interest Tourism Module Title Performing Arts of India: Classical Dances, Folk Dances and Folk Culture Module Id 34 Pre- Requisites Basic knowledge about Performing Arts Objectives To develop a basic insight about the performing arts in India Keywords Classical, folks lore, folk dances and folk cultures QUADRANT-I Performing arts are divided into two dimensions of performance: Dance Music Classical dance Bharatnatyam Bharatnatyam originates in Tamil Nadu which is likewise alluded to as artistic yoga and Natya yoga. The name Bharatnatyam is gotten from the word "Bharata’s" and subsequently connected with the Natyashashtra. Though the style of Bharatnatyam is over two thousand years old, the freshness and lavishness of its embodiment has been held even today. The strategy of human development which Bharatnatyam takes after can be followed back to the fifth Century A.D. from sculptural proof. This established move has an entrancing impact as it inspires the artist and the spectator to a larger amount of profound cognizance.
    [Show full text]
  • Introduction to Bengali, Part I
    R E F O R T R E S U M E S ED 012 811 48 AA 000 171 INTRODUCTION TO BENGALI, PART I. BY- DIMOCK, EDWARD, JR. AND OTHERS CHICAGO UNIV., ILL., SOUTH ASIALANG. AND AREA CTR REPORT NUMBER NDEA.--VI--153 PUB DATE 64 EDRS PRICE MF -$1.50 HC$16.04 401P. DESCRIPTORS-- *BENGALI, GRAMMAR, PHONOLOGY, *LANGUAGE INSTRUCTION, FHONOTAPE RECORDINGS, *PATTERN DRILLS (LANGUAGE), *LANGUAGE AIDS, *SPEECHINSTRUCTION, THE MATERIALS FOR A BASIC COURSE IN SPOKENBENGALI PRESENTED IN THIS BOOK WERE PREPARED BYREVISION OF AN EARLIER WORK DATED 1959. THE REVISIONWAS BASED ON EXPERIENCE GAINED FROM 2 YEARS OF CLASSROOMWORK WITH THE INITIAL COURSE MATERIALS AND ON ADVICE AND COMMENTS RECEIVEDFROM THOSE TO WHOM THE FIRST DRAFT WAS SENT FOR CRITICISM.THE AUTHORS OF THIS COURSE ACKNOWLEDGE THE BENEFITS THIS REVISIONHAS GAINED FROM ANOTHER COURSE, "SPOKEN BENGALI,"ALSO WRITTEN IN 1959, BY FERGUSON AND SATTERWAITE, BUT THEY POINTOUT THAT THE EMPHASIS OF THE OTHER COURSE IS DIFFERENTFROM THAT OF THE "INTRODUCTION TO BENGALI." FOR THIS COURSE, CONVERSATIONAND DRILLS ARE ORIENTED MORE TOWARDCULTURAL CONCEPTS THAN TOWARD PRACTICAL SITUATIONS. THIS APPROACHAIMS AT A COMPROMISE BETWEEN PURELY STRUCTURAL AND PURELYCULTURAL ORIENTATION. TAPE RECORDINGS HAVE BEEN PREPAREDOF THE MATERIALS IN THIS BOOK WITH THE EXCEPTION OF THEEXPLANATORY SECTIONS AND TRANSLATION DRILLS. THIS BOOK HAS BEEN PLANNEDTO BE USED IN CONJUNCTION WITH THOSE RECORDINGS.EARLY LESSONS PLACE MUCH STRESS ON INTONATION WHIM: MUST BEHEARD TO BE UNDERSTOOD. PATTERN DRILLS OF ENGLISH TO BENGALIARE GIVEN IN THE TEXT, BUT BENGALI TO ENGLISH DRILLS WERE LEFTTO THE CLASSROOM INSTRUCTOR TO PREPARE. SUCH DRILLS WERE INCLUDED,HOWEVER, ON THE TAPES.
    [Show full text]
  • Wedding Videos
    P1: IML/IKJ P2: IML/IKJ QC: IML/TKJ T1: IML PB199A-20 Claus/6343F August 21, 2002 16:35 Char Count= 0 WEDDING VIDEOS band, the blaring recorded music of a loudspeaker, the References cries and shrieks of children, and the conversations of Archer, William. 1985. Songs for the bride: wedding rites of adults. rural India. New York: Columbia University Press. Most wedding songs are textually and musically Henry, Edward O. 1988. Chant the names of God: musical cul- repetitive. Lines of text are usually repeated twice, en- ture in Bhojpuri-Speaking India. San Diego: San Diego State abling other women who may not know the song to University Press. join in. The text may also be repeated again and again, Narayan, Kirin. 1986. Birds on a branch: girlfriends and wedding songs in Kangra. Ethos 14: 47–75. each time inserting a different keyword into the same Raheja, Gloria, and Ann Gold. 1994. Listen to the heron’s words: slot. For example, in a slot for relatives, a wedding song reimagining gender and kinship in North India. Berkeley: may be repeated to include father and mother, father’s University of California Press. elder brother and his wife, the father’s younger brother and his wife, the mother’s brother and his wife, paternal KIRIN NARAYAN grandfather and grandmother, brother and sister-in-law, sister and brother-in-law, and so on. Alternately, in a slot for objects, one may hear about the groom’s tinsel WEDDING VIDEOS crown, his shoes, watch, handkerchief, socks, and so on. Wedding videos are fast becoming the most com- Thus, songs can be expanded or contracted, adapting to mon locally produced representation of social life in the performers’ interest or the length of a particular South Asia.
    [Show full text]
  • Setting the Stage: a Materialist Semiotic Analysis Of
    SETTING THE STAGE: A MATERIALIST SEMIOTIC ANALYSIS OF CONTEMPORARY BENGALI GROUP THEATRE FROM KOLKATA, INDIA by ARNAB BANERJI (Under the Direction of Farley Richmond) ABSTRACT This dissertation studies select performance examples from various group theatre companies in Kolkata, India during a fieldwork conducted in Kolkata between August 2012 and July 2013 using the materialist semiotic performance analysis. Research into Bengali group theatre has overlooked the effect of the conditions of production and reception on meaning making in theatre. Extant research focuses on the history of the group theatre, individuals, groups, and the socially conscious and political nature of this theatre. The unique nature of this theatre culture (or any other theatre culture) can only be understood fully if the conditions within which such theatre is produced and received studied along with the performance event itself. This dissertation is an attempt to fill this lacuna in Bengali group theatre scholarship. Materialist semiotic performance analysis serves as the theoretical framework for this study. The materialist semiotic performance analysis is a theoretical tool that examines the theatre event by locating it within definite material conditions of production and reception like organization, funding, training, availability of spaces and the public discourse on theatre. The data presented in this dissertation was gathered in Kolkata using: auto-ethnography, participant observation, sample survey, and archival research. The conditions of production and reception are each examined and presented in isolation followed by case studies. The case studies bring the elements studied in the preceding section together to demonstrate how they function together in a performance event. The studies represent the vast array of theatre in Kolkata and allow the findings from the second part of the dissertation to be tested across a variety of conditions of production and reception.
    [Show full text]
  • Annual Report
    NATIONAL SCHOOL OF DRAMA jk"Vªh; ukV~; fo|ky; ANNUAL REPORT okf"kZd çfrosnu 0 2 - 9 1 0 2 okf"kZd çfrosnu Annual Report 2019-20 Annual Report 2019-20 jk"Vªh; ukV~; fo|ky; National School of Drama Contents NSD : An Introduction 3 Organizational Set-up & Meetings during 2019-20 4 Authorities and Officers of the School 5 Director and other Teaching Staff 6 Training at the National School of Drama 7 Technical Departments 9 Library 10 Highlights 2019-20 13 Other Activities 17 Academic Activities 23 Apprentice Fellowship awarded for the academic year 2019-20 to NSD graduate 36 Students’ Productions 38 Cultural Exchange Programme (CEP) 49 Repertory Company 51 Sanskaar Rang Toli (TIE) 54 National School of Drama Extension Programme 62 RajbhashaVibhag 64 Publication Programme 66 NSD Bengaluru Centre 69 NSD Sikkim Theatre Training Centre, Gangtok 80 NSD Theatre-in-Education Centre, Agartala, Tripura 82 NSD Varanasi Centre 91 Staff strength 97 NSD Resource Position at a Glance 99 National School of Drama National School of Drama (NSD) one of the foremost theatre institutions in the world and the only one of its kind in India was set up by Sangeet Natak Akademy in 1959. Later in 1975, it became an autonomous organization, fully financed by Ministry of Culture, (MoC) Government of India. The objective of NSD is to develop suitable patterns of teaching in all branches of drama both at undergraduate and post-graduate levels so as to establish high standards of theatre education in India. After graduation, the NSD offers a theatre training programme of three years' duration.
    [Show full text]
  • Stamps of India - Commemorative by Prem Pues Kumar [email protected] 9029057890
    E-Book - 26. Checklist - Stamps of India - Commemorative By Prem Pues Kumar [email protected] 9029057890 For HOBBY PROMOTION E-BOOKS SERIES - 26. FREE DISTRIBUTION ONLY DO NOT ALTER ANY DATA ISBN - 1st Edition Year - 1st May 2020 [email protected] Prem Pues Kumar 9029057890 Page 1 of 76 Nos. YEAR PRICE NAME Mint FDC B. 1 2 3 1947 1 21-Nov-47 31/2a National Flag 2 15-Dec-47 11/2a Ashoka Lion Capital 3 15-Dec-47 12a Aircraft 1948 4 29-May-48 12a Air India International 5 15-Aug-48 11/2a Mahatma Gandhi 6 15-Aug-48 31/2a Mahatma Gandhi 7 15-Aug-48 12a Mahatma Gandhi 8 15-Aug-48 10r Mahatma Gandhi 1949 9 10-Oct-49 9 Pies 75th Anni. of Universal Postal Union 10 10-Oct-49 2a -do- 11 10-Oct-49 31/2a -do- 12 10-Oct-49 12a -do- 1950 13 26-Jan-50 2a Inauguration of Republic of India- Rejoicing crowds 14 26-Jan-50 31/2a Quill, Ink-well & Verse 15 26-Jan-50 4a Corn and plough 16 26-Jan-50 12a Charkha and cloth 1951 17 13-Jan-51 2a Geological Survey of India 18 04-Mar-51 2a First Asian Games 19 04-Mar-51 12a -do- 1952 20 01-Oct-52 9 Pies Saints and poets - Kabir 21 01-Oct-52 1a Saints and poets - Tulsidas 22 01-Oct-52 2a Saints and poets - MiraBai 23 01-Oct-52 4a Saints and poets - Surdas 24 01-Oct-52 41/2a Saints and poets - Mirza Galib 25 01-Oct-52 12a Saints and poets - Rabindranath Tagore 1953 26 16-Apr-53 2a Railway Centenary 27 02-Oct-53 2a Conquest of Everest 28 02-Oct-53 14a -do- 29 01-Nov-53 2a Telegraph Centenary 30 01-Nov-53 12a -do- 1954 31 01-Oct-54 1a Stamp Centenary - Runner, Camel and Bullock Cart 32 01-Oct-54 2a Stamp Centenary
    [Show full text]