Theatres in India After Independence with Special Reference to Mahesh Dattani’S Works Dr
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Girish Karnad: a Man and Artist—Evolution of His Dramatic Genius
www.the-criterion.com The Criterion: An International Journal in English ISSN (0976-8165) Girish Karnad: A Man and Artist—Evolution of His Dramatic Genius Dr. Krishna Singh Girish Raghunath Karnad is a playwright, poet, actor, director, critic, translator and cultural administrator all rolled into one. He has been rightly called the “renaissance man” (Kalidas & Merchant.”Renaissance Man”); whose celebrity is based on decades of prolific and consistent output on native soil. He belongs to a generation that has produced Dharamveer Bharati, Mohan Rakesh and Vijay Tendulker who have created a national theatre for modern India which is the legacy of his generation. Karnad is the most famous as a playwright. His plays written in Kannad have been widely translated into English and all major Indian languages. Karnad’s plays are written neither in English, except few, in which he dreamed of earning international literary fame, nor in his mother tongue Konkani. Instead they are composed in his adopted language Kannad thereafter translated by himself into English—a language of adulthood. When Karnad started writing plays, Kannad literature was highly influenced by the renaissance in Western literature. Writers would choose a subject which looked entirely alien to manifestation of native soil. Conflicting ideologies, political freedom of India, modernity versus indigenous traditions supplied the specific backdrop to write plays. During his formative years, Karnad went through diverse influences that went long way into shaping his dramatic taste and genius. The earliest influence was that of the Natak Company that was in vogue in Sirsi. The Yakshagana plays which he used to see with the servants also appealed to him by their buffoonery and horseplay. -
Drama Department Open House
Drama Department Open House Stagecraft 1-2 Stagecraft for Show Productions Stagecraft 3-4 Stagecraft for Musical Productions Instructor: Jason Fallis Email: [email protected] What Is Our Department? EVERYTHING THEATRE! Not interested in being onstage but love the technical aspect? We have you covered! Want to be onstage? We have you covered! Need a fine arts credit? We have you covered! Stagecraft 1-2 - No experience required. This is an introductory course on stagecraft (behind the scenes). Some of the areas you will learn about include: lighting, sound, costuming, props, set design and construction, painting and special effects make-up & much more. Where do we go from here? Stagecraft 1-2 Stagecraft 3-4 Stagecraft 3-4 What do you do when you have completed Stagecraft 1-2? TIme to work the shows! In stagecraft 3-4 we take it a step further as you, the student move on to work actual productions behind the scenes operating lights, sound, microphones and backstage. Again...it is impossible to list the advanced offerings in this course. The best part though is the family bond the department has! Stagecraft 3-4 making sure the actors and the stage look great! SO, YOU WANT TO BE AN ACTOR? If your family or friends have told you that you are too dramatic, Acting 1-2 may be for you! No experience is required to take Acting 1-2, an introduction to acting. In this class you will learn the broad techniques of acting from voice control to improvisation. Have I mentioned it is a blast! Where do I go after Acting 1-2? Look no further than Stagecraft for Show Productions. -
Indian Theatre Autobiographies Kindle
STAGES OF LIFE : INDIAN THEATRE AUTOBIOGRAPHIES PDF, EPUB, EBOOK Kathryn Hansen | 392 pages | 01 Dec 2013 | Anthem Press | 9781783080687 | English | London, United Kingdom Stages of Life : Indian Theatre Autobiographies PDF Book All you need to know about India's 2 Covid vaccines. Celebratory firing: yr-old killed at Lohri event in Talwandi Sabo village. Khemta dances may be performed on any occasion, and, at one time, were popular at weddings and pujas. For a full translation via Bengali see The Wonders of Vilayet , tr. First, he used Grose's phrases for descriptions of topics which Dean Mahomet did not know, most notably the cities of Surat and Bombay, and also classical quotations from Seneca and Martial. He never explained the reasons for this next immigration and, indeed, later omitted his years in Ireland from his autobiographical writings altogether. London: Anthem Press. Samples of 3 dead birds found negative in Ludhiana 9 hours ago. Other Formats Available: Hardback. India's artistic identity is deeply routed within its social, economical, cultural, and religious views. For privacy concerns, please view our Privacy Policy. The above passage can be taken as example of the Vaishnav value system within which Girish Ghosh would always configure the identity and work of an actor. Main article: Sanskrit drama. This imagination serves as a source of creative inspiration in later life for artists, writers, scientists, and anyone else who finds their days and nights enriched for having nurtured a deep inner life. CBSE schools begin offline classes 9 hours ago. In Baumer and Brandon , xvii—xx. Thousands of tractors to leave for Delhi on Jan 20 9 hours ago. -
Stagecraft I & II SYLLABUS
DUKE ELLINGTON SCHOOL OF THE ARTS TECHNICAL DESIGN & PRODUCTION DEPARTMENT STAGECRAFT I & II Instructor: Robin Y. Harris COURSE CATALOG DESCRIPTION Stagecraft I (QT1) This is the first course in the Duke Ellington Technical Theater career pathway. This sequence of courses prepares students for a career in the technical theater industry. Students are introduced to the process by which scenery, lighting, and audio are planned, coordinated, and built to support the playwright's and director's visions and concepts. Students will create scenic design models. Stagecraft II (QT2) This is the second course in the Duke Ellington Technical Theater career pathway. This sequence of courses prepares students for a career in the technical theater industry. Students will expand their general understanding of basic stagecraft and practices. COURSE OUTCOMES and OBJECTIVES At the end of the school year, the student should be able to: • Converse in the vocabulary of the discipline. • Understand theatre history as it relates to the physical facility of the theater to include art and architecture. • Understand the principles of scenic elements, scenic units, construction/fabrication, and design. • Make connections among disciplines of study • Read critically • Recognize the differences among fact, opinions, and judgements • Express aesthetic critique and insight • Solicit feedback, evaluate and revise creative products METHOD OF INSTRUCTION Lecture and Discussion Demonstration and Illustration Printed Materials COURSE OUTLINE I. Brief Theatre History (Ancient, Greek, Roman and Renaissance) II. Performance Spaces and Functions (Arena, Proscenium, Thrust, and Black Box) III. Common Stage Elements IV. Scenic Units & Resources (Flats, Doors, Platforms, Drops, and Properties) V. Design A. The Role of the Designer B. -
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them. -
A GLOSSARY of THEATRE TERMS © Peter D
A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam. -
Chapter 10: Stage Settings
396-445 CH10-861627 12/4/03 11:11 PM Page 396 CHAPTER ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ 10 Stage Settings Stage settings establish a play’s atmosphere. In Andrew Lloyd Webber’s Sunset Boulevard, shown here, the charac- ters are dwarfed by the imposing paneled room that includes a sweep- ing staircase. he theater, for all its artifices, depicts life Tin a sense more truly than history. —GEORGE SANTAYANA, POET AND PHILOSOPHER 396 396-445 CH10-861627 12/4/03 11:12 PM Page 397 SETTING THE SCENE Focus Questions What are the purposes of scenery in a play? What are the effects of scenery in a play? How has scenic design developed from the Renaissance through modern times? What are some types of sets? What are some of the basic principles and considerations of set design? How do you construct and erect a set? How do you paint and build scenery? How do you shift and set scenery? What are some tips for backstage safety? Vocabulary box set curtain set value unit set unity tints permanent set emphasis shades screens proportion intensity profile set balance saturation prisms or periaktoi hue A thorough study of the theater must include developing appreciation of stage settings and knowledge of how they are designed and constructed. Through the years, audiences have come to expect scenery that not only presents a specific locale effectively but also adds an essential dimension to the production in terms of detail, mood, and atmosphere. Scenery and lighting definitely have become an integral part of contemporary play writ- ing and production. -
An Excursion to and from Situational Urban Scenography
Tactics of the Other Everyday: An Excursion to and from Situational Urban Scenography Mengzhe Tang Abstract: For a scenographic reading of urban settings, attentions are directed to the small, mundane and the everyday, which penetrate the non-institutional, always neglected, but most underlying aspects of urban life. Scattered in the most ordinary corners around the city, the scenes framed by a scenographic scope could nevertheless touch upon spatial, imaginary and situational potentials in perceiving and understanding urban spatial phenomena, diverting from the real and rational into the scenographic “other world”. These small, everyday yet partly surreal scenes, coupled with the notions of Tactic (Michel de Certeau, 1984) and Construction of Situation (Guy Debord, 1957), further come to a political gesture of resisting (destroying) the overwhelming institutionalization and standardization of contemporary life, as well as urban spaces. This progress from framing, association to tactics delineates a theatrical excursion departing from the real city into the fictitious, and eventually returning back to reality, yet with some residue imaginary subversive passion in turn to transform the real urban space. Introduction: In the poetic film The Color of Pomegranates (Tsvet granata, Armenfilm 1969), the film director of Armenian descent Sergei Parajanov, with his melancholically archaic and theatrical cinematic language, created a fascinating and dream-like world, in which the life of the Armenian poet Sayat Nova and his particular epoch gradually -
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. -
Supplementary English Language Development (SELD) Theatre Arts & Dance (THAR)
Supplementary English Language Development (SELD) Theatre Arts & Dance (THAR) SELD 100A SUPPLEMENtarY ENGLISH LANGUAGE THAR 101 MAKING THEatrE (3) DEVELOPMENT (3) This course is an overview of the art and practice of making theatre. Designed for Designed for international students and other nonnative speakers of English, this non-majors, the class examines the various elements involved in creating, develop- course emphasizes communication for academic purposes, and concentrates on ing, performing, and presenting a theatrical event. Through lecture, guest speakers, expository writing, lecture comprehension, and analytical reading. Limited enroll- hands-on projects, video, and demonstrations, students gain an appreciation of the ment. Admission by ESL Placement Test only. Students taking this course may not artistry of live theatre performance. Satisfies GE, category C1 (Applied Arts Combin- register for more than 14 units of academic course work. ing Studio and Theory). SELD 100B SUPPLEMENtarY ENGLISH LANGUAGE THAR 110 DANCE FUNDAMENtaLS (1) DEVELOPMENT (3) An introduction to the fundamentals of modern dance designed to develop body Designed for international students and other nonactive speakers of English, this awareness, movement skills and aesthetic sensibilities. Includes improvisation, course focuses on the development of academic discourse skills, with stress on rhythm, motion and space exploration, and fundamentals of alignment. May be strengthening proficiency in a range of oral and written American English styles. taken five times for credit. Limited enrollment. Admission by ESL Placement Test only. Exit from SELD 100B requires passing an exit exam. THAR 115 DANCE STYLES (1) Class may focus on a particular dance style, e.g., contact improvisation, jazz or tap, or on dances of a particular era, e.g., social dance from 1935 to 1960. -
Parsi Theater, Urdu Drama, and the Communalization of Knowledge: a Bibliographic Essay
Parsi Theater, Urdu Drama, and the Communalization of Knowledge: A Bibliographic Essay I its remarkable century-long history traversing the colonial and nation- alist eras, the Parsi theater was unique as a site of communal harmony. The Parsi theater began in Bombay in the early s and fanned out across South and Southeast Asia by the s. During the twentieth cen- tury, major Parsi theatrical companies flourished in Lahore, Delhi, and Calcutta, exerting a huge impact on the development of modern drama, regional music, and the cinema. Parsis, Hindus, Muslims, Anglo-Indians, and Baghdadi Jews consorted amicably in both residential and traveling companies. Although company ownership usually remained in Parsi hands, actors were drawn from many communities, as were professional writers, musicians, painters, stage hands, and other personnel. As Såmn≥t^ Gupta makes clear, it was Parsis, non-Parsis, Hindus, Muslims, and Christians who spread the art of theatre by founding theatrical companies, who built playhouses and encouraged drama, who became actors and popularized the art of acting, who composed innumerable dramas in Gujarati, Hindi, and Urdu, who composed songs and defended classical music, and who wrote descriptions of the Parsi stage and related matters.1 Audiences similarly were heterogeneous, comprised of diverse relig- ious, ethnic, and linguistic groups and representing a wide range of class 1Såmn≥t^ Gupta, P≥rsµ T^iy®ªar: Udb^av aur Vik≥s (Allahabad: Låkb^≥ratµ Prak≥shan, ), dedication (samarpan), p. • T A U S positions. Sections of the public were catered to by particular narrative genres, including the Indo-Muslim fairy romance, the Hindu mythologi- cal, and the bourgeois social drama, yet no genre was produced exclu- sively for a particular viewership. -
Evolution of Street Theatre As a Tool of Political Communication Sangita
Evolution of Street Theatre as a tool of Political Communication Sangita De & Priyam Basu Thakur Abstract In the post Russian Revolution age a distinct form of theatrical performance emerged as a Street Theatre. Street theatre with its political sharpness left a crucial effect among the working class people in many corner of the world with the different political circumstances. In India a paradigm shift from proscenium theatre to the theatre of the streets was initiated by the anti-fascist movement of communist party of India under the canopy of Indian People’s Theatre Association (IPTA). In North India Street theatre was flourished by Jana Natya Manch (JANAM) with the leadership of Safdar Hashmi. This paper will explore the background of street theatre in India and its role in political communication with special reference to historical and analytical study of the role of IPTA, JANAM etc. Keywords: Street Theatre, Brecht, Theatre of the Oppressed, Communist Party of India (CPI), IPTA, JANAM, Safdar Hashmi, Utpal Dutta. Introduction Scholars divided the history of theatre forms into the pre-Christian era and Christian era. Aristotle’s view about the structure of theatre was based on Greek tragedy. According to the scholar Alice Lovelace “He conceived of a theatre to carry the world view and moral values of those in power, investing their language and symbols with authority and acceptance. Leaving the masses (parties to the conflict) to take on the passive role of audience...........The people watch and through the emotions of pity & grief, suffer with him.” Bertolt Brecht expressed strong disagreement with the Aristotelian concept of catharsis.