Unit 21 Ghashiram Kotwal
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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. -
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 -
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. -
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) -
Chapter I Introduction
CHAPTER I INTRODUCTION While pursuing the study of Hterature in English, the researcher came across the American playwrights like T.Williams and E.Albee. The prescribed plays by T.Williams and E.Albee had been The Glass Menagerie and The Zoo Story respectively. While studying the background of The Glass Menagerie especially with the cultural divide between South and North America, certain parallels between the American and the Indian social structure struck the researcher's sensitivity. That is the sudden transition of financial status within the once affluent class of feudal lords and the tensions and agony arising out of it, the researcher unconsciously started comparing it with the plight of feudal lords in India who suffered something in a similar manner owing to the sudden abolition of 'Tenancy' system, which, in one stroke, transferred the ownership of the agricultural lands from the feudal lords to the tenants. Some landlords were aware of the imminent change and they were prepared for the same. But many others who remained complacent and thereby failed to take note of the changes looming large on the horizon in the new political system i.e. the self-governed India, were caught unawares. They received the crude jolt which left them in a state of shock and bewilderment. They could never recover themselves. Many of them were almost reduced to the level of paupers. This situation was dealt with powerfully and in a unique manner in another play by the newly emerging playwright in 80s,namely, Mahesh Elkunchwar in his play Wada Chirebandi. It won't be out of place to mention a famous novel in English by Manohar Malgaonkar who deals with the similar theme and issue, which was related not with the feudal lords but the former Princely States in India. -
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. -
Dramatic and Social Background of Henrik Ibsen and Vijay Tendulkar
Dramatic and Social 2 Background of Henrik Ibsen and Vijay Tendulkar 2.1 Henrik Ibsen 2.1.1 Biographical background of Ibsen The life span of Henrik Ibsen is from 1828 to 1906. He was born on 20 March 1828 in a small shipping town, Skien, in Norway and he died on 23 May 1906. This period is considered as the most significant period in the history of Norway. The time till 1905, when Norway became an independent state, was full of political upheaval and people were struggling to free Norway from the hands of Danish rule. Aniruddha Kulkarni comments in his biographical book in Ibsen- This freedom fight and the economical and social developments were inter depend- able. The pre independence period was noted for the hierarchical structure of the society. The society was divided between the rich and the poor. The upper class was known as ‘Embetclass’ which comprised of the people belonging to the various professions such as the military, the court, the professors from the University and other high professions such as the authorities of the Church and the government officers. And the others were workers and farmers who had to suffer a lot for mere living. The situation was in transition when Ibsen started writing during the 1850 (referred and translated from Kulkarni, 1992:03). Because of Norway -Sweden republic was changing Norway, there was a tremen- dous growth of industrialization. The railways, ships and roads developed for better transportation and communication. The post and the telegraph too helped people to have fast interaction. The commercial ships became the asset for Norway. -
A Comiga Sruvy
iii PA Of YE 06 Plikkl A comiga sruvy by SANDHYA N. DHANDARE A Thesis Submitted To Goa Univet3ity For The Demme Of Pg DOCTOR OF PHILOSOPHY IN 1V"-- 'er* ENGLISH Jovr r \ AA., supervised 11 2,02_, by Dr. F. A. fERNANDES Director Academic Staff College Goa University Taleigao Plateau MAY 2000 ent9Desia I ce0 that the thesis entitled The Plays Of James Roy And :1\voik A Comparative Study, submitted by St. Sandhya N. hire for the degree of Doctor of Philosophy in English of Goa University, is completed under my Supervision, The thesis is a record of resod work doge by her during the period of study and has not primly formed the basis for the Nord of any degree or diploma to her pl. a. N. josai a. gERNaspes Pl'fliessor And Head Director Dept. Of English Academic Staff College Goa University Goa University RESEARCH GUIDE Sy :2_0r!. pate: j 5)1 16,1, Date: &estILION I declare that this thesis has been composed by me and has not previously formed the basis for le award of any de0e, diploma or othermilar Snit. SANDI-WA N. 1314ANDARE Department of English Goa University kleigao Plateau oate: g zoo° , ACKNOWLEDGEMENT First and foremost, I would like to acknowledge the encouragement, guidance and help of my Research Guide Dr. F. A. Fernandes, Director, ASC, Goa University at every stage of the development of this study. But for his support this thesis wouldn't have been a possibility. Hats off to his Monumental Patience. I am further, greatly indebted to Dr. -
University of Mumbai Academy of Theatre Arts
University of Mumbai Academy of Theatre Arts Master of Theatre Arts Final Year (2019-20) Model Multiple Choice Questions with Answer key For Online Exam purpose ===================================================== Instructions: 1. Each Question carry 2 marks 2.Total Marks for Examination = 50 3. Exam Time 1 (One) hour Q1. Who was played Sakharam’s character from ‘Sakharam Binder’, directed by Kamlakar Sarang? कमलाकर सारंग निर्देशित ‘सखाराम बाℂडर’ इस िाटक मᴂ सखाराम की भशू मका ककसिे अर्दा की हℂ? 1. Kashinath Ghanekar काशििाथ घाणेकर 2. **Nilu Phule निळू फु ले 3. Dr. Shriram Lagoo डॉ.श्रीराम लागू 4. Prabhakar Panshikar प्रभाकर पणिीकर Q2. In which folk form we get ‘Ranglo’? ‘रंगलो’ हमᴂ ककस लोकिाटक मᴂ शमलता हℂ? 1. Jatra जात्रा 2. **Bhavai भवाई 3. Nautanki िौटंकी 4. Nachuva Naat िचुवा िाट Q3. ‘Khariya Ka Ghera’ the play is based on ‘खरीया का घेरा’ यह िाटक ककस पर आधाररत हℂ. 1. **The Caucasian Chalk Circle कॉकेिि चॉक सककल 2. Lysistrata शलसीत्राता 3. Electra इलेक्ट्रा 4. Agamemnon एगमेमिोि Q4. The Theatre group ‘Rang-Shankara’ is from which stase? ‘रंग िंकरा’ यह िा絍यर्दल ककस रा煍य का हℂ? 1.**Karnatak किाकटक 2. West Bengal पश्चचम बंगाल 3. Gujrat गुजरात 4. Rajasthan राजस्थाि Q5. Who is a founder of ‘Dapon – The Mirror’ the theatre group from Manipur? ‘र्दापोि – र्द शमरर’ इस िा絍यर्दल के निमाकता कौि हℂ? 1. Ratan Thiyam रति थथयाम 2. -
Vivek Research Vol-IV, No
Vivek Research Vol-IV, No. I1, Jan. 2015 ISSN : 2249-295X VIVEK RESEARCH (A Biannual Peer Reviewed Journal of multi disciplinary research articles) Editor in Chief EDITORIAL Dr. Hindurao Patil Research has a significant role in the Principal - Vivekanand College, Kolhapur. professional lives of university and college E-mail : [email protected] teachers. If we compare Indian Universities to the Western Universities in terms of research, we are far behind. Hardly 6 to 7 Nobel Prize winners are Editorial Office in India, whereas there are 84 Nobel Laureates in Dr. D. A. Desai Hardward University alone. It clearly indicates the position of research in India. Executive Editor There are several reasons that our university and 2130, E, Tarabai Park, Kolhapur. college teachers are not serious about research. Phone No. : 0231-2654398 Many of the teachers don‟t have positive approach Mob. : 9850146731 towards research. Some of them have real urge about Fax : 0231-2658840. research and they want their work to be published Email : [email protected] and commented so that there can be valid and Website : www.vivekanandcollege.org reliable conclusions. But unfortunately they don‟t get proper platform to publish their work, as there are Published by limited number of research journals available now. Dr. Hindurao Patil To cater the needs of the research scholars, we have started „Vivek Research Journal‟. This is a sincere Principal attempt to encourage researchers in various Vivekanand College, Kolhapur. disciplines to publish their research articles and help them to generate research culture among them. Subscription Table Single Individual Institutional It gives me immense pleasure to publish First issue of vol V, No.II of Vivek Research Journal. -
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’. -
The Master Playwrights and Directors
THE MASTER PLAYWRIGHTS AND DIRECTORS BIJAN BHATTACHARYA (1915–77), playwright, actor, director; whole-time member, Communist Party, actively associated with Progressive Writers and Artists Association and the Indian People’s Theatre Association (IPTA); wrote and co-directed Nabanna (1944) for IPTA, starting off the new theatre movement in Bengal and continued to lead groups like Calcutta Theatre and Kabachkundal, with plays like Mora Chand (1961), Debigarjan [for the historic National Integration and Peace Conference on 21 February 1966 in Wellington Square, Calcutta], and Garbhabati Janani (1969), all of which he wrote and directed; acted in films directed by Ritwik Ghatak [Meghey Dhaka Tara (1960), Komal Gandhar (1961), Subarnarekha (1962), Jukti, Takko aar Gappo (1974)] and Mrinal Sen [Padatik (1973)]. Recipient of state and national awards, including the Sangeet Natak Akademi Award for Playwriting in 1975. SOMBHU MITRA (1915–97), actor-director, playwright; led the theatre group Bohurupee till the early 1970s, which brought together some of the finest literary and cultural minds of the times, initiating a culture of ideation and producing good plays; best known for his productions of Dashachakra (1952), Raktakarabi (1954), Putulkhela (1958), Raja Oidipous (1964), Raja (1964), Pagla Ghoda (1971). Recipient of Sangeet Natak Akademi Award for Direction (1959), Fellow of the Sangeet Natak Akademi (1966), Padmabhushan (1970), Magsaysay Award (1976), Kalidas Samman (1983). HABIB TANVIR (1923–2009) joined the Indian People’s Theatre Association in the late forties, directing and acting in street plays for industrial workers in Mumbai; before moving to Delhi in 1954, when he produced the first version of Agra Bazar; followed by a training at the RADA, a course that left him dissatisfied, and he left incomplete.