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Page 1 of 5 Soumitra Chatterjee's B'day Chat 1/27/2012
Soumitra Chatterjee’s B’day Chat Page 1 of 5 Follow Us: Today's Edition | Thursday , January 19 , 2012 | Search IN TODAY'S PAPER Front Page > Entertainment > Story Front Page Nation Like 12 0 Calcutta Bengal Soumitra Chatterjee’s B’day Chat Opinion Soumitra Chatterjee, who turns 77 today, opens up to filmmaker s-Suman Ghosh on his work, his life International and his dreams. Only for t2. Business Sports Suman Ghosh: Kaku, how old are you going to turn Entertainment on January 19? Sudoku Sudoku New BETA Soumitra Chatterjee: Oh, that I don’t know! But I know Crossword my birth year… 1935. Jumble Gallery So, how do you approach ageing? Horse Racing Press Releases Frankly, the feeling of having to depend on someone Travel else is a bit difficult to deal with. I’m scared of WEEKLY FEATURES dependency. I have never really been dependent on Knowhow someone till now. Jobs Telekids Looking back, would you consider yourself ‘happy’? Personal TT 7days It’s difficult to say that. Happiness in life is occasional… Graphiti temporary. It is like an oasis, if it wasn’t present then life would be like walking in a desert. But talking about work, CITIES AND REGIONS sometimes I wonder how much I can actually give to the Metro society through the work I do…. Just a moment of North Bengal happiness. Northeast Jharkhand I have noticed a change in your attitude towards life Bihar in the last two years. Your usual vivacious self is absent. Why has that happened? Odisha ARCHIVES I would call that melancholia, because I am worried Since 1st March, 1999 about how long I can continue working. -
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. -
The Lost Ethos of Uttam-Suchitra Films: a ‘Nostalgic’ Review of Some Classic Romances from the Golden Era of Bengali Cinema Pramila Panda
The lost ethos of Uttam-Suchitra films: a ‘nostalgic’ review of some classic romances from the Golden Era of Bengali cinema Pramila Panda Vol. 2, No. 3, pp. 194–200 | ISSN 2050-487X | www.southasianist.ed.ac.uk www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 194 Vol. 2, No. 3, pp. 194-200 The lost ethos of Uttam-Suchitra films A ‘nostalgic’ review of some classic romances from the Golden Era of Bengali cinema Pramila Panda [email protected] www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 195 The mild tune of the sweet and soft song been able to touch every aspect of modern wrapped in sentimental love, “Ogo tumi je human society. This brings us to discussing the aamaar... Ogo tumi je aamaar” (You are status of romance or love in Bengali cinema mine, only mine…) from the Bengali movie half a century back. Harano Sur (Lost Melody) released in 1957 These divine qualities teach us the hymn of still buzzes pleasantries, not only inside my humanity and the art of living. These heavenly ear, but also at the centre of my mind. qualities are highly essential for the survival of Suchitra Sen and Uttam Kumar were the human society in peace and happiness. Of considered the ‘golden couple’ of Bengali films course, the world of cinema has not totally from 1953 to 1978. They left their special ignored the importance of these human identities by contributing the best of qualities to be reflected and utilized through themselves through their marvellous acting the different roles of different characters in talent. -
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM Open Feedback Dialog About : Wallpapers Newsletter Sign Up 8226 films, 13750 profiles, and counting FOLLOW US ON RECENT Sync Sound and Indian Cinema Tere Naal Love Ho Gaya The lead pair of the film, in their real life, went in the The recent success of the film Lagaan has brought the question of Sync Sound to the fore. Sync Sound or Synchronous opposite direction as Sound, as the name suggests, is a highly precise and skilled recording technique in which the artist's original dialogues compared to the pair of the are used and eliminates the tedious process of 'dubbing' over these dialogues at the Post-Production Stage. The very first film this f... Indian talkie Alam Ara (1931) saw the very first use of Sync Feature Jodi Breakers Sound film in India. Since then Indian films were regularly shot I'd be willing to bet Sajid Khan's modest personality and in Sync Sound till the 60's with the silent Mitchell Camera, until cinematic sense on the fact the arrival of the Arri 2C, a noisy but more practical camera that the makers of this 'new particularly for outdoor shoots. The 1960s were the age of age B... Colour, Kashmir, Bouffants, Shammi Kapoor and Sadhana Ekk Deewana Tha and most films were shot outdoors against the scenic beauty As I write this, I learn that there are TWO versions of this of Kashmir and other Hill Stations. It made sense to shoot with film releasing on Friday. -
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 -
Badal Sircar
Badal Sircar Scripting a Movement Shayoni Mitra The ultimate answer [...] is not for a city group to prepare plays for and about the working people. The working people—the factory workers, the peasants, the landless laborers—will have to make and perform their own plays. [...] This process of course, can become widespread only when the socio-economic movement for emancipation of the working class has also spread widely. When that happens the Third Theatre (in the context I have used it) will no longer have a separate function, but will merge with a transformed First Theatre. —Badal Sircar, 23 November 1981 (1982:58) It is impossible to discuss the history of modern Indian theatre and not en- counter the name of Badal Sircar. Yet one seldom hears his current work talked of in the present. How is it that one of the greatest names, associated with an exemplary body of dramatic work, gets so easily lost in a haze of present-day ignorance? While much of his previous work is reverentially can- onized, his present contributions are less well known and seldom acknowl- edged. It was this slippage I set out to examine. I expected to find an ailing man reminiscing of past glories. I was warned that I might find a cynical per- son, an incorrigible skeptic weary of the world. Instead, I encountered an in- domitable spirit walking along his life path looking resolutely ahead. A kind old man who drew me a map to his house and saved tea for me in a thermos. A theatre person extraordinaire recounting his latest workshop in Laos, devis- ing how to return as soon as possible. -
DANGER to DEMOCRACY in INDIA Dilip Bose
59 DANGER TO DEMOCRACY IN INDIA Dilip Bose LEGALLY constituted, constitutionally valid and elected on A a majority basis government has been thrown out of office in an authoritarian manner by a fiat from the Governor of the state (called province under the old British raj) of West Bengal, for the simple crime that this government, called the United Front (UF) government, dared bring about a certain measure of relief and radical measures to ameliorate, at least partially, the almost intoler- able conditions under sky-rocketing prices of foodstuff and other essential commodities, consequent on widespread blackmarketing and corruption. But there is a method by which the ruling Congress party at the Centre is trying to oust not only the Left government in West Bengal but also other non-Congress governments in other states. A government run by the Indian monopolists in collaboration with foreign imperialist interests is resorting to the good old method of purchasing votes of weak and vacillating members of the State Assembly (i.e. the provincial legislature responsible for the govern- ance of the state in general, except of course foreign, defence and such other Central matters) and other Tammany Hall tactics of nepotism, jobbery and corruption. The broadest democratic opinion and all the parties of the Left, inside and outside the Assembly, are fighting back to assert the basic tenets and rules of parliamentary democracy and on its outcome depends the future of democracy and democratic institutions in India. Three state governments have been toppled—Manipur, Haryana and West Bengal—and the difference in approach demonstrates the very quandary of the ruling Congress party at the Centre (i.e. -
Wax Museum India
+91-9434189165 Wax Museum India https://www.indiamart.com/wax-museum-india/ Even as wax figures have become a synonym of Madame Tussauds across the world, a wax museum has been set up in Asansol city of West Bengal by an Indian artiste.Set up by Artist SUSANTA RAY, of West Bengal India. About Us Even as wax figures have become a synonym of Madame Tussauds across the world, a wax museum has been set up in Asansol city of West Bengal by an Indian artiste. Set up by Artist SUSANTA RAY, of West Bengal India, this museum has undoubtedly come as an inspiration from Madame Tussauds. The museum presently features wax figures of famous personalities including Mahatma Gandhi, Netaji Subhas, Rabindranath Tegore, Joyti Bose, Maradona, Sachin Tendulkar and many more... For more information, please visit https://www.indiamart.com/wax-museum-india/aboutus.html WAX STATUES P r o d u c t s & S e r v i c e s Kaji Nazrul Islam Wax Statue Utpal Dutta Wax Statue Pranab Mukherjee Wax Statue Joyti Bose Wax Statue P r o OTHER PRODUCTS: d u c t s & S e r v i c e s Uttam Kumar Wax Statue Diego Maradona Wax Statue Mahatma Gandhi Wax Statue Kapil Dev Wax Statue P r o OTHER PRODUCTS: d u c t s & S e r v i c e s Rabindra Nath Tegore Wax Ronaldinho Wax Statue Statue Sourav Ganguly Wax Statue Netaji Subhas Boses Wax Statue P r o OTHER PRODUCTS: d u c t s & S e r v i c e s Sachin Tendulker Wax Statue Jagadish Ch. -
MA BENGALI SYLLABUS 2015-2020 Department Of
M.A. BENGALI SYLLABUS 2015-2020 Department of Bengali, Bhasa Bhavana Visva Bharati, Santiniketan Total No- 800 Total Course No- 16 Marks of Per Course- 50 SEMESTER- 1 Objective : To impart knowledge and to enable the understanding of the nuances of the Bengali literature in the social, cultural and political context Outcome: i) Mastery over Bengali Literature in the social, cultural and political context ii) Generate employability Course- I History of Bengali Literature (‘Charyapad’ to Pre-Fort William period) An analysis of the literature in the social, cultural and political context The Background of Bengali Literature: Unit-1 Anthologies of 10-12th century poetry and Joydev: Gathasaptashati, Prakitpoingal, Suvasito Ratnakosh Bengali Literature of 10-15thcentury: Charyapad, Shrikrishnakirtan Literature by Translation: Krittibas, Maladhar Basu Mangalkavya: Biprodas Pipilai Baishnava Literature: Bidyapati, Chandidas Unit-2 Bengali Literature of 16-17th century Literature on Biography: Brindabandas, Lochandas, Jayananda, Krishnadas Kabiraj Baishnava Literature: Gayanadas, Balaramdas, Gobindadas Mangalkabya: Ketakadas, Mukunda Chakraborty, Rupram Chakraborty Ballad: Maymansinghagitika Literature by Translation: Literature of Arakan Court, Kashiram Das [This Unit corresponds with the Syllabus of WBCS Paper I Section B a)b)c) ] Unit-3 Bengali Literature of 18th century Mangalkavya: Ghanaram Chakraborty, Bharatchandra Nath Literature Shakta Poetry: Ramprasad, Kamalakanta Collection of Poetry: Khanadagitchintamani, Padakalpataru, Padamritasamudra -
Uttar Dinajpur District Court List of Eligible Candidates Staff Recruitment 2018
UTTAR DINAJPUR DISTRICT COURT LIST OF ELIGIBLE CANDIDATES STAFF RECRUITMENT 2018 APPLICATION SRL NO POST APPLICANT'S NAME FATHER'S/MOTHER'S/SPOUSE'S NAME NO 1 ENGLISH STENOGRAPHER 10000016 SUJIT SARKAR LATE SATISH CHANDRA SARKAR 2 ENGLISH STENOGRAPHER 10000022 RIA MITRA LATE ANJAN MITRA 3 ENGLISH STENOGRAPHER 10000036 RAMKRISHNA PAL KANAN CHANDRA PAL 4 ENGLISH STENOGRAPHER 10000049 CHIRANTAN CHAKRABORTY LT. GIRIDHARI CHAKRABORTY 5 ENGLISH STENOGRAPHER 10000057 BINAY KISPOTTA LT- RENGHU KISPOTTA 6 ENGLISH STENOGRAPHER 10000075 RAKTIMA SAHA GAUTAM SAHA 7 ENGLISH STENOGRAPHER 10000097 SANU LAMA MAN BAHADUR LAMA 8 ENGLISH STENOGRAPHER 10000161 RAJDEEP DAS CHHABI DAS 9 ENGLISH STENOGRAPHER 10000182 SHUBHAM KARMAKAR BISNU PADA KARMAKAR 10 ENGLISH STENOGRAPHER 10000274 ARKA BISWAS LATE TAPAN CHANDRA BISWAS 11 ENGLISH STENOGRAPHER 10000362 GOBINDA SANTRA ANANDA MOHAN SANTRA 12 ENGLISH STENOGRAPHER 10000467 DOLA SHARMA DEBAPRASAD SHARMA 13 ENGLISH STENOGRAPHER 10000471 AMAR MONDAL AMBIKA CH MONDAL 14 ENGLISH STENOGRAPHER 10000483 ROBINA KHATOON MD MANSOOR 15 ENGLISH STENOGRAPHER 10000516 MANASA SASMAL KASHINATH SASMAL 16 ENGLISH STENOGRAPHER 10000540 TANMAY GHOSH TAPAN KUMAR GHOSH 17 ENGLISH STENOGRAPHER 10000605 SHYAMAL MONDAL NALINI CHANDRA MONDAL 18 ENGLISH STENOGRAPHER 10000691 KOUSHIK THOKDAR SHIB SHANKAR THOKDAR 19 ENGLISH STENOGRAPHER 10000752 BHAIRAB SINGHA LATE AJOY KUMAR SINGHA 20 ENGLISH STENOGRAPHER 10000791 SIMA MONDAL LATE SUSANTA MONDAL 21 ENGLISH STENOGRAPHER 10000909 JAWAID AHMED WAJIHUDDIN AHMED 22 ENGLISH STENOGRAPHER 10000933 -
A Complete Profile of Rangroop
MMMAJOR PRODUCTIONS OF RANGRANG----ROOPROOP SINCE THE INCEPTION: Total Name Of The Year No. Of Drama By Directed By Production Shows 1969-70 Michhil 12 Goutam Mukherjee Goutam Mukherjee 1972-73 Akay Akay Sunya 9 Goutam Mukherjee Goutam Mukherjee 1979-80 Kanthaswar 151 Goutam Mukherjee Goutam Mukherjee Sanskrit play: Banabhatta; Adaptation : 1982-83 Kadambari 50 Goutam Mukherjee Dr. K.K. Chakraborty Story: Subodh Ghosh 1984-85 Andhkarer Rang 62 Script: Sima Mukherjee Goutam Mukherjee Story: O’Henry Do. Prahasan 62 Script: K.K. Chakraborty Goutam Mukherjee Story: O’Henry 1987-88 Clown 110 Script: K.K. Chakraborty Goutam Mukherjee 1988-89 Bikalpa 74 Sima Mukhopadhyay Goutam Mukherjee Dwijen Banerjee & 1991-92 Bhanga Boned 130 Sima Mukhopadhyay Saonli Mitra 1992-93 Tringsha Shatabdi 5 Badal Sarkar Kaliprosad Ghosh 1993-94 Boli 11 Tripti Mitra Sima Mukhopadhyay 1994-95 Je Jan Achhey 187 Sima Mukhopadhyay Sima Mukhopadhyay Majhkhane Sima Mukhopadhyay 1996-97 24 Abanindranath Tagore Aalor Phulki & K K Mukhopadhyay Panu Santi Sima Mukhopadhyay Krishna Kishore 1998-99 53 Cheyechhilo (Story: Ramanath Roy) Mukhopadhyay 1999- Aaborto 27 Sima Mukhopadhyay Sima Mukhopadhyay 2000 2000-01 Sunyapat 34 Sima Mukhopadhyay Sima Mukhopadhyay Drama: Olwen Wymark 2002-03 Khnuje Nao 37 Adaptation: Swatilekha Sengupta Rudraprasad Sengupta Je Jan Achhey 2003-04 Majhkhane 32 Sima Mukhopadhyay Sima Mukhopadhyay (Revive) 2004-05 Sesh Raksha 38 Rabindranath Tagore Sima Mukhopadhyay Sima Mukhopadhyay 2005-06 He Mor Debota 10 (Story: Deborshee Sima Mukhopadhyay Saroghee) -
III) (28Th March, 2011 to 23Rd April, 2011) LIST of PARTICIPANTS
INDIRA GANDHI NATIONAL FOREST ACADEMY MID CAREER TRAINING PHASE – V (III) (28th March, 2011 to 23rd April, 2011) LIST OF PARTICIPANTS S. No. Name (Shri/Smt./Dr.) Cadre YoA 1 GOVIND NARAYAN SINHA AGMUT 1983 2 LALRAMTHANGA AGMUT 1983 3 ASHOK KUMAR JAIN ANDHRA PRADESH 1983 4 KALATHURU SUGUNAKAR REDDY ANDHRA PRADESH 1983 5 MADDURI RAMA PRASAD ANDHRA PRADESH 1983 6 MATTA SUDHAKAR ANDHRA PRADESH 1983 7 PRASHANT KUMAR JHA ANDHRA PRADESH 1983 8 SURENDRA PANDEY ANDHRA PRADESH 1983 9 CAVOURIGHT PHANTO MARAK ASSAM MEGHALAYA 1983 10 SANTOSHPALSINGH ASSAMMEGHALAYA 1983 11 KAILASH CHANDRA BEBARTA CHHATTISGARH 1983 12 RABINDRA KUMAR SINGH CHHATTISGARH 1983 13 AKSHAYKUMARSAXENA GUJARAT 1983 14 ANOOP SHUKLA GUJARAT 1983 15 ASHOK KUMAR VARSHNEY GUJARAT 1983 16 KABOOL CHAND GUJARAT 1983 17 SATISH CHANDRA SRIVASTAV GUJARAT 1983 18 GULSHAN KUMAR HARYANA 1983 19 LALIT MOHAN HIMACHAL PRADESH 1983 20 SHAMSHER SINGH NEGI HIMACHAL PRADESH 1983 21 UTTAM KUMAR BANERJEE HIMACHAL PRADESH 1983 22 DHIRENDRA KUMAR JHARKHAND 1983 23 PRAKASH CHANDRA MISHRA JHARKHAND 1983 24 RAMESH RAMSAI HEMBROM JHARKHAND 1983 25 VENKATASUBBAIAHCHUKKAPALLI KARNATAKA 1983 26 VIDYASAGARGUDIPATI KARNATAKA 1983 27 KOOTTAPPURA GOPINATHAN NAIR KERALA 1983 MOHANLAL 28 THAVARUL PUTHIYADATH KERALA 1983 NARAYANANKUTTY 29 BRIJ MOHAN SINGH RATHOD MADHYA PRADESH 1982 30 JAJATI KISHORE MOHANTY MADHYA PRADESH 1983 31 KRISHNA PRATAP SINGH MADHYA PRADESH 1983 32 LALAN KUMAR CHAUDHARY MADHYA PRADESH 1983 33 LALIT MOHAN BELWAL MADHYA PRADESH 1983 34 MANGESH KUMAR TYAGI MADHYA PRADESH 1983 35 MANOJ KUMAR SINHA MADHYA PRADESH 1983 36 RAKESH KUMAR GUPTA MADHYA PRADESH 1983 37 TRIPURARI CHANDRA LOHANI MADHYA PRADESH 1983 38 BOBBA SIVAKUMAR REDDY MAHARASHTRA 1983 39 FARHAN SAJJAD JAFRY MAHARASHTRA 1983 40 KULDIP NARAYAN KHAWAREY MAHARASHTRA 1983 41 VINAY KUMAR SINHA MAHARASHTRA 1983 42 BALAPRASAD MANIPUR&TRIPURA 1983 S.