Indian Plays

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All Plays Hindi Indian Plays

BURY THE DEAD

Playwright: Irwin Shaw
Adapter & Director: Surya Mohan Kulshreshtha
Group: NIPA Rangmandali, Lucknow
Language: Hindi
Duration: 1 hr 30 mins

 

The Play

This is a story of an unknown place and time where a war is being fought for the past two years. On the aforesaid day six soldiers who were killed two days ago are being buried in the battlefield. Suddenly, these soldiers rise and refuse to be buried. These dead soldiers have their own logic i.e. that wars are fought and the common man dies to feed the ambitions, business and greed of a handful of power-hungry people. The corpses say that they wish to live… the life of a farmer, of a son, with friends, with their beloved… enjoying nature, relationships and beauty that this life is endowed with. The women from their homes are called to convince them but that too doesn’t work. In the end the general tries to blow them with a machine gun but the corpses come out of their graves and stand amidst the people, thus underlining the importance of life, and drawing the attention towards the horrors of war generated by sheer greed.

 

Director’s Note

Written in 1936 after the First World War, Irwin Shaw’s play Bury the Dead is an anti-war story. The play boldly opposes the use of the common man as fodder for war and violence, to fulfil the personal gains of a few people. The play also conveys the unlived dreams of dead soldiers, and those whom they leave behind to pay the price of war. The near and dears of the soldiers go through extreme trauma emotionally, socially and financially. Today violence, terror and war are being justified in the name of religion and nationalism. In these times, I feel, this play of Irwin Shaw is as contemporary as it was when he wrote it. This play was a challenge for the creative vision since sometimes it is expressionist and at places idealistic. We have tried to convey these factors with the help of scenography, lights, movements, make-up, costumes and acting. I felt that instead of translating, an adaptation would convey the feeling to the Indian audience more effectively. The presentation is for the audience to enjoy, introspect and analyse.

 

Director and Adapter

Recipient of the Sangeet Natak Akademi award, and former director of Bharatendu Natya Academy, Lucknow, Surya Mohan Kulshreshtha took his training in theatre from BNA, Lucknow, in 1976-77. He has organized many theatre workshops and his directorial ventures have been staged nationally and internationally. His original plays include Tukde, Veer Lorik, and Natak Ganesh Markaaur Char Shikhaayen. He has translated The Caucasian Chalk Circle and Three Penny Opera by Bertolt Brecht, Sanskrit plays Bhagvadajjukeeyam and Mrichchhakatikam and many other western and Indian plays to Hindi. He has directed, co-directed, acted and scripted many films, TV serials and tele-films. He is known for his performance as Socrates in the play Bare Foot in Athens directed by Raj Bisaria. Surya Mohan Kulshreshtha has been awarded an honorary diploma in Norway; the best costume designer in America; Senior Fellowship by the Govt. of India; and Kala Bhushan by Uttar Pradesh Hindi Sansthan. He is the president and artistic director of NIPA, and has earlier been associated with IPTA and Meghdoot.

 

The Playwright

Irwin Shaw was an American playwright, cine writer, story writer and novelist who began writing at the age of 21. In 1935, he wrote an anti-war play Bury the Dead and his first screen play The Big Game. In the latter half of that decade his stories were published in many popular magazines. In 1948, inspired by his experiences in the American army, he wrote The Young Lions which was later made it into a film in 1958. He dedicated the rest of his life to writing novels.

 

The Group

NIPA Rangamandali was established in 1991 by a group of talented and popular artists of Lucknow. It has given highly acclaimed performances in India as well as in Norway, Finland, Germany, Sweden, Denmark, America, Canada and Pakistan. Bhagvadajjukeeyam has done more than 100 shows. Experimenting with different forms, the group has presented Mitti ki Gaadi, Kundmala, Pret, Lohar, Ashadh ka Ek Din, The Lesson, Exit the King, Jai Sidhnayak, Sambashiva, Vasamsi Jeernani, Balkan Women, Crusades and many more plays.

 

Cast & Credits

Soldier 1 Shubam Singh Chauhan
Soldier 2 Akshat
Soldier 3 Sandeep Kumar
Soldier 4 Avinash
Sargent Sujeet Singh Yadav ‘Bunty’
Priest 1 Ramesh Saini
Priest 2 Abhishek
Captain Nitish Bhardwaj
High Command 1 Vinay Kumar Mishra
High Command 2 Anuj Nigam
High Command 3 Gaurav Dinghra
Doctor Akansha Aggarwal
Typist Bajyanti Nath, Pallavi Singh
Corpse 1 Shubam Tiwari
Corpse 2 Vikesh Bajpayee
Corpse 3 Suraj Pratap Singh
Corpse 4 Shivam Singh
Corpse 5 Sachin Jaiswal
Corpse 6 Saurabh Kumar Mishra
Sister of Corpse1 Baijanti Nath
Wife of Corpse 2 Shivangi Nigam
Wife of Corpse 3 Puja Singh
Wife of Corpse 4 Pallavi
Beloved of Corpse 5 Komal Singh
Mother of Corpse 6 Mridula Bhardwaj
Scenography Assistants Vinay, Shubam, Sachin
Stage Property Ritesh, Sherya, Adarsh, Shivam, Sandeep, Gunjan Jain
Costume Assistants Akanksha Aggarwal, Amrita Paul, Komal Singh, Gaurav, Shivangi Nigam
Live Music Mahinder Pal
Sound & Vocal Music Bharatendu Kashyap
Sound & Music Assistants Anuj Nigam, Akshat
Vocal Music Operator Anant Sharma
Light Assistant Sujeet Singh Yadav
Poster Shreya Ranjan, Gunjan Jain
Stage Management Aarav
Light Design & Operation Anoop Joshi ‘Bunty’
Make-up Praveen Namdeo, Shaahir Ahmad
Costume Designer, Assistant Director & Presentation Controller Mridula Bhardwaj
Art Director Bharatendu Kashyap
Adaptation & Direction         Surya Mohan Kulshreshtha
Playwright                                          Irwin Shaw

 

 

Contacts

Neepa Rangamandali

C-11 Sector-1, Aliganj

Lucknow-226024

M: +91 9335905547

E: nipasurya@gmail.com

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All Plays Indian Plays Malayalam

BOLIVIAN STARS

Playwright: P V Shajikumar
Director: Arun Lal
Group: Little Earth School of Theatre, Palakkad
Language: Malayalam
Duration: 1 hr 30 mins

 

The Play

The Bolivian Stars are losers in life, and also in the matches of football. ‘The Sevens’ always get defeated. The characters in the play are seven misplaced footballers pushed into the wasteland of life. They convey seven different themes. The team has a black, a white, a handicapped, a migrator, a male, a female and a transgender. They learn the lessons of protest and survival. They use them in the playground as if they are in a battlefield. Each character has its own individuality.

 

Director’s Note

The play is set in a football ground with one goal post. In our production performance of actors is given more importance with minimal use of stage properties. The energy and quick movements of young actors render a new vitality to this unique football match. Change in locale and time are shown through the alteration of stage properties. Each scene is related with football match in one way or the other. Audience experiences a play and a football match simultaneously. In the background of a football match, the play also shows us the marginalised life of 7 characters, and at the same time also reminds us about those geniuses who got a new life because of football.

The seven players are staring at an identity crisis. And for them, winning the game is all about winning against the many challenges the society is throwing at them. A plethora of issues the society is grappling with is discussed in the play.

 

The Director

Arun Lal is an actor, director and theatre trainer. He has been working in the field of theatre arts for last 20 years. He has acted in more than 30 plays and directed more than 25 plays including children’s plays. He has trained under various theatre directors. As an actor and director, he has exhibited his abilities in different theatre festivals all over the country. These include BRM, NSD Theatre Festival, New Delhi; Jashne Bachpan, NSD; ITFOK IAPAR International Festival, Pune; Rangayan Fest, Mysore, PRD Theatre Festival, Bratyajon, Kolkata, AIR Theatre Festival etc. He is working with different theatre groups in Kerala. He is a recipient of many awards for his excellence in theatre. He is the artistic director of Little Earth School of Theatre, Kerala.

 

The Playwright

P V Shajikumar is a well-known writer in Malayalam literature. His famous books are Janam, Vellarippadam, Kidaparasamaram, Ullal, GLPUschool Keekakmgot, Kalichampothiyilekku Oru Halfticket and Itha Innu Muthal Itha Innale Vare. He has won several national and international awards.

 

The Group

Little Earth School of Theatre, Kerala has been conducting theatre activities for the last 20 years. Over the years the group has produced more than 20 plays and given more than 600 stage performances in several theatre festivals all over India. It has won two awards in META Festivals. The play Chillara Samaram was awarded the best play and best director by Kerala Sangeetha Nataka Academy in 2015. The group organizes children’s camps and other cultural as well as theatre festivals occasionally, and aims at the educational and cultural development of children and society through theatre.

 

Cast & Credits

Team Captain Suresh
Maradona Jishnu
Balan Akhil
Sainudheen Mohith
Sanjuttan Sanjay Sankar
Hikmath Abdul Majeed
Babykkuttan Savithri
Maradona’s Guardian Aneesh Sankar
Captain’s Father Sarath Kumar
Toddy Worker/Velichappad Sudev
Captain’s Mother/  
Babykkuttan’s Mother Amrutha
Contractor Vipin Das
Broker Anas
Music Design & Operation Sonu
Light Design & Operation Sajas Rahman
Costume & Technical Support Vishnu, M P Rajesh
Playwright                              P V Shajikumar
Director                                  Arun Lal

 

Contacts

Little Earth School of Theatre

C/o Arun Lal, Nikunjan House,

Peringode (P.O.), Palakkad (Distt.) 679533

M: +91 9846550963

E: littleearththeatre@gmail.com

Macbeth 1
All Plays Hindi Indian Plays

BARNAM VAN

Playwright: William Shakespeare
Translator: Raghuvir Sahay
Director: Vyomesh Shukla
Group: Roopvani, Varanasi
Language: Hindi
Duration: 2 hrs

 

The Play

Returning victorious from the battle, Macbeth and Banquo meet three witches on the way who prophecy that Macbeth would be the next king. Captain delivers the news of victory to Duncan. Duncan announces Macbeth as the Chief of Cawdor. Lady Macbeth receives Macbeth’s letter. Macbeth returns home and informs her of Duncan’s arrival. Lady Macbeth decides to kill Duncan. Duncan’s arrival. Lady Macbeth welcomes and arranges a feast. Conspiracy in Macbeth’s chamber. Macbeth meets Banquo and his son at midnight. Macbeth prepares to kill Duncan. King Duncan is murdered. Commotion in Macbeth’s palace. The news of Duncan’s murder spreads. Macbeth orders that Banquo be killed. Banquo is murdered. His son escapes. Banquo’s ghost appears. Macbeth loses sanity and is taken to the hospital. Macbeth goes to meet the witches. They encourage him but warn him to stay away from Macduff. Malcolm prepares to fight against Macbeth. A soldier spots Birnam wood advancing towards Dunsinane. Macbeth’s monologue. The news of Lady Macbeth’s suicide. Macduff follows Macbeth. The last fight and the end of Macbeth.

 

Director’s Note

We have dealt with Shakespeare as we would deal with an Indian playwright. We did not have any pre-conceived notion to encounter this work of the great English writer. We decided to use the Chhand style as we had earlier used in the poetry of classics like Kamayani, Ram Ki Shakti Puja, Rashmirathi, Panchratram and Chitrakoot. We have made an effort to perform this play with the fusion of three dance forms i.e. Chau, Bharatnatyam and Kathak, incorporating the essence of Banaras and its landscape as the backdrop.

 

The Director

Born on 25 June 1980 in Banaras, Vyomesh Shukla is a poet, critic and theatre director. He spent his childhood in Banaras and completed his education (M.A.) also from Banaras. He started professional writing in 2004 and theatre direction in 2012. Besides poetry, he has written critical essays, and time and again delved in cultural journalism. He has directed Kamayani, Ram Ki Shakti Puja, Rashmirathi, Panchratram, Chitrakoot and Barnam Van. He has also directed a tribal folklore Bansin Kanya based on the evolution of bamboo, with around 250 artists, for Madhya Pradesh government. Vyomesh is a recipient of Ustad Bismillah Khan Yuva Award from Sangeet Natak Akademi, and his productions have been staged nationally and internationally.

 

The Playwright

William Shakespeare was a renowned English poet, playwright, and actor born in 1564 in Stratford-upon-Avon. He died in 1616. Shakespeare was a prolific writer during the Elizabethan and Jacobean ages of British theatre (sometimes called the English Renaissance or the Early Modern Period). Shakespeare’s plays are perhaps his most enduring legacy, but they are not all he wrote. Shakespeare’s poems also remain popular to this day. Shakespeare’s works include 38 plays, 2 narrative poems, 154 sonnets, and a variety of other poems. No original manuscripts of Shakespeare’s plays are known to exist today.

The Group

Roopvani, Varanasi is a forty-year old organization which is being recreated afresh with a new craft and vision. Roopvani has produced and staged popular plays like Kamayani, Ram Ki Shakti Puja, Rashmirathi, Panchratram, Chitrakoot and Barnam Van. Ram Ki Shakti Puja was performed in the 19th Bharat Rang Mahotsav, and Panchratram in the Theatre Olympics. These productions have been staged successfully during national festivals and also at prominent theatres in different cities. Ram ki Shakti Puja received the Bhilwara Natya award in 2015 for the best play.

 

Cast & Credits

Duncan Ashwini
Macbeth Tapas
Lady Macbeth Swati
Macduff Nandini
Banquo Vishal
Witch1 Jai
Witch2 Sashwat
Sainik, Macduff’s son Sakhi
Pyaada Kajol
Lady Macduff Vanshika
Malcolm Akash Kesari
Yuthpati Deepak
Buzurg J. P. Sharma
Playwright                  William Shakespeare
Translator                  Raghuvir Sahay
Direction Vyomesh Shukla

 

 

Contacts

Director

Roopvani

K 58/21, Lohatiya, Varanasi-221001

M: +91 9519138988, 7007946472

E: vyomeshshukla@gmail.com

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All Plays Hindi Indian Plays

BHIKHARI NAAMA (Based on Bhikhari Thakur’s Life)

Playwright & Director: Jainendra Dost
Group: Bhikhari Thakur Repertory, Chhapra (Bihar)
Language: Hindi, Bhojpuri
Duration: 1 hr 15 mins

 

 

The Play

Bhikari Nama is a musical play based on Bhikhari Thakur’s life and his contribution to theatre. The play is broadly divided into four parts, each exploring one phase of his life. The first part presents his childhood, seamlessly moving into the section exploring his youth where Bhikhari Thakur narrates his life and talks about his marriage and his migration to Bengal in search of livelihood. He continues to work as a barber, his caste profession, in Bengal and also takes a keen interest in the Ramleela performances. Not too long after that, he returns to his village and starts putting up Ramleela performances. The next segment shows how Bhikhari Thakur goes on to set up his own theatre troupe, writing plays that go on to be wildly popular.

 

Director’s Note

As a researcher and director, I was amazed by the expertise in his work despite him being formally uneducated, and the way he worked behind the scenes. Ranchandra Manjhi, Shivlal Bari and Lakhichand Manjhi, three seasoned performers from Bhikhari Thakur’s original troupe, were a great support and it was with their guidance that I started the study of Bhikhari’s biographical songs, the play Naayi-Bahar, and the Bhikhari Thakur Shanka Samadhan. After this, I began collecting stories and events from Bhikhari’s life, right from his birth to when he created the Naach group. These were then re-assembled in chronological order before being made into a written performance text. The real challenge here was to think of the form that would best reflect the multifaceted artist’s work and life. We found the answer in our very own Launda Naach tradition. We weaved together songs, music, dance, drama and comedy in a documentary theatre form. The play

uses purbi, nirgun, doha, choubola and many other folk singing traditions in a theatrical form which highlight the cultural, sociological, and economic facets of Bhikahri Thakur’s life.

 

The Director & Playwright

Jainendra Dost is the founding director of Bhikhari Thakur Repertory and Research Centre. He studied theatre at the Department of Dramatics and Film Studies (MGAHV, Wardha). He also pursued a PhD in the School of Arts and Aesthetics, Department of Theatre and Performance Studies, Jawaharlal Nehru University, New Delhi. He completed his PhD thesis on the Launda Nach tradition, focusing on Bhikhari Thakur’s invaluable contribution to the form, this year. He has directed more than fifteen plays and many folk musical programs, and his theatre company has been invited to international theatre festivals in Pakistan, Sri Lanka, Bhutan and Nepal where it performed successfully. Recently Jainendra made a documentary film on Bhikhari Thakur’s life and theatre performances, Naach Bhikhari Naach, with the support of Doordarshan and Public Service Broadcasting Trust (PSBT). The film has been screened at film festivals in the country and abroad, and has received much appreciation.

 

The Group

Bhikhari Thakur Repertory Training & Research Centre is dedicated to the study and research of folk theatre traditions. Traditional actors who were trained and worked under the guidance of Bhikhari Thakur himself are an integral part of this repertory. The collective has performed at famous national and international festivals. The eldest member and artist of the Bhikhari Thakur Repertory, Ramchandra Manjhi, received the Sangeet Natak Akademi Award in 2017. In the same year, the repertory and Sangeet Natak Akademi of India also organized an event, Bhikhari Thakur Theatre Centennial Celebration, at Bhikhari Thakur’s birth place, Kutubpur, and also in Chhapra (Bihar).

Cast and Credits

Sutradhar Jainendra Dost
Pyari Sundari/Singer Sarita Saaz
Story Teller/Singer Ramchandra Manjhi
Story Teller/Singer Lakhichand Manjhi
Story Teller Shiv Lal Bari
Harmonium Jaleshwar Mali
Dholak Bharat Thakur
Jhaal Raghu Paswan, Ramchandra Manjhi Chhote
Tabla Rahul Kumar
Chorus Priyanka Kumari, Gauri Shankar, Brijnath Singh
   
Light Shiv Kumar
Light Assistant Vivek Kumar
Set Ramlakhan
Property Naresh Gautam
Make-up Ankita Chaudhry
Music Design Sarita Saaz
Backdrop Design Dipti Ogre
Production Manager Nashim Ahmad
Stage Manager Ranjeet Kumar Ram
   
Script, Design &Direction                  Jainendra Dost

 Contacts

Bhikhari Thakur Repertory

Vill: Ramnagar, Near Railway Crossing,

P.O. Sandha, Chhapra, Bihar- 841301

M: +91 9560695145

E: dostjai@gmail.com

Yamata Amasung Keibu Keioiba (10)
All Plays Indian Plays Manipuri

YAMATA AMASUNG KEIBU KEIOIBA

Playwright & Director: Heisnam Tomba
Group: Kalakshetra Manipur
Language: Manipuri
Duration: 1 hr 5 mins

 

The Play

The play is an attempt to interweave two folktales – Yamata no Orochi from Japan, and Keibu Keioiba from Manipur. Yamata no Orochi is a serpent-dragon in Japanese myth, who has eight heads and eight tails, and its enormous body reaches across eight valleys and eight hills. It is a legendary story of how a young ingenious boy Susanoo saves a beautiful lady Kushinada from Yamata who was about to devour her. Yamata had already devoured seven of her elder sisters. In the Manipuri tale, Keibu Keioiba is a creature having half tiger and half human features. He kidnaps a young girl Thabaton, who was home alone. However, a clever old lady manages to make Thabaton’s seven brothers take revenge and save their sister.

The play highlights the virtues of sacrifice and martyrdom through the conversation between the mythical images of Japan and Manipur interwoven together to tell the stories of two hilltops.

 

Director’s Note

The play is an attempt to capture two different cultural tales and explore the possibilities of interpretation of these two cultures. It is an intercultural experiment of stories, music, dance and performing traditions. However, the attempt is also to give a contemporary meaning to the rich folklore of both the cultures of Japan and Manipur.

 

The Director & Playwright

Heisnam Tomba began his exploration of the world of theatre with his parents, Kanhailal and Sabitri, both well-known Manipuri artists. From them he received extensive training to be a director, playwright, music director and actor-trainer. Heisnam Tomba absorbed finer nuances of these skills early in life. He has written eight plays; has directed more than ten dramas including Kshudito Pashan by Rabindranath Tagore and An Enemy of the People by Henrik Ibsen; and has been the music director for two of Kalakshetra’s best known productions, Dakghar and Draupadi. He specializes in voice and movement training, and has taught at institutions in Delhi, Mumbai, Mysore, Kolkata, Chennai, Bangalore, Guwahati, Patna, Heggodu, Bangladesh and Singapore. His versatility received recognition when he was awarded the National Sanskriti Award and Senior Fellowship by the Ministry of Culture, New Delhi. He has directed an off-beat feature film Nobap in Manipuri.

 

The Group

Established in 1969 by late Shri Heisnam Kanhailal, Kalakshetra Manipur has evolved a distinctive theatrical style that is predominantly non-verbal. The group is dedicated towards expressing the realities of oppression and resistance that are a part of day-to-day living in Manipur today, through plays like Pebet and Memoirs of Africa. Other major productions of the group are Tamna-Lai (Haunting Spirit), Keibu-Keioiba (Half Man-Half Tiger), Khomdon Meiroubi, Imphal ’73, Izzat, Karna, Lajja, Kshudito Pashan, Draupadi, Dakghar, Samnadraba Mami (Disjointed Image), Hungry Stone and An Enemy of the People.

 

Cast & Credits

Yamata Maisnam Momocha
Keibu Keioiba (1) Kshetrimayum Priyobrata Singh
Keibu Keioiba (2) Pangambam Tyson Meitei
Susanoo Romario Thoudam@Paona
Iben Hanubi Kh. Sanjukta Devi
Mapa Ahanthem Upendro Mangang
Mama Huidrom Holina
Kushinada Roslin Akoijam Chanu
Thaba Thangjam Salini Devi
Mithingai Guru Koken
Chorus Takhellambam Budhichandra

Anantakumar Longjam

Lanchingna Laishram

                           

Light Laishram Ibochouba
Sound Designer Oinam Prasanjit (Boby)
Music Arranger Moirangthem Bise
Music Operator Moirangthem Prasanta Singh
Crafts Ch. Kunjakeshwar
Costume Khumanthem Sanjukta
Make-up Huidrom Holina
Set & props Guru Koken
Theme Picture Sketches Wahwngbam Robin
Yamata Written by Prof. Devraj
Translation (Manipuri) Prof. IS Kangjam
Translation (Manipuri to Eng.) Dr. Usham Rojio
Production Manager Kh. Ushakanta Singh
Assistant Director Pangambam Tyson Meitei
Production Kalakshetra Manipur
Acknowledgements Phurailatpam Nandakumar Sharma

Ningombam Jadumani

 

Playwright & Director Heisnam Tomba

 Contacts

Director

Kalakshetra Manipur

Langol Laimanai, Lamphel, Imphal – 795004

M: +91 7641031211

E: kalakshetra1969manipur@gmail.com

VAST de PHILIPPE PELEN
All Plays English Indian Plays

VAST

Playwright & Director: Phillippe Pelen Baldini
Group: Surya Performance Lab, Auroville (T.N.)
Language: English
Duration: 1 hr

 

The Play

This is the story of a young boy from Nepal who has been abducted and taken away from his family and home in the Himalayan Mountains. Kidnapped and abused, he now lives in a slum in a big city in India. He is all alone in the world, living stifled in his small room. He tries, day after day, to find in his body a door that opens to the ‘Vast’, a path to his Himalaya, and his own limitless nature, beyond confinement and misery. An encounter with a strange character helps him on his journey. This is the god Hanuman, with monkey and human features, heroic, wise, and full of humour.

Vast is an organic, physical and dance based performance that is hypnotic, emotional and universal. It showcases how the human body carries in itself the memory of the ‘Vast’. How the human body – beyond ruptures, oppression and confinements – has the nostalgia of nature and vastness.

 

Director’s Note

For the young boy whose childhood and dreams were shattered, the journey from confinement to freedom is a process of reconnection with nature and with himself, without any limitation. In this journey he is helped by Hanuman. Together they reconnect with the ‘Vastness’ they both come from. Hanuman is introduced here as a special character, the symbol of primordial memory. The play proposes a work on the memory of the body.

We are also exploring the relationship between body and the mother-tongue, between body and the ancient mantric poetry, between body and words. We draw upon contemporary dance, theatre, vocal work, and even aerial dance to explore this inner territory between confinement and Vastness. From gravity to weightlessness, it is also an exploration of the body being free in three dimensions, and of its expansion into Vastness.

 

The Director & Playwright

Born in France, Phillippe Pelen Baldini is the founder of Surya Performance Lab in India. He had earlier founded the International Talipot Theatre in Reunion Island, France. He has created and directed 40 shows with dancers, actors, musicians, and video creators from Africa, India, Europe and territories in the Indian Ocean. His productions have been welcomed at Opera de Paris, Théâtre de la Ville de Paris and well-known festivals in Honk Kong, Singapore, Italy, Brazil and South Africa. He has toured and worked in 82 countries. His shows have received awards in Poland, Scotland, France, Italy and South Africa, among other countries. He also directs workshops worldwide with professional dance companies, universities, townships and communities. He is interested in indigenous culture and has worked a lot with people from different ethnic groups in South Africa including the San communities as well as other different communities.

 

The Group

Surya Performance Lab is a dance-theatre company based in Auroville, India. In its 50-year long history it has worked with devoted artists and has performed in more than 82 countries. This professional company is directed by Philippe Pelen Baldini and Thierry Moucazambo. The group welcomes dancers, actors, photographers, video designers, painters, etc. from India and all over the world. Surya Performance Lab endeavours to create a bridge between art, science and consciousness. Inspired by the ‘First people’, indigenous cultures, ancient traditions, new discoveries in the field of body-mind consciousness and quantum science, it creates a contemporary expression and art, a new dramaturgy holistic and humanist, open to nature and the planet.

Cast & Credits

Performers Thierry Moucazambo, Gopal Dalami
Light Technician Ashwin Ezhumalai
Assistant Director Thierry Moucazambo
Director and Choreographer Philippe Pelen Baldini

 

Contacts

Director, Surya Performance Lab

E-4, Sunship Apartments, Auroville, Bommayapalayam,

Tamil Nadu, Auroville, Tamil Nadu 605101

M: +91 8903869078

E: suryaperformancelab@auroville.org.in

8
All Plays Bengali Indian Plays

UPAL BHAADURY…TALE OF A DEAD STAR

Playwright & Director: Rakesh Ghosh
Group: Dum Dum Shabdomugdho Naatyokendra, Kolkata
Language: Bengali
Duration: 1 hr 50 mins

 

The Play

Upal Bhaadury…Tale of a Dead Star is based on the life of a living legend Sri Chapal Bhaduri. He is a renowned female impersonator in Bengali Jatra. As a teenager, after the death of his mother, Chapal Bhaduri came to perform in Jatra for the purpose of raising money due to severe poverty. His voice was girlish, so he got a chance to play female roles. For this, he had to endure humiliation by the society. After a while, Chapal Bhaduri became ‘Chapal Rani’. Gradually he became a popular actor and a star of Jatra world. But the moment female artists joined the Jatra, Chapal Rani was rejected. The ‘rani’ began to work as a servant in households for survival. In exchange for a little money, he started singing bhajans in front of the temples, slums and streets of Kolkata. Someone from theatre saw his performance and gave him an opportunity to perform in theatre. According to Chapal, Jatra has given him money, but theatre has given him respect. Chapal Bhaduri has played the role of Upal Bhaduri in this play.

 

Director’s Note

What does a creative artiste desire? He wants wealth, fame, honour. But all of these become insubstantial at a certain point in his life. What drives him relentlessly is an intense desire to create exquisite art. This drive gives him fulfilment, guiding him to explore new horizons in his creativity.

Upal Bhaadury…Tale of a Dead Star is not just a play, but also the journey of an actor who has devoted his life to art. His life is a tutorial to be followed not only by actors but by artists from any field. The play takes on a complex, layered and nuanced meaning, stirring up in its vortex all the intricate shades of love, dependence, endearment, affection, desire, illusion and… betrayal. It is a strange conflict between the flesh and the spirit, the performing body and the soul, the inner workings of the artiste’s mind and its manifestation in performance.

I felt the importance of making the audience aware of this forgotten ‘rani’ or ‘diva’ of Bengali theatre, and bring him again into limelight when he is in his 80’s, when he is all alone staying in an old age home in his last days. It is a tribute to our beloved Jatra-diva Chapal Rani.

 

The Director & Playwright

Rakesh Ghosh is a professional playwright, director & actor for theatre, television & films. In the beginning, he joined Dwandik, a Howrah based theatre group & performed in its plays. He also worked with the theatre group Natadha. In 2006 he formed his own theatre group Shabdomugdho for which he writes and directs plays. Rakesh has worked with legendary theatre personalities. He has worked under Sri Manoj Mitra. His group had been selected for National Theatre Festival organized by State Govt. of West Bengal in 2017 & 2019. Rakesh Ghosh has worked as a writer and assistant director for television serials and films. He has also acted in short films, television serials & telefilms. Presently he is working with Star Jalsa as a story developer and script writer.

 

The Group

Dum Dum Shabdomugdho Naatyokendra was established in the year 2006. The organization has produced 16 contemporary productions till date and has performed all over West Bengal, in the 20th Bharat Rang Mahotsav, and at 4th National Theatre Festival 2018 organized by Minerva Natasanskriti Charcha Kendra, Natya Mela.

 

Cast & Credits

Upal Bhaadury Chapal Bhaduri
Gour Mohan Rakesh Ghosh
Madhab Pradip Roy
Pratap Jayesh Laha
Masterji Nilanjan Saha
Chorus Aninda Roy, Prasenjit Kundu, Raja Rajbhar, Abhijit Dutta, Rahul Roy, Abhi Banerjee, Barnali Roy Chowdhury, Sampreeti Chakraborty, Priyanka Das, Pampa Goswami, Ranjan Bose
Light Design Debabrat Sarkar
Scenography Atanu Sarkar
Music Recording & Mixing Abhijit Acharya & Jagmohan Singh
Make-up SK Israfil
Costume Ranjan Bose
Sound Operator Bandan Mishra
Art Setup Manindra Bera
Vocals Ranjan Bose, Abhijit Acharya, Prakriti Dutta, Jagmohan Singh
   
Playwright & Director                       Rakesh Ghosh
   

 

Contacts

Dum Dum Shabdomugdho Naatyokendra

F-26/5, Karunamoyee Housing Estate

Salt Lake City, Kolkata- 700091

M: +91 9830174823, 7044237333, 9339538902

E: dumdum.shabdomugdho@gmail.com

Play Photo8
All Plays Indian Plays Manipuri

TUREL WANGMADA (Another side of the River)

Playwright: Arun Yumkham
Director: H. Shatananda Sharma
Group: Raag Tarang Mandal, Imphal
Language: Manipuri
Duration: 1 hr 10 mins

 

 

The Play

Desperately seeking her lost spouse, a woman reaches the bank of a river. She wants to cross the river and reach the other side. A weird boatman in a strange boat ferries her across. On the other side of the river, an occultist is performing the rites of necromancy, invoking dead souls. The woman asks the sorcerer to call upon the spirit of her lost husband. The sorcerer agrees and the spirit appears. The woman tries to talk to the spirit of her spouse, but the spirit accuses her of being unchaste, and walks away to the eternal path of dead. The woman tries to drown herself but the boatman saves her. He points his finger to the golden rays of a new day in the eastern sky.

 

Director’s Note

In the future is an era of chaos, a catastrophic atmosphere where unpredictability is lurking everywhere. Chastity of women is a commodity. People are machines in a decaying state of sparsely populated society. In the hearts of humans, memory and pangs of separation burn like a hellish flame. Lust is not quenched even by the physical state of men and women. They are at their ugliest, maimed and tortured. Yesterday’s truth is no longer the same because of the situation created by the unexpected, drastic changes.

 

The Director

Hanjabam Shatananda Sharma received training from his father in the field of traditional performing art forms (Courtyard Theatre). He learned various forms of Manipuri Dance from his aunt H. Aruna Devi (MSPA Awardee). In the field of theatre he received training from Late M. Surshen (NSD Alumnus). Under his guidance he researched on body motion and movement in the theatre for three years in FFLT. He got the opportunity to interact with FFLT director, Lokendra Arambam, participate in theatre workshops and play productions as an artist along with MC. Thoiba (Director BRT) and Shree N. Tiken (Musicologist). After a long theatrical journey Shri Sharma began his new ventures as a director.

 

The Playwright

Arun Yumkham, is a playwright who has been associated with various theatre groups and artists, musicians and dancers of the state. He has published two books of poetry collection in English and also a novel. He has written more than 100 radio drama scripts for educational programmes of SCERT, Manipur. Currently he is working as the Assistant Editor (Design) in local news daily Ireibak.

 

The Group

Raag Tarang Mandal was established in 1980 at Imphal East district of Manipur by Smt. Hanjabam Aruna Devi. Since its inception the organisation has been undertaking various cultural activities for the presentation and revival of the indigenous system of rare art forms including Manipuri folk dance and music, with its own resources. Under the leadership of H. Shatananda Sharma, a group of young talented artists, well-trained in various performing art forms, are producing stage plays for the last 10 years. The group’s play Turel Wangmada was invited to participate at the Abhinya National Theatre Festival at Hyderabad in the month of August-2016. The play has also participated in Folk Narative Art and Kangla Theatre Marathon 2017 at Uchiwa, Manipur and received the Best Director Award and bagged four awards in different categories. The organisation has been offering training courses, demonstration of Manipur classical and traditional art forms and its allied arts.

 

Cast &Credits

On stage N. Lokeshwor, Ch. Basanta, Th. Roshan, W. Amarjit, M. Momocha,
L. Ananta Kumar, M. Captain, L. Birjit, H. Jamuna Devi
Stage & Setting W. Amarjit / Ch. Basanta
Costume & Make-up Arun Yumkham / Ch. Thanbi
Light Design A. Madan Sharma
Music Assistant H. Shreedhar
   
Playwright Arun Yumkham
Music, Design & Direction H. Shatananda Sharma

 

Contacts

Director, Raag Tarang Mandal

Wangkhei Ningthem Pukhri Mapal, Imphal

Manipur- 795005

M: +91 9774214817

E: hshatananda@gmail.com

 

203
All Plays Hindi Indian Plays

TUGHLAQ

Playwright: Girish Karnad
Director: Bharti Sharma
Group: Kshitij, Delhi
Language: Hindi
Duration: 2 hrs

 

The Play

Tughlaq explores the series of events that led to the downfall of one of the most fascinating kings of Delhi, Mohammed-bin-Tughlaq. The protagonist, known for his reformist, ahead-of-times ideas had a grand vision, but his reign was an abject failure. He started his rule with great ideals of unifying India, but in twenty years his reign had degenerated into anarchy and his kingdom had become a ‘kitchen of death’.

The vision of Tughlaq to unify India and keep religion out of politics cost him dearly.

 

Director’s Note

Muhammad bin Tughlaq wanted to build a secular state, moving his capital from Delhi to Daulatabad, a Hindu-majority city. His ideas about the economy were new but he turned into a whimsical tyrant who couldn’t control the kingdom any more. The life of the people is governed and corrupted by the interaction of the saints and the politicians. Tughlaq, who pretends to be a true follower of religion, commits countless murders to retain his monarchy. The play is eerily contemporary with thirteen scenes woven around the life and times of Muhammad bin Tughlaq, the 14th century sultan of Delhi, and an authoritarian but idealistic king who disintegrates into failure in a span of twenty years. Tughlaq is noted for its symbols like prayer, sleep, game of chess and the rose which are used to heighten the effect of the play.

 

The Director

Bharti Sharma is a National School of Drama graduate and has been doing theatre in Delhi for last 38 years. She has acted in over fifty plays and has directed more than 35 plays. She has been awarded the Senior Fellowship by the Ministry of Culture, Govt. of India. She has directed and co-produced a comedy serial for Doordarshan, directed documentaries made by Kshitij for Dept. Of Culture, Govt. of India, and has directed short-films and educational films for Deepaliya Plan Project (a social organization). She has acted in tele-films and a few episodes of the popular TV serial Bhanwar.

 

The Playwright

Girish Raghunath Karnad was an Indian actor, film director, Kannada writer. He is the recipient of Jnanpith Award for Kannada, the highest literary honour conferred in India. He was also active in the world of Indian cinema working as an actor, director, and screenwriter, earning numerous awards along the way. He was conferred Padma Shri and Padma Bhushan by the government of India.

 

The Group

Kshitij theatre group was established in 1987 by a few graduates of National School of Drama, headed by NSD alumna Bharti Sharma, with the aim of promoting Indian art and culture through theatre. Apart from producing plays it has also been organizing theatre workshops in remote areas of the country in collaboration with the Department of Culture, Govt. of India.

 

Cast & Credits

Tughlaq Mohit Tripathi
Sauteli Ma Bharti Sharma
Barni Lakshya Goel
Najeeb Nitin Koul
Azeez Anurag Kumar
Aazam Divyanshu Kumar
Sheikh Prabhat Mishra
Shahbuddin Akshay Malik
Ratan Singh Vishal Kasana
Ghiyasuddin Vishal Kasana
Kaka Prabhat Mishra
Mazhabi Aadmi Naveen Panday
Jawaan Sudhanshu
Shareef Lokesh Patel
Hindu Kamal Sharma
Sipahi Naveen Pandey
Hindu Aurat Priya Yadav
Jawaan Atul Pandey
Darbaan Kapil
Naqeeb Abhishant
Qareem Khan Bhartendu Pandey
Aurat 1 Ritu Sharma
Aurat 2 Shweta Gupta
Aurat 3 Shivani Arora
Dhindhorchi Lokesh, Atul Pandey, Abhishek
Ameer Umra Nitesh, Abhishek Bajpayee, Kamal, Pankaj, Sanjeev, Kapil, Jaideep Ankit Rawal, Prakhar

Hindu Sipahi                            Lokesh Patel,Tarun Srivastava, Naveen Pandey, Atul Pandey, Abhishek Kamboj, Namit                                                      Singh, Ankit Raj, Vishal Kasana

Crowd                                      Ritu, Shweta, Shivani, Naveen, Lovely, Abhishek Bajpayee, Nitesh, Kamal, Ishan Pundir,                                                    Nitin Joshi, Sanchit Agarwal, Ankush Singh, Nishant Singh, Tarun, Abhishek Kamboj,                                                        Namit, Ankit, Vishal, Bhartendu, Kapil, Lokesh, Jaideep, Ankit Rawal

Mulazim/Muslim Sipahi                        Ankit Raj Singh, Naveen, Atul, Bhartendu, Nitin Joshi, Abhishek,

Namit Singh

 

Lights Himanshu B. Joshi
Music Rupesh Bhimta
Set Management Abdul Hakim
Costume Nitin, Naveen, Abhishek, Ishaan
Property Abhishek Bajpaye, Lovely, Atul
Poster/Brochure Anurag Thakur
Assistant Director Anurag, Divyanshu
Playwright                              Girish Karnad
Director                                  Bharti Sharma

Contacts

Director, Kshitij

A-9, Swati Complex, 3rd Floor,

Acharya Niketan, Mayur Vihar, Phase- I

Delhi- 110091

DSC_1399
All Plays Assamese Indian Plays

THE OLD MAN

Story: Ernest Hemingway
Director: Sahidul Haque
Group: Orchid Theatre, Nagaon
Language: Assamese
Duration: 1 hr 10 mins

 

The Play

As the play opens, the audience is acquainted with the fact that the protagonist of the story, the old fisherman Vodai, has gone 84 days without catching a single fish. ‘Vodai’ is considered the worst form of misfortune. In fact, this fisherman is so unlucky that his young apprentice, Rongmon, has been forbidden by his parents to sail with the old man, and been ordered to fish with more successful fishermen. Still dedicated to the old man, however, the boy visits Vodai’s hut each night, hauling back his fishing gear, getting him food and talking to him about his life journey and stories from his past…

 

Director’s Note

The Old Man is a dramatic adaptation of Ernest Hemingway’s classic The Old Man and the Sea in Assamese. The mighty Brahmaputra with its tributaries flows through Assam, a state in the North Eastern region of India. It is the lifeline of the people of this valley. The river is witness to the several ups and downs in the life of people living in and around it. People in the valley earn their livelihood and are dependent on the river directly or indirectly, either as fishermen, boatmen or as daily wage labourers. We humans have destroyed nature for our greed. Nature has begun to show its anger in return in the form of disasters. This region around the Brahmaputra River faces frequent floods. This conflict between humans and nature goes on year after year.

Loneliness is a complex and usually unpleasant emotional response to isolation. Loneliness typically includes anxious feelings about a lack of connection or communication with other beings, both in the present moment while also extending into the future. As people grow old, loneliness begins to get manifested in their lives in different forms. At some point in time, this feeling becomes synonymous to existence as one grows old. But, even as this situation seems hopeless, life gifts one with the will power to push oneself mentally, beyond the powers of reasoning, towards a stronger, more positive and optimistic world view.

 

The Director

Sahidul Haque, an actor, director, designer and painter, belongs to the beautiful land of Assam. He was an active practitioner of folk theatre till college, and then love for theatre led him to HCRFTA, Himachal Pradesh. He then joined the NSD TIE Co. as an actor-teacher for 7 years. He directed more than 35 plays in Hindi, English, Assamese, Non-verbal, Tiwa and Rabha and participated in many national-international theatre festivals like Bharat Rang Mahotsav, Poorvottar Natya Samaroh, Natasurjya Theatre Festival etc.

 

The Writer

Ernest Hemingway (July 21, 1899 – July 2, 1961) was an American novelist and short-story writer. He was awarded the Nobel Prize for Literature in 1954. He was noted both for the intense masculinity of his writing and for his adventurous and widely publicized life. His succinct and lucid prose style exerted a powerful influence on American and British fiction in the 20th century.

 

The Group

Orchid Theatre was established on September 2, 2005 at Nagaon, 100 km away from Guwahati, Assam. Guided by famous theatre personality Janada Borah, it was established by Sahidul Haque with the help of 50 energetic young workers of Nagaon. Around 10 villages of Nagaon district are actively attached with the group. Orchid Theatre is engaged in training theatre, dance, music, drawing and painting and holds workshops and activities.

 

Cast & Credits

On Stage Chanku Niranjan Nath, Barnali Medhi, Bikash Bangthai,
Himangshu Dewri, Sahidul Haque
   
Music Sonmoni Sharma
Light Tapan Baruah
Costume & Make-up Barnali Medhi
Voice-over poem Chanku Niranjan Nath
Set Sahidul Haque
   
Assamese Adaptation                           Dikha Moni Bora
Story                                        Ernest Hemingway
Director                                  Sahidul Haque

Contacts

Director, Orchid Theatre

Dhepajan Morikolong

Nagaon – 782101 Assam

M: +91 9650068254

E: sahidulhaq@gmail.com,

orchidtheatreforum@gmail.com

 

Chatrudatta Group 1
All Plays Indian Plays Marathi

MRUCHCHAKATIK

Playwright: Govind Ballal Deval
Director: Ravindra Khare
Group: Bharat Natya Sanshodhan Mandir, Pune
Language: Marathi
Duration: 3 hrs 10 mins

 

The Play

Originally, Mruchchakatika (The Little Clay Cart) is a ten-act Sanskrit drama written by Shudrak, an ancient playwright, sometime around the 2nd century. The play is set in the ancient city of Ujjayini during the reign of King Pālaka, The central story is that of a nobleman Charudatta, who falls in love with a wealthy courtesan Vasantasena. Despite their mutual affection the couple’s lives and love are threatened when a vulgar courtier, Samsthānaka, also known as Shakara, begins to aggressively pursue Vasantasena. We would like to mention that this Marathi play Mruchchakatik had been written by Govind Ballal Deval in 1887. The characters are drawn from the mundane world. It is peopled with gamblers, courtesans, thieves, and so on. Though Vasantasena is a courtesan, her exemplary attitude and dignified behaviour impress the audience. The nobility of the characters does not stem from their social conditioning but from the inner virtues and behaviour.

 

Director’s Note          

The subject of Charudatta – Vasantsena from Shudrak’s Sanskrit play, although translated in Marathi but with the same name Mruchchakatik, is very attractive & appealing to the audience in general. Many traditional singing forms & ragas add to the popularity of this production. This musical is interestingly woven with traditional Kathak dance which is the highlight of the play. It also depicts the earlier traditions of Central India, sometime in 3rd century, and also the politics in that particular era, bearing similarity to the contemporary one.

 

The Director

Ravindra Khare is a well-known actor on Marathi stage & media. He has also composed a musical Nishabda Majgharat, which won prizes at state level and also in Marathi drama competition in Delhi. He is closely associated with Bharat Natya Mandir Group for more than 40 years now and is the Trustee of the institution. He has directed more than 15 Marathi musicals and lends his voice to many ad-films, and also acts in TV-serials by renowned directors. He has produced, directed & edited many plays for AIR Pune.

The Playwright

A well-known Marathi playwright, Late Shri Govind Ballal Deval (1855-1916), has written Durga, Sharada, Shapsambhram, Sanshayakallol, Zunzaarrao, Vikramorvashiya and many other plays. He composed the lyrics and music of many songs in Kirloskar’s play Shakuntal. Deval worked for a few years at Kirloskar Natak Mandali as a playwright, actor, and director. After his move to Pune in 1894, he founded Aryoddharak Natak Mandali; and also worked with Bal Gandharva’s newly established Gandharva Natak Mandali. He was the first drama guru of legendary Bal Gandharva.

 

The Group

Bharat Natya Sanshodhan Mandir is known to be the oldest Marathi theatre education institution since its foundation in 1894 in Pune. It is producing, organising, performing dramas & conducting dance & music classes since then. The institution completed 125th year of its existence in October 2019. It has a well-stocked library with many rare manuscripts, old photographs, material related to drama and several rare drama scripts which have been written in the past 150 years.

 

Cast & Credits

Maitreya Ram Sathaye
Sanvahak Sanjay Dole
Sutradhar / Sharvilak Sanjeev Mehendale
Veet Rajan Kulkarni
Karnapurak / Nyayadhish Abhay Jabde
Rajshalak Shakaar Anand Panse
Shodhanak Vishwas Pangarkar
Radanika Aparna Pendase
Madanika Kavita Tikekar
Dancers Maitreyi Nirgun, Radhika Bhinge, Bhagyashree Kulkarni,
Revati Sant, Samrudhdhi Pujari
Vasantsena                                Gauri Patil
Charudatta Charudatta Aphale
Music Accompaniment Rahul Gole (Organ)
Omkar Deodhar (Tabla)
Lights Shubham Kute
Sound Jayadeep Nemade
Drapery Rakesh Gholap
Make-up Madhav Thatte
Back Stage Viththal Hulawale, Abhijeet Gaikwad, Jitendra Sutar
Team Manager Vijay Kumar Potdar
   
Playwright                                G. B. Deval
Director                                    Ravindra Khare

 

Contacts

Bharat Natya Sanshodhan Mandir

1320, Sadahshiv Peth, Pune- 411030

Ph: 020-24471614, 24481614

M: +91 9422303676, 9822026425

E: bharatnatyamandir@gmail.com

IMG_9489
All Plays Hindi Indian Plays

SUDAMA KE CHAWAL

Playwright: Vasant Deo
Director: Jagdish Sharma
Group: Anveshan Theatre Group, Sagar (M. P.)
Language: Hindi & Bundeli
Duration: 1 hr 10 mins

 

The Play

Lord Krishna’s friend Sudama Sharma and his wife Savitri are living a difficult life of poverty. Sudama’s wife urges him to go to Dwarka and seek Krishna’s help. Sudama goes to Dwarka. On hearing of Sudama’s arrival, Krishna leaves his throne and runs towards his friend and embraces him. Sudama receives great hospitality in Dwarka and after a while Krishna bids him farewell but without offering any help. Angry Sudama gets back home to find that his hut is transformed into a palace now and his house is filled with riches. On asking his wife as to how this happened, she tells him that Lord Krishna appeared himself and gave them this prosperity. Sudama has many doubts and expresses his distrust. What next…?

The purpose of this play is to convey a contemporary version of the legendary tale, and not to undermine the pleasure that it is supposed to bring you.

 

Director’s Note

Sudama Ke Chawal is a narrative of the contemporary human situation and is a satire on today’s man, his double standards and polluted mind. The age old tale and its characters have been used only as reference. The protagonist of the play is Krishna who cries at the sight of poor Sudama, his childhood friend. Krishna is an epitome of friendship and his love for Sudama is exemplary. Krishna does not appear on stage but he pervades the play throughout. Sudama of this play is used as a medium to convey the hypocritical human of today. The language of the play is Hindi, blended with Bundeli, and the performance is made richer with the blend of Bundeli folk songs and Dhimaryai, a traditional folk dance.

 

The Director

Born on 20 Jun 1965, Jagdish Sharma has been active in theatre for more than 25 years. He formed Anveshan Theatre Group in Sagar, Madhya Pradesh in 1992. He has been an actor and director of this group. Some of his popular productions are Andha Yug, Sudama Ke Chawal, Bhagam-Bhag, Aadhe-Adhure etc. Jagdish has worked with the famous film director Shyam Benegal. He has acted in many TV serials and written scripts for a few street plays and the film Acharya.

 

The Playwright

Prof. Vasant Deo was a teacher by profession and had taught for many years at Bundelkhand University, Jhansi. During this period he wrote scripts in Hindi blended with Bundeli. Sudama Ke Chawal was written sometime in the 90s. Strangely enough, even after a lot of search, his whereabouts today are not known.

 

The Group

Anveshan Theatre Group was established in Sagar (M.P.) in 1992. In the past 26 years Anveshan has not only produced plays but has also organised many theatre festivals, workshops, seminars and conferences. It has organised production based workshops with renowned thespians like B.V. Karanth, Habib Tanvir, Govind Namdeo, Sunil Sinha, Mukesh Tiwari and Ishtiaq Arif Khan. The group has performed in numerous theatre festivals at Bhopal, Jabalpur, Balaghat, Indore, Ujjain, Khajuraho, Delhi, Chandigarh etc. The artists of Anveshan are now serving in prestigious institutions in different parts of the country. Many of them have established themselves in films, journalism, theatre and other fields.

 

Cast & Credits

Sudama Jagdish Sharma
Savitri Deepganga Sahu
Dwarpal 1 Atul Shrivastava
Dwarpal 2 Manoj Soni
Dwarpal 3 Kapil Nahar
Shadow Play Nitin Dubey, Rishabh Saini
Folk Songs & Dance Liladhar Raikvaar
Instrumentalists Amar Raikvaar, Khemchand Sen, Ranjeet Raikvaar
Scenography Rajeev Jat, Satish Sahu
Lights Santosh Dangi, Akash Vishwakarma
Sound Praveen Kaimya
Make-up Karishma Gupta
Playwright                  Vasant Deo
Direction                     Jagdish Sharma

 

Contacts:

Anveshan Theatre Group

Sagar (M.P.)

M: +91 9818324311

E: mayamaze@gmail.com