DOCSLIB.ORG

Conference Programme

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Conference Programme Conference Programme SUNDAY JUNE 12 – p. 2 MONDAY JUNE 13 – p. 3 TUESDAY JUNE 14 – p. 21 WEDNESDAY JUNE 15 – p. 46 THURSDAY JUNE 16 – p. 58 FRIDAY JUNE 17 – p. 71 Please note that the Programme might change. To find your panel, please use CTRL+F / CMD+F and search for your name. Note that this version of the programme doesn’t included special panels such as workshops and roundtables. SUNDAY JUNE 12 Polyxeni Stavrou Transcendental Experiences in Text- Performance and Pre-Conference Workshop E306 12 11:30- based Performance Religion 13:00 Hannah McClure The University of Surrey A Whirling Sema of the Heart Performance and Pre-conference workshop E306 12 16:00- Religion 17:30 Adela Bravo Sauras Institut für Angewandte Classifying architecture in relation to Theatre Architecture Imagining and Reimagining Space E319 Chair Andrew 12 14:00- Theaterwissenschaft theater Filmer 18:00 (Giessen) / Universität der Künste (Berlin) Mike Pearson Aberystwyth University Modelling Performance Theatre Architecture Imagining and Reimaging Space E319 Chair Andrew 12 14:00- Filmer 18:00 Catherine Hamel University Of Calgary Theatres of Observation: Scripts for Theatre Architecture Imagining and Reimagining Space E319 Chair Andrew 12 14:00- Lingering Filmer 18:00 2 MONDAY JUNE 13 Name Affiliation Title WG Panel Chair Time Shozo Motosugi Nihon University, College of Transformation in the traditional theater in Theatre Interpreting and reconstructing historical Andrew 09:00- Science and Technology Japan ―space and time relations Architecture performance spaces and practices Filmer 10:30 Xiaohuan Zhao University of Sydney Ancient Stages in Ancestral Shrines: A Study of Theatre Interpreting and reconstructing historical Andrew 09:00- Huizhou Theatre in Late Imperial China Architecture performance spaces and practices Filmer 10:30 Julie Iezzi University of Hawaii at The Playwright at the Heart of 18th Kabuki Theatre Interpreting and reconstructing historical Andrew 09:00- Manoa, Dept. of Theatre Scenography: Namiki Shōza and his Machines Architecture performance spaces and practices Filmer 10:30 and Dance Kurt Vanhoutte University of Antwerp Genius Loci: On the Logic of Space, Technology Intermediality Spatial interventions: The new meets the old Andy 09:00- and Drama in Science Theatre Then and Now 'and in Theatre and Lavender 10:30 the stars look very different today' (David Bowie, Performance 1947 - 2016) Riina Oruaas University of Tartu Technological theatre: from new to old media Intermediality Spatial interventions: The new meets the old Andy 09:00- in Theatre and Lavender 10:30 Performance Susanne Kass Academy of Fine Arts in Activating the Museum Space - Using theatre as a Intermediality Spatial interventions: The new meets the old Andy 09:00- Prague tool for interventions in permanent collections in Theatre and Lavender 10:30 and liberate the histories and fictions created by Performance the institutional setting Jane Drake Brody The Theatre School, Depaul Acting, Archetype, and Neuroscience Performance and Consciousness Daniel Meyer- 09:00- University, Chicago, IL Dinkgräfe 10:30 Ulla Kallenbach University of Southern Conflux and imagination: perspectives from Performance and Consciousness Daniel Meyer- 09:00- Denmark philosophy and drama Dinkgräfe 10:30 Gabriella Calchi ISAP-Zurich From Charlie Hebdo to Le Bataclan: Subject(ed) to Performance and Consciousness Daniel Meyer- 09:00- Novati Digital Biopolitcs Dinkgräfe 10:30 3 Tomasz Ciesielski Institute of Contemporary Artistic recreation and neurocognitive Performance and Consciousness Daniel Meyer- 09:00- Culture, University of Lodz recontextualization. Ancient choreia in re- Dinkgräfe 10:30 construction. Susan Haedicke University of Warwick Eco-creativity and Performance of the Land: The Performances Ecology Esther Belvis 09:00- Department of Theatre and PerFarmance Project and Earthrise Repair Shop’s in Public 10:30 Performance Studies Meadow Meanders Spaces Coventry UK Andrew Eglinton Konan Women's University In Search of Direction: Mapping, Materiality and Performances Ecology Esther Belvis 09:00- (Kobe, Japan) Theatre Ecology in Rural Japan in Public 10:30 Spaces Sarah Mullan Queen Mary, University of Deviant Lesbianism: The West End revivals of The Queer Futures Popular Queer performance Fintan Walsh 09:00- London Killing of Sister George and The Children's Hour in 10:30 2011 Stephen Greer University of Glasgow Queer ressentiment and history as progress: the Queer Futures Popular Queer performance Fintan Walsh 09:00- backwards drag of Margaret Thatcher Queen of 10:30 Soho Lazlo Pearlman Northumbria University Thoughts on a Transgender Performance Queer Futures Popular Queer performance Fintan Walsh 09:00- Economy: Stripping My Way Through The Box 10:30 Alison Walls CUNY Graduate Center Porgy at the Pã: The New Zealand Opera Music Theatre George 09:00- Company’s 1965 Porgy and Bess Rodosthenous 10:30 Paula Sledzinska University of Aberdeen Navigating between the past and the future – Music Theatre George 09:00- National Theatre of Scotland and the musical Rodosthenous 10:30 construction of contemporary Scottish identities David Savran The Graduate Center, City Broadway as Global Brand Music Theatre George 09:00- University of New York Rodosthenous 10:30 Sahoko Tsuji Waseda University Interplays of how to dramatize the past and create Music Theatre George 09:00- a musical show in Billion Dollar Baby Rodosthenous 10:30 Tiran University of ST Andrews Abū al-ʿIlā al-Salāmūnī: the rewriting of history in Arabic Theatre Egyptian Theatre Across Shifting Nationalist Times Hazem Azmy 09:00- Manucharyan the Egyptian theatre in the 1970-80s 10:30 4 Hadia Mousa Helwan University The 1919 Revolution in the Eyes of Modern and Arabic Theatre Egyptian Theatre Across Shifting Nationalist Times Hazem Azmy 09:00- Contemporary Egyptian Theatre Directors 10:30 Ketu Katrak UCI Kaisika Natakam, 13th Century Ritual Dance Performance and Religion Joshua 09:00- Theatre from Tamilnadu, India Edelman 10:30 Anita Ratnam University of Madras, India Kaisika Natakam, 13th Century Ritual Dance Performance and Religion Joshua 09:00- Theatre from Tamilnadu, India Edelman 10:30 Maysa Utairat Royal Holloway University of Tradition and Modernity in Buddhist Storytelling Performance and Religion Joshua 09:00- London Edelman 10:30 Isabella Elena University of Bucharest, Rethinking Aesthetic and Ecstatic in Theatre Art: Performance and Religion Joshua 09:00- Drăghici Department of Philosophy; Mircea Eliade’s Vision in Nineteen Roses and Edelman 10:30 Research Assistant, Stanislav Grof’s Theory about Holotropic States of Romanian Academy, “G. Consciousness Oprescu” Institute of Art History, Department “Dramatic Art and Cinema” Fiona Graham Goldsmiths, London Excavating The Space Between: The collaboration Translation, Adaptation and Dramaturgy Katja Krebs 09:00- University between dramaturge and artistic director 10:30 Eleanor Skimin Brown University, USA Bourgeois inheritances: the specter of the office in Translation, Adaptation and Dramaturgy Katja Krebs 09:00- experimental dramaturgical practice and theory 10:30 Jane Turner Manchester Metropolitan Body of the group/body of the artist as central to Translation, Adaptation and Dramaturgy Katja Krebs 09:00- University the ethos of Third Theatre 10:30 Patrick Campbell Manchester Metropolitan Body of the group/body of the artist as central to Translation, Adaptation and Dramaturgy Katja Krebs 09:00- University the ethos of Third Theatre 10:30 Carol Brown The University of Auckland Excavating The Space Between: The collaboration Translation, Adaptation and Dramaturgy Katja Krebs 09:00- between dramaturge and artistic director 10:30 Priyanka Budge Budge Institute of The Dynamics of Intraculturalism: Waiting for Samuel Responses in Different Countries Mariko Hori 09:00- Chatterjee Technology Godot in Bangla Beckett Tanaka 10:30 Charlotta P. Department of English, Beckett in Sweden: Waiting for Godot (1990–2015) Samuel Responses in Different Countries Mariko Hori 09:00- Einarsson Stockholm University Beckett Tanaka 10:30 5 Teresa Rosell University of Barcelona Samuel Beckett’s Reception in Spain or the Samuel Responses in Different Countries Mariko Hori 09:00- Nicolas Revolution of a Louse Beckett Tanaka 10:30 Fiona Watt University of the Creative ‘In civilisations without boats, dreams dry up, Scenography Interpreting sites and historical performance practices Scott Palmer 09:00- Arts, Rochester, UK espionage takes the place of adventure and the 10:30 police take the place of the pirates’ (Michel Foucault, Of Other Spaces : Utopias and Heterotopias) Greer Crawley Buckinghamshire New Mutable Perception Scenography Interpreting sites and historical performance practices Scott Palmer 09:00- University and Royal 10:30 Holloway University of London Catherine Ely Dublin Institute of Authored site as ‘amateur’ space: A consideration Scenography Interpreting sites and historical performance practices Scott Palmer 09:00- O'Carroll Technology, GradCAM of the interrelationship of site and performance 10:30 space within networks of site based historical performance, through Bernard Stiegler’s construction of the ‘amateur’. Nebojsa Tabački Freelance Artist Consuming Scenography: Theatricality and Scenography Interpreting sites and historical performance practices Scott Palmer 09:00- Entertainment Strategies of the Shopping Mall 10:30 Naphtaly Shem- The Open University of The Political Context of the Theatrical Event: Theatrical Politics Willmar 09:00- Tov Israel Politicized Theatre Event
Load more

Recommended publications
  • Marathi Theatre in Colonial India the Case of Sangeet Sthanik-Swarajya Athva Municipality
    Südasien-Chronik - South Asia Chronicle 5/2015, S. 287-304 © Südasien-Seminar der Humboldt-Universität zu Berlin ISBN: 978-3-86004-316-5 Tools of Satire: Marathi Theatre in Colonial India The Case of Sangeet Sthanik-Swarajya athva Municipality SWARALI PARANJAPE [email protected] Introduction Late nineteenth and early twentieth century colonial India witnessed a remarkable change in its social and political manifestations. After the Great Rebellion of 1857-8, the East India Company, until then domi- nating large parts of the Indian subcontinent, lost its power and the 288 British Crown officially took over power. The collision with the British and their Raj, as the British India was also called by its contem- poraries, not only created mistrust among the people and long-term resistance movements against the impact of foreign rule, it also generated an asymmetrical flow between cultural practices, ideologies, philosophies, art and literatures. This is evident in various Indian languages and Marathi is no exception. Marathi is one of the prominent modern Indian languages and the official language of the State Maharashtra. According to the Census of India 2001, it is the fourth most spoken language in India, after Hindi, Bengali and Punjabi. Traces of satire in Marathi literature can be found in the literary works of Marathi writers as far back as the thirteenth and fourteenth centuries. By the second half of the nineteenth and early twentieth centuries, during the colonial era, satire was abundantly used in the literature of Western India. Satire for these Marathi intellectuals – themselves products of the British colonial encounter – was a powerful literary mode to critique the colonial regime and the prevalent social evils of the time.
    [Show full text]
  • Name Affiliation Title Panel Day Time Maria Sehopoulou National And
    Name Affiliation Title Panel Day Time Maria Sehopoulou National and Kapodistrian Transnational Diversities and National Singularities: the Case of Nordic Drama Abroad 14 11:00- University of Athens August Strindberg and his Reception in Greece 12:30 Svein Henrik Nyhus Centre for Ibsen Studies, Ibsen in America - a centralized narrative? Nordic Drama Abroad 14 11:00- University of Oslo 12:30 Kamaluddin Nilu University of Oslo No Local is Anymore Local: A Transcultural Adaptation of Ibsen’s Nordic Drama Abroad 14 11:00- Peer Gynt 12:30 José Camões Centre for Theatre Studies ReCET the past: Tools for a modern theatre archaeology Digital Archives 14 11:00- 12:30 John Andreasen Dramaturgy, Aarhus University, Eternal Presence – How to create a Community Play Archive? Digital Archives 14 11:00- Denmark 12:30 Bernadette Cochrane University of Queensland Remaindering the Remains: the digital, the live, and the archive Digital Archives 14 11:00- 12:30 Kotla Hanumantha rao Potti Sriramulu Telugu University Surabhi – The Pioneer in Stagecraft Echoes of Indian Pasts in the Theatre 14 11:00- 12:30 Ramakrishnan Muthiah Central University of Jharkhand Resisting the Stratified World: Understanding the Role of Folk Echoes of Indian Pasts in the Theatre 14 11:00- Theatre for the Marginalized Communities in India 12:30 Tithi Chakraborty Budge Budge Institute of Echoes of Social, Political and Economic Crises in the Theatre of Echoes of Indian Pasts in the Theatre 14 11:00- Technology Bengal, India 12:30 Sofie Taubert Institute of Media Culture and Shipwreck
    [Show full text]
  • Department of Performing Arts ( Drama) Course out Come
    Department of Performing Arts ( Drama) Course out come: The mission of the course is to facilitate transformative experiences for students and the public through theatre and dance, which cultivate compassionate, creative and collaborative communities. It embraces the university's mission to promote the intellectual, cultural and personal development of its students, and to serve as a center of cultural and professional activity in Koppal, Ballari as well as Vijayanagara District area. The courseprovides experiences that prepare students for teaching careers, graduate school or professional internships, and professional or recreational careers. The Dpartment of Performing Arts ( Drama) degree is designed for the student who plans a career in theatre . It also enumarts the student to become self dependent and self empolyed. Programme out come: Drama- 1nd Semester 1.1: FOLK THEATRE FORM OF INDIA: Student explore the interesting and ancient history of Indian theatre. Learn about the Indian theatrical art form through the classical, traditional, and modern periods, including indigenous and Western cultural influences. At the end of semester students imbibe the knowneledge of differnt folk froms of diferent stats whic is enrihing his under standing on theater 1.2 : INDIAN THEATRE: Stuents will endorse; how soon after India's Independence scene of thre theatre began to change radically. The impact of profesional theatre began to wane. Entertainment theatre received a set-back due to the challenge of the more popular genre of cinema. They will also understand how amateur theatre continued to flourish in big cities like Delhi, Mumbai, Kolkata and Bangalore. 1.3.: KARNATAKA THEATRE: End of the semester staktholder will learn the origin and development of theatre in Karnataka .Influence of Marathi theatre clearly known by the stuendts Stunds wiil imbibe the knowledge of suport of the King and land lords to the profesional theatre in karnataka.
    [Show full text]
  • Importance of Music in Kannada Professional Theatre
    IOSR Journal of Humanities And Social Science (IOSR-JHSS) Volume 25, Issue 7, Series 8 (July. 2020) 59-61 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Importance of Music in Kannada Professional Theatre AnanyaBhagath, Guide- Dr. MeeraRajaramPranesh Ph.D Research Scholar, Jain (Deemed to be University), Bangalore Abstract:Music is an integral part of theatrical production. It supports and enhances the mood and atmosphere of a play. Music was so important in the yester years that the word saṅgīta was associated with the names of the most well-known drama troupes. There were songs to be rendered for each and every character and actors themselves would sing while acting. There was a time when there were plays without dialogues, but no plays were performed without music. Keywords:Theatre, Kannada, Professional Theatre,Kannada Dramas, Stage Music, nāṭaka,raṅgagīte, raṅgasaṅgīta ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 06-07-2020 Date of Acceptance: 20-07-2020 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION Nāṭaka or drama is regarded as a very effective audio visual medium that attracts both the scholars and the laymen. Parsi theatre1 andProfessional theatre2, both from the 19th century are said to be the first step of modern Indian theatre. The two branches of Kannada theatre –vṛttiraṅgabhūmi(Professional theatre)
    [Show full text]
  • Fighting the Colonial Shadow in the Postcolonial Marathi Theatre: a Redefinition of Culture, Tradition and Myths of India from 1843-Present
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 19, Issue 3, Ver. IV (Mar. 2014), PP 20-24 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Fighting the Colonial Shadow in the Postcolonial Marathi Theatre: A Redefinition of Culture, Tradition and Myths of India from 1843-Present Sayan Dey (Department of English, Banaras Hindu University, India) Abstract: The impact of the massive world wars led to universal fragmentation. The existing socio-cultural believes and practices were subjected to strict scrutiny. The massive economic losses incurred by the European countries proved to be a blessing for the colonized nations across the continents. After 1945, most of the nations across Africa and Asia gained independence. Theory already merging with the practical life of the individuals attained a new shape with the emergence of ‘Postcolonial Theory.’ Initially regarded as a powerful, celebratory concept, it is imprinted with several potholes. The sudden withdrawal of the colonial powers, created voids, which the nations are still struggling to fill up. The newly found independence created multiple conflicts and confusions in various fields including art and literature. This paper intends to highlight the impact of postcolonial conflicts on Marathi theatre and its struggle against the colonial shadow. Key Words: universal fragmentation, postcolonial theory, potholes, colonial powers, Marathi theatre, colonial shadow I. Introduction Since the origin and development of English literature, criticism has always played a crucial role in defining and redefining various literary creations from multifarious perspectives. With the approaching modernity, the intellect and the outlook towards life underwent massive change. The Renaissance in the fourteenth century and the Industrial Revolution in the eighteenth century led to an outburst in the fields of science and technology.
    [Show full text]
  • DRAMA BAEL-301 Uttarakhand Open University 1 UNIT 1 DRAMA AND
    DRAMA BAEL-301 UNIT 1 DRAMA AND ITS ORIGIN 1.1. Introduction 1.2. Objectives 1.3. Defining Drama 1.3.1. Fallacy in Classroom teachings of Drama 1.4. Origin of Theatre and Drama 1.4.1. Ritual Theatre 1.4.2. Greek Drama 1.4.3. Roman Drama 1.4.4. English Drama 1.4.5. Sanskrit Drama 1.5 Evolution of Theatre and Drama 1.5.1. Greek Drama 1.5.2. Drama in England after Renaissance 1.5.3. Avant Garde Theatre 1.6. Summing Up 1.7. Answer to Self-Assessment Questions 1.8. References 1.9. Terminal and Model Questions Uttarakhand Open University 1 DRAMA BAEL-301 1.1. INTRODUCTION In your school, you must have studied plays. In junior classes, the plays are short and their primary objective is to introduce to you to the world of drama, so the plays are short and easy to understand. But as you reach higher classes, there is a separate paper of drama wherein you study great literary dramas. The objective of these dramas is to make you able to study, analyze, and appreciate a play with your best possible skills. In this unit, you will be introduced to Drama and how it originated and evolved into a magnificent genre of its own. 1.2. OBJECTIVES After reading this Unit you will be able to Explain the origin of Drama and Theatre in different geographic regions. Explain Ritual Theatre. Explain the evolution of English Drama. Explain the avant-garde experiments in theatre. 1.3. DEFINING DRAMA Drama comes from an ancient Greek word meaning ‘act’ or ‘deed’.
    [Show full text]
  • Bertolt Brecht's Concept of 'Epic-Drama' and Alienation Theory
    Lapis Lazuli -An International Literary Journal (LLILJ) Vol.3/ NO.1/Spring 2013 Bertolt Brecht‟s Concept of „Epic-drama‟ and Alienation Theory and „Tamasha Art‟ in Marathi Theatre: A Comparative Study Smita Mujumdar ABSTRACT Bertolt Brecht is a bewildering figure in the field of drama. Brechtian theory of epic theatre became so popular that its influence reached far beyond the communist countries. Since earlier period of Marathi theatre, this concept of epic-drama with A-effect theory was already implicit in „Tamasha‟- Folk Art form of Marathi tradition. The main purpose of this paper is to see whether Brecht‟s theory of alienation A-effect and concept of „epic-drama‟ was already implicit in Tamasha form in Marathi theatre. If we allude to the historical background and the history of development of European drama and Marathi dramatic tradition, we can see that the changing conditions of society inspired Brecht to think differently about dramatic form which resulted in bringing out a new technique with a new theory and it influenced the whole world theatre including Marathi theatre of the time onwards. It is noted here that how old, ancient this form is, known since ever before the birth of Brecht, and how it is coming as new literary form in written play form, imitating Brecht‟s style and Lapis Lazuli -An International Literary Journal (LLILJ) ISSN 2249-4529, Vol.3/ NO.1/Spring2013 URL of the Issue: http://pintersociety.com/vol-3-no-1spring-2013/ URL of the article: http://pintersociety.com/wp-content/uploads/2013/07/Smita-mujumdar-9.pdf © www.pintersociety.com 1 Women and Life Force in Shaw‟s „Widower’s House‟ and „Man and Superman’ concept.
    [Show full text]
  • Tamil Drama in Colonial Madras: the Parsi Theatre Connection
    South Asian History and Culture ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/rsac20 Tamil drama in colonial Madras: the Parsi theatre connection Kathryn Hansen To cite this article: Kathryn Hansen (2020): Tamil drama in colonial Madras: the Parsi theatre connection, South Asian History and Culture, DOI: 10.1080/19472498.2020.1816414 To link to this article: https://doi.org/10.1080/19472498.2020.1816414 Published online: 11 Oct 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rsac20 SOUTH ASIAN HISTORY AND CULTURE https://doi.org/10.1080/19472498.2020.1816414 Tamil drama in colonial Madras: the Parsi theatre connection Kathryn Hansen Department of Asian Studies, University of Texas at Austin, USA ABSTRACT KEYWORDS Tamil musical theatre (isai natakam) became a thriving form of public Tamil; Parsi; company drama; entertainment in the late 19th and early 20th centuries. During this Urdu; Muslims formative period, Parsi theatre companies from Bombay frequented Madras and staged Urdu-language spectacles before heterogeneous audi- ences. The legacy of historical contact between Tamil drama and Parsi theatre is visible at multiple levels: nomenclature, tale types, song genres, orchestration, troupe organization, use of the proscenium stage. The positive reception of Parsi theatre in Madras, however, was not a foregone conclusion, given the linguistic, social, and cultural boundaries to be crossed. Through an analysis of Parsi company performances, this essay shows the process of creating a multilingual theatrical public at the cross- roads of urban Madras.
    [Show full text]
  • Haresh-Kakde-Article-January-2015.Pdf
    THE PRE-COLONIAL AND COLONIAL LEGACY OF MODERN INDIAN THEATRE Mr. Haresh kakde Research Scholar, Central University of Gujarat, Gandhinagar, Gujarat, INDIA. Abstract The present paper makes an attempt to identify different trends of theatrical activities that available in pre-colonial and colonial times. The existence of theatrical activities during pre-colonial times lead to the indigenous performance while the colonial time the theatrical performances derived partially from Indigenous performances. The form and content of such theatre remained a debatable question to all for long. The influence of English and Parsi theatre on regional theatre makes certain extent hybrid theatrical activities. The direction provided by Sudipto Chatterjee in The Colonial Staged may useful to understand hybridity and such theatre may consider modern Indian theatre in post independent (colonial) period. Key Words: Indigenous performance, Form and Content of theatre, English and Parsi theatre, Hybridity, Modern Indian Theatre Introduction The theatre constructed in the colonial and post colonial period is loosely called ‘modern’ Indian Theatre because such kind of theatre is in a way partially departure of indigenous performances at temple, festival times and religious events. But the legacy of such theatre in the colonial and post- colonial (Independence) periods is primarily derived from English theatre which came for entertainment purpose, Parsi theatre which came for business purpose and indigenous performance practices at religious events and festival times during the British colonial period in India. Such theatre has taken several routes over a period of times to become modern Indian theatre and raised present socio-economic and political issues for transformation in society.
    [Show full text]
  • UNIT 1 GHASHIRAM KOTWAL Ghashiram Kotwal
    UNIT 1 GHASHIRAM KOTWAL Ghashiram Kotwal Structure 1.0 Objectives 1.1 Introduction 1.2 Indian Drama 1.3 Marathi Theatre 1.4 Modem Indian Theatre 1.5 Vijay Tendulkar: Life and Works 1.6 Let Us Sum Up 1.7 Suggested Readings 1.8 Answers to Exercises 1.0 OBJECTIVES In this Unit, we shall briefly discuss the growth and development of Indian theatre, especially Marathi theatre so that we can understand Ghashiram Kotwal in its Proper context. In addition to this, we shall also take up the intellectual, social and Political reasons that influenced Indian theatre in the fifties and sixties and gave a certain direction to its subsequent development. After reading this Unit carefully, you will be able to: have a view of the main trends in Indian drama; describe the development of Marathi theatre; discuss the historical background of the play; and outline the life and works of Vijay Tendulkar. 1.1 INTRODUCTION This is the last Block in your course. In all the previous blocks, we have discussed Western drama which comes from a different culture, a different tradition. You have studied one-act plays and you have read Shakespeare’s Macbeth, a play in five acts and the three-act plays of Ibsen and Shaw. Here we turn to Ghashiram Kotwal which is quite different from all the plays you have read so far. Modem Indian theatre has emerged from a different tradition. It is for this reason that we shall discuss Indian and Marathi theatre to give you the introductory background which you will find useful.
    [Show full text]
  • Academy of Theatre Arts 1
    ACADEMY OF THEATRE ARTS 1. Profile : The Academy of Theatre Arts was established in August, 2003. The University of Mumbai initiated this Academy keeping in mind the dearth of theatre training institutes in Mumbai, despite the city being the main centre of theatre activity in the country. The Academy has taken long stride at national and international level within a short span of twelve years and it has become one of the leading theatre training institutes in India. The Academy of Theatre Arts offers a two - year full time comprehensive Master’s degree course in theatre arts. This course is an integrated course based on the structures of the world renowned theatre training schools as well as rich traditional & modern theatre training practices of India. The subjects academy offers are:- Dramatic Literature and Theatre History ( Western, Eastern & Indian Drama ) Stage Craft and Theatre Technique ( Theatre Architecture, Set Design, Light Designing, Costume Design, Makeup & Music Design) Acting ( Body Movement, Rope Mallakhamb, Martial Art, Voice & Speech, Traditional and Modern Dances, Yoga, Various Styles & Schools of Acting. ) Production & Direction ( Designing of the Production, Production Process & Direction. ) Participation in Departmental Productions, Play Writing, Theatre Management and Art Administration. The course emphasizes the ratio of 40:60% for theory and practicals. The students are given ample opportunities to watch and study plays and interact with theatre personalities at various festivals, performances and seminars thereby exposing them to current theatre practices. Fieldwork and field projects are given adequate importance in the programming of the Academy. The students are encouraged to understand creative processes, organizational and administrative aspects as well as marketing values of theatre arts.
    [Show full text]
  • Lifetime Achievement Award
    Media Release META to confer ‘Lifetime Achievement Award’ on theatre veteran Arun Kakade Dolly Thakore, Mahesh Dattani, Sachin Khedekar, Seema Biswas, Avijit Dutt and Maya Krishna Rao to judge the best of Indian theatre at 12th edition of the Festival New Delhi, February 22, 2017: At a media event here on Wednesday, the Mahindra Excellence in Theatre Awards (META) Festival announced that the META 2017 Lifetime Achievement Award will be conferred upon veteran Marathi theatre exponent Arun Kakade, commonly known as ‘Kakade Kaka’. META, which is the most comprehensive awards event for theatre in India, will be honouring the best of Indian theatre across 13 award categories, in addition to the Lifetime Achievement Award. The announcement comes ahead of the week-long META Festival in the national capital which will be held from March 4 – 9, 2017 when the ten nominated plays will be staged. The awards will be presented at a special red carpet ‘Awards Night’ to be held on March 10 which will celebrate the best of Indian theatre from the past year. Eighty-five-year-old Arun Kakade is a veteran theatre producer and the man behind the success of the Marathi theatre group, Aavishkaar. Starting his career in Pune, he shifted to Mumbai where was associated with theatre greats like Vijaya Mehta and former veterans, Vijay Tendulkar, , Arvind Deshpande, and Madhav Watve. In past years, the META Lifetime Achievement Award has been conferred upon several stalwarts of Indian theatre, including the Late Zohra Sehgal, the Late Badal Sarkar, the Late Khaled Chowdhary, Ebrahim Alkazi, Girish Karnard, Heisnam Kanhailal and Padmashree Ratan Thiyam.
    [Show full text]