Ne Aabulletin
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
New and Bestselling Titles Sociology 2016-2017
New and Bestselling titles Sociology 2016-2017 www.sagepub.in Sociology | 2016-17 Seconds with Alice W Clark How is this book helpful for young women of Any memorable experience that you hadhadw whilehile rural areas with career aspirations? writing this book? Many rural families are now keeping their girls Becoming part of the Women’s Studies program in school longer, and this book encourages at Allahabad University; sharing in the colourful page 27A these families to see real benefit for themselves student and faculty life of SNDT University in supporting career development for their in Mumbai; living in Vadodara again after daughters. It contributes in this way by many years, enjoying friends and colleagues; identifying the individual roles that can be played reconnecting with friendships made in by supportive fathers and mothers, even those Bangalore. Being given entrée to lively students with very little education themselves. by professors who cared greatly about them. Being treated wonderfully by my interviewees. What facets of this book bring-in international Any particular advice that you would like to readership? share with young women aiming for a successful Views of women’s striving for self-identity career? through professionalism; the factors motivating For women not yet in college: Find supporters and encouraging them or setting barriers to their in your family to help argue your case to those accomplishments. who aren’t so supportive. Often it’s submissive Upward trends in women’s education, the and dutiful mothers who need a prompt from narrowing of the gender gap, and the effects a relative with a broader viewpoint. -
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 -
Criterion an International Journal in English ISSN 0976-8165
The Criterion www.the-criterion.com An International Journal in English ISSN 0976-8165 Revitalizing the Tradition: Mahesh Dattani’s Contribution to Indian English Drama Farah Deeba Shafiq M.Phil Scholar Department of English University of Kashmir Indian drama has had a rich and ancient tradition: the natyashastra being the oldest of the texts on the theory of drama. The dramatic form in India has worked through different traditions-the epic, the folk, the mythical, the realistic etc. The experience of colonization, however, may be responsible for the discontinuation of an indigenous native Indian dramatic form.During the immediate years following independence, dramatists like Mohan Rakesh, Badal Sircar, Girish Karnad, Vijay Tendulkar, Dharamvir Bharati et al laid the foundations of an autonomous “Indian” aesthetic-a body of plays that helped shape a new “National” dramatic tradition. It goes to their credit to inaugurate an Indian dramatic tradition that interrogated the socio-political complexities of the nascent Indian nation. However, it’s pertinent to point out that these playwrights often wrote in their own regional languages like Marathi, Kannada, Bengali and Hindi and only later translated their plays into English. Indian English drama per se finds its first practitioners in Shri Aurobindo, Harindarnath Chattopadhyaya, and A.S.P Ayyar. In the post- independence era, Asif Curriumbhoy (b.1928) is a pioneer of Indian English drama with almost thirty plays in his repertoire. However, owing to the spectacular success of the Indian English novel, Drama in English remained a minor genre and did not find its true voice until the arrival of Mahesh Dattani. -
Muslim Leader Says Justice Is a Pre-Requisite to Conflict
25 October 2016 PRESS RELEASE MUSLIM LEADER SAYS JUSTICE IS A PRE-REQUISITE TO CONFLICT RESOLUTION Hazrat Mirza Masroor Ahmad addresses Canada’s first National Peace Symposium On 22 October 2016, the World Head of the Ahmadiyya Muslim Community, the Fifth Khalifa (Caliph), His Holiness, Hazrat Mirza Masroor Ahmad delivered the keynote address at the 1st National Peace Symposium hosted by the Ahmadiyya Muslim Community Canada. The event was held at the Baitul Islam Mosque in Peace Village, Vaughan, with an audience of over 600 people, comprising government officials, including the Mayor of Vaughan, Hon. Maurizio Bevilacqua, Member of Parliament, Deb Schulte, and City Councillor, Marilyn Iafrate. During his keynote address, Hazrat Mirza Masroor Ahmad said that the Ahmadiyya Muslim Community was an entirely peaceful sect of Islam because it followed the true teachings of Islam. Hence it should not be considered to be a ‘liberal’ or ‘reformist’ group. Hazrat Mirza Masroor Ahmad said: “It is absolutely true that we, Ahmadi Muslims, are peace-loving and seek to build bridges of love and hope between different religions and different communities. However, this is not because we have deviated from Islam or ‘modernised’ it in any shape or form. Rather, it is because we follow Islam’s authentic teachings.” His Holiness referred to a saying of the Holy Prophet Muhammad (peace be upon him), that Muslims should love for others what they love for themselves. His Holiness said this principle laid down the foundations for peace and it was incumbent on Muslims to reflect upon this. Hazrat Mirza Masroor Ahmad said: “Do we have ambitions to be mired in poverty and to go to bed hungry every night? Do we want our children to be plagued by ill-health, to be uneducated and to be placed in danger? Of course, no normal person would ever hope for any of these things. -
Girish Karnad 1 Girish Karnad
Girish Karnad 1 Girish Karnad Girish Karnad Born Girish Raghunath Karnad 19 May 1938 Matheran, British India (present-day Maharashtra, India) Occupation Playwright, film director, film actor, poet Nationality Indian Alma mater University of Oxford Genres Fiction Literary movement Navya Notable work(s) Tughalak 1964 Taledanda Girish Raghunath Karnad (born 19 May 1938) is a contemporary writer, playwright, screenwriter, actor and movie director in Kannada language. His rise as a playwright in 1960s, marked the coming of age of Modern Indian playwriting in Kannada, just as Badal Sarkar did in Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi.[1] He is a recipient[2] of the 1998 Jnanpith Award, the highest literary honour conferred in India. For four decades Karnad has been composing plays, often using history and mythology to tackle contemporary issues. He has translated his plays into English and has received acclaim.[3] His plays have been translated into some Indian languages and directed by directors like Ebrahim Alkazi, B. V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur, Satyadev Dubey, Vijaya Mehta, Shyamanand Jalan and Amal Allana.[3] He is active in the world of Indian cinema working as an actor, director, and screenwriter, in Hindi and Kannada flicks, earning awards along the way. He was conferred Padma Shri and Padma Bhushan by the Government of India and won four Filmfare Awards where three are Filmfare Award for Best Director - Kannada and one Filmfare Best Screenplay Award. Early life and education Girish Karnad was born in Matheran, Maharashtra. His initial schooling was in Marathi. In Sirsi, Karnataka, he was exposed to travelling theatre groups, Natak Mandalis as his parents were deeply interested in their plays.[4] As a youngster, Karnad was an ardent admirer of Yakshagana and the theater in his village.[] He earned his Bachelors of Arts degree in Mathematics and Statistics, from Karnatak Arts College, Dharwad (Karnataka University), in 1958. -
Annual Report
NATIONAL SCHOOL OF DRAMA jk"Vªh; ukV~; fo|ky; ANNUAL REPORT okf"kZd çfrosnu 0 2 - 9 1 0 2 okf"kZd çfrosnu Annual Report 2019-20 Annual Report 2019-20 jk"Vªh; ukV~; fo|ky; National School of Drama Contents NSD : An Introduction 3 Organizational Set-up & Meetings during 2019-20 4 Authorities and Officers of the School 5 Director and other Teaching Staff 6 Training at the National School of Drama 7 Technical Departments 9 Library 10 Highlights 2019-20 13 Other Activities 17 Academic Activities 23 Apprentice Fellowship awarded for the academic year 2019-20 to NSD graduate 36 Students’ Productions 38 Cultural Exchange Programme (CEP) 49 Repertory Company 51 Sanskaar Rang Toli (TIE) 54 National School of Drama Extension Programme 62 RajbhashaVibhag 64 Publication Programme 66 NSD Bengaluru Centre 69 NSD Sikkim Theatre Training Centre, Gangtok 80 NSD Theatre-in-Education Centre, Agartala, Tripura 82 NSD Varanasi Centre 91 Staff strength 97 NSD Resource Position at a Glance 99 National School of Drama National School of Drama (NSD) one of the foremost theatre institutions in the world and the only one of its kind in India was set up by Sangeet Natak Akademy in 1959. Later in 1975, it became an autonomous organization, fully financed by Ministry of Culture, (MoC) Government of India. The objective of NSD is to develop suitable patterns of teaching in all branches of drama both at undergraduate and post-graduate levels so as to establish high standards of theatre education in India. After graduation, the NSD offers a theatre training programme of three years' duration. -
Cultural Conflicts and Gender Stereotyping in Mahesh Dattani's
High Technology Letters ISSN NO : 1006-6748 Cultural Conflicts and Gender Stereotyping in Mahesh Dattani’s Play Dance Like a Man. Dr. L. Sangeetha Head, P.G Department of English Thiruvalluvar University Constituent College of Art and Science Kallakurichi 606202, Tamilnadu,( India) Abstract: Earlier Dramatic works didn’t get much popularity in Indian literature and somewhere it was overshadowed by the fame of poetry and novel writings. Further twentieth century saw a great enrichment of drama writings in Indian literary world. Drama started to appear both in writings and theatrical forms and received wide readership and audience during this time. Many prominent dramatist appears in 20th century and contributed miscellaneous wonderful dramatic pieces such as Girish Karnad, Vijay Tendulkar, Utpul Dutt, Bijan Bhattacharya, Manoj Mitra, Badal Sircar and others. Their writings replete with multitude subjects and themes i.e. historical, social, political, cultural and many contemporary issues. In contemporary period Mahesh Dattani, Asif Currimbhoy, Bhimsen Sahni, Shiv k. Kumar and Cyrus Mistry got significant place in Indian drama for their remarkable contribution. Mahesh Dattani is one of the dramatists who is known for his striking subjects that reflects the contemporary societal, political and cultural problems of the Indian society. Dattani plays largely focus on the urban life issues that is noteworthy characteristic of his writings. In this Paper I have discussed the traditional, modern and Volume 26, Issue 10, 2020 1145 http://www.gjstx-e.cn/ High Technology Letters ISSN NO : 1006-6748 cultural conflicts between two people of different generation, gender stereotyping and other aspects in the play Dance Like a Man. -
A Comparative Study of Power Politics and Violence in Plays of Girish Karnad and Vijay Tendulkar
International Journal for Research in Engineering Application & Management (IJREAM) ISSN : 2454-9150 Vol-05, Issue-05, Aug 2019 A comparative study of power politics and Violence in plays of Girish Karnad and Vijay Tendulkar 1S. Soundararajan, 2L.Thivya, 3S. Hariprasath, 4S.Nithya, 5B.Krithika 1,2,3,4,5Assitant professor, Kalaingnar Karunanithi Institute of Technology, Coimbatore, India, [email protected], [email protected], [email protected], [email protected], [email protected] Abstract - The present study is a modest attempt to deal with the plays of Girish Karnad and Vijay Tendulkar especially the themes and techniques in them. The contemporary Indian playwright’s like Vijay Tendulkar and Girish Karnad have played a significant role in the development of Indian drama. These are the torch-bearers of this genre. They have made bold innovations and experiments and have dealt with the themes related to the present social scenario, in an effort to bring about social change and a social cultural revolution to make the people aware of the need to renew the social structure and march towards a better social system. the plays of Girish Karnad and Vijay Tendulkar reveals that sex, struggle and zest for political power, violence and the instinct of selfishness are the major themes or the core areas of the selected plays. Keywords – Power Politics, Vijay Tendulkar, Girish Karnad, Development, Indian Drama. I. INTRODUCTION Phadnavis and Ghashiram Kotwal in his play Ghashiram Kotwal in order to explain how the political persons like The plays have been selected on the notion of uniformity. Nanas use Ghashirams like pawns and heave them gone Six outstanding plays of Girish Karnad, based on history, when their intention is over. -
Mahesh Elkunchwar's Garbo
Vol.1 No.3 July, 2013 ISSN : 2320 –2645 Mahesh Elkunchwar’s Garbo --- The Seductress & The Nurturer Jayakumar Jeyaseelan J P.G. Teacher in English, FAIPS, DPS, Kuwait Mahesh Elkunchwar is one of the most influential playwrights from the post colonial India. He has twenty two plays to his credit in addition to his writings on theatre, critical works and his participation in India’s Parallel Cinema as both an actor and a screen writer. His first play Sultan in 1967 announced his arrival in the national theatre scene. It was followed by plays that received critical as well as commercial acclaim such as Holi (1969), Flower of Blood (1972) Garbo(1973) and Desire in the Rocks (1973). After a sabbatical of seven or eight years Elkunchwar returned with Old Stone Mansion(1985), which later developed into a trilogy with Pond,(1992) and Apocalypse(1992). Party, Reflection, Autobiography, As One Discardeth One’s Clothes, Sonata, God Son, and An Actor Exits also came between 1985 and 2005. Elkunchwar’s plays have not only been translated into Indian languages but also into English and a few European languages such as French and German. He is the proud recipient of Homi Bhabha Fellowship (1976—78), Sangeet Natak Academy Award (1989), the annual award for best playwright given by the National Academy of the Performing Arts, Maharashtra Gaurav(1990), Maharashtra Foundation Award (1997), Sahitya Academy Award (2002) given by the National Academy of Letters, Saraswathi Samman (2003), one of India’s highest literary awards, the Brittingham Fellowship (2005) and the prestigious Janasthan Puraskar (2011) for his service to theatre. -
Contemporary Challenges of Islamic Identity in Canada Saadman Ahmed
Document generated on 10/02/2021 7:56 a.m. Journal of the Society for the Study of Architecture in Canada Le Journal de la Société pour l'étude de l'architecture au Canada Contemporary Challenges of Islamic Identity in Canada Saadman Ahmed Chercheurs en émergence Emerging Scholars Volume 45, Number 2, 2020 URI: https://id.erudit.org/iderudit/1076509ar DOI: https://doi.org/10.7202/1076509ar See table of contents Publisher(s) SSAC-SEAC ISSN 2563-8696 (digital) Explore this journal Cite this article Ahmed, S. (2020). Contemporary Challenges of Islamic Identity in Canada. Journal of the Society for the Study of Architecture in Canada / Le Journal de la Société pour l'étude de l'architecture au Canada, 45(2), 4–14. https://doi.org/10.7202/1076509ar © SSAC-SEAC, 2021 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ ESSAY | ESSAI 2020 CONTEMPORARY CHALLENGES OF ISLAMIC IDENTITY IN CANADA SAADMAN AHMED is currently pursuing his > SAADMAN AHMED Master’s in Architecture at the University of Waterloo (School of Architecture). Since immigrating from Bangladesh to Toronto, over ten years ago, he has been very passionate about art and culture, which eventually led him to pursue A PROBLEM OF FORM architecture as a career. -
W-36 ENTRANCE EXAMINATIONS
w-36 ENTRANCE EXAMINATIONS - 2O2O M.P.A. THEATRE ARTS Duration: 2 hours Max. Marks : 50 Hall Ticket No. INSTRUCTIONS L Write your Hall Ticket No. in the OMR Answer Sheet given to you. Also, write your Hall Ticket No. in the space provided above. 2. Each question carries one mark and there is Neeative narkins of 0.33 for each wrong answer. 3. Answers are to be marked on the OMR Answer Sheet following the instructions provided thereon. 4. Please handover the OMR Answer Sheet at the end oflhe examinalion to the Invigilator. You may take the Question Paper after the examinations is over. 5. No additioial sheet will be provided. Rough work can be done in the Qu€stion paper itself. 1. Peter Brook's intercultural theatre production. A) Shakuntalarn B). Mother courage C) Mahabharata D) Constant Prince 2. Kuthambalam is traditionally corlsidered to be the peformance space for A) Krishnaattam B) Kutiyaattam C) Ramanaattam D) Oilaattam ,0-=b 3. Which is the Oscar award winning film for the year 2019? A) Parasite B) Black Panther C) Neighbour's Window D) Joker 4. According to Natyasastra, Naataka is one t]?e of A) Arthaprakiti B) Uparoopaka C) Dasaroopaka D) Karana 5. The play directed by the noted dircctor Ratan Thiyydn based on the story ofemperor Ashoka is A) Chakravl,uha B) Kalingayuddha C) Devanaampiya D) Uttara Priyadarshi 6. Kerala Kalamandalam was founded by? A) Amrnatuloor Manimadhava Chakyar B) Vallathol Narayana Menon C) G. Shanham Pillai D) K.N. Panikkar 7. The Sanskrit play, "Daridra Charudattam', was written by _ A) Sudraka B) Bhavabhuti C) Bhasa D) Visakhadatta 8. -
Takes Pleasure in Inviting You To
Nalanda Celebrates 50th Golden Jubilee Year 2015 takes pleasure in inviting you to NALANDA - BHARATA MUNI SAMMAN - 2014 SAMAROHA and Premier of Latest Dance Production PRITHIVEE AANANDINEE at: Ravindra Natya Mandir, Prabhadevi, Mumbai on: Sunday, the 18th January, 2015 at: 6.30 p.m. NALANDA'S BHARATA MUNI SAMMAN Dedicated to the preservation and propagation of Indian dance in particular and Indian culture in general from its founding in 1966 Nalanda Dance Research Centre has unswervingly trodden on its chosen path with single minded determination. Nalanda has always upheld the pricelessness of all that is India and her great ancient culture which consists of the various performing arts, visual arts, the mother of all languages Sanskrit and Sanskritic studies , the religio- philosophical thought and other co-related facets. Being a highly recognized research centre, Nalanda recognizes and appreciates all those endeavours that probe deep into the all encompassing cultural phenomena of this great country. Very naturally these endeavours come from most dedicated individuals who not only delve into this vast ocean that is Indian culture but also have the intellectual calibre to unravel, re-interpret and re-invent this knowledge and wisdom to conform with their own times. From 2011 Nalanda has initiated a process of honouring such individuals who have acquired iconic status. By honouring them Nalanda is honouring India on behalf of all Indians. Hence the annual NALANDA - BHARATA MUNI SAMMAN Recipients for 2014 in alphabetical order Sangeet Martand Pandit Jasraj's (Music) Shri. Mahesh Elkuchwar (Theatre) Rajkumar Singhajit Singh (Dance) Sangeet Martand Pandit Jasraj San g eet M ar t an d Pan d it Jas raj 's achievements are beyond compare more so because vocal music is the most intimate and direct medium according to India's musical treatise and tradition.