Hindi

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All Plays Hindi NSD Repertory Company

PEHLA SATYAGRAHI

Playwright: Ravindra Tripathy
Director: Suresh Sharma
Group: NSD Repertory Company, New Delhi
Language: Hindi
Duration: 1 hr 50 mins

 

The Play

Pehla Satyagrahi is about the life and struggle of Mohandas Karamchand Gandhi, known as Mahatma Gandhi around the world. This is the story of Mohandas’s journey of truth and non-violence as well as the story of the independence of India. He fought a political war for almost twenty years in South Africa and when he returned to India, he, through his non-violent crusades like Quit India movement, Champaran Satyagraha and Dandi March, made it difficult for the British government to rule India.

Gandhi had said, “My life itself is my message.” What kind of life did the Mahatma lead, what were the challenges he faced, and what were the difficulties he encountered, is what we have attempted to express and showcase through this play. Gandhi’s life is larger than life and his personality quite dramatic. He was a walking and fasting saint-politician. He was spiritual and religious. And his death too was dramatic.

 

Director’s Notes

While working on a production for the 150th birth anniversary of Mohandas Karamchand Gandhi, I thought of a play which brought to light incidents from his life about which we have often heard but haven’t seen being presented earlier, and the younger generation of our country doesn’t know about.

Ravindra Tripathy and I discussed this project. What finally emerged was a narration of the story through Sonia Schlesin, Mahadev Desai, Pyare Lal, Colin Bach and Joseph K. Dock. The first three were associated with Gandhiji as his assistants, Joseph wrote Gandhiji’s first biography, and Hermann Kallenbach was a very close friend.

I have to confess that one of the scenes in this play is fictitious (the creative liberty we are allowed to have). It is in the end where Gandhiji is interviewed by Gandhi and answers some unanswered questions to himself; the questions which till date are buried deep somewhere under the rubble of history.

The play is the story of the making of Mahatma from Gandhi. It isn’t just history but also today’s voice and necessity of being ‘Swadeshi’ and ‘human’.

 

The Director

Suresh Sharma did PG diploma with specialization in Acting from National School of Drama in 1985.

In 1987-88 he established the only non-government repertory in the district of Mandi (Himachal Pradesh). From 1996-98 he worked as the Artistic Director of Sri Ram Centre for Performing Arts, Delhi. In 1998 he established the first non-government fully residential Theatre Academy in Mandi, Himachal Pradesh. Mr. Sharma has been felicitated by Sahitya Kala Parishad. Sangeet Natak Academy awarded Mohana, a play written and directed by him, under the Young Director’s Scheme.

 

Playwright

Ravindra Tripathy is a senior print and TV journalist, cultural critic, playwright, satirist, documentary film-maker, columnist and editor. Tripathy has directed two documentary films and scripted a popular news-satire show Pol-Khol for Star News and ABP News.  He is currently associated with Swaraj TV as consultant. He was awarded Sahityakar Samman by Hindi Akademi, Delhi in 2001.

 

The Group

Established in 1964 with just four members, the Repertory Company of NSD is the regular performing wing of the school. It was set up with the dual purposes of establishing professional theatre on one hand and continuing with regular experimental work on the other. Over the years it has produced a variety of plays ranging from stylized musicals to realistic contemporary Indian drama to translations and adaptations of foreign plays. In addition, several eminent persons of national and international repute have worked with the Company, and it has performed over one hundred and eighty one plays by ninety-eight playwrights and has worked with ninety directors. Quite a few of its actors have emerged as celebrities in theatre, cinema and television. The Company has toured extensively in India and abroad.

 

Cast & Credits

Gandhi-1 Shanawaz Khan
Gandhi-2 Raju Roy
Mahadev Deep Kumar
Pyare Lal Parag Baruah
Sonia Schlesin Aparna Menon
Meer Alam Rahul Kumar
Attendant/Duda Bhai/ Muslim Sikandra Kumar
Train Officer, Kallenbach Shubham Pareek
Mr. Duke Jitu Rabha
Rajkumar Shukla Ashutosh Banerjee
Aabha Ben/ Dani Ben Suman Purty
Manu Ben Anamika Sagar
Sushila Ben Sakshi Sharma
Kasutrba Gandhi Shruti Mishra
Brij Kishore Vishveshvar M. Gondhali
Multi-Character (Female) Sampa Mandal
Multi-Character (Male) Naveen Singh Thakur
Chorus Sampa Mandal, Sikandra Kumar, Aparna Menon, Rahul Kumar, Sakshi Sharma, Shubham Pareek, Ashutosh Banerjee, Anamika Sagar,             Virendra Singh, Snehalata S. Tagde, Suman Purty, Manish Dubey, Vishveshvar M. Gondhali, Jitu Rabha, Palak Jasrotia
Set Design Rajesh Bahl
Set Execution Ram Pratap, Manoj Kumar, Brijesh Sharma
Light Design & Operation Govind Singh Yadav
Assistance Md. Suleman, Pradeep Aggarwal
Costume Design C.S. Bhatia
Costume Coordinator Sampa Mandal, Anamika Sagar
Sound Operation Mukesh Kumar
Sound Design Rajesh Singh
Properties In-charge Moti Lal Khare
Video Design Sourav Poddar
Music Kajal Ghosh
Tabla Om Prakash
Harmonium Naveen Singh Thakur
Key Board Kishore Kumar Malhotra
Flute Anurag Sharma
Sitar Matluf Husain
Tabla, Percussion Pankaj Banai
Dholak Sanjeev Kumar
Make-up Sikandra Kumar, Shruti Mishra
Assistance All Repertory Artists
Stage Manager Govind Singh Yadav
Production Coordinator Sukumar Tudu
Special Thanks for Dance Choreography Bharat Sharma
Associate Director Pravin Kumar Gunjan
Playwright                             Ravindra Tripathy
Design & Direction                 Suresh Sharma

 

Contacts

NSD Repertory Company

Bahawalpur House

Bhagwandas Road

New Delhi – 110 001

Ph: 011 23383420

W: www.nsd.gov.in

_SHA2713
All Plays Hindi Indian Plays

KUSUR (THE MISTAKE)

Based on Danish film Den Skyldige

Written by Gustav Moller & Emil N Andersen

 

 

 

Playwright: Sandhya Gokhale
Directors: Amol Palekar & Sandhya Gokhale
Group: Annan Nirmitee, Pune
Language: Hindi
Duration: 1 hr 20 mins

 

The Play

It all begins on a rainy night… when retired Assistant Police Commissioner Dandavate volunteers his service at a police control room. As the hours go by, anonymous residents of Mumbai seek help. The night presents us with a series of twists and turns, and the end unearths the truth in a way that leaves us holding our breath. When Dandavate exits the control room, he says, “I’m indebted to this night… Good intentions alone don’t absolve us of our sins. Thank you Kaveri for helping me realize this!”

The taut plot with its minimalist setting gradually unravels this mystery. The elaborate sound design is a vital character in itself, disturbing our complacency and overturning our assumptions. While excavating the rich subtext, the audience isn’t permitted to be a mere distant, passive onlooker.

 

Directors’ Note

In the past we had adapted a play for a feature film; with Kusur the challenge was reverse! To extrapolate the subtext through the protagonist’s exasperated responses to the numerous calls was a challenge. To transcend the realistic visual frames while recreating the claustrophobia on stage was yet another challenge. Kusur depicts a graph of a melting man who stirs our faith in humanity. We wanted this to be a claustrophobic and thrilling, yet emotional and immersive journey. Hope this theatrical experience is one to linger on, way beyond the curtain drop.

 

The Director

Amol Palekar is an Indian actor, director and producer of Hindi and Marathi cinema. He studied fine arts at Sir JJ School of Arts, Mumbai, and commenced his artistic career as a painter. He has been active in the avant-garde Marathi and Hindi theatre in India as an actor, director and producer since 1967. His contribution to the modern Indian theatre is often overshadowed by his popularity as a lead actor in Hindi films. Amol Palekar began in Marathi experimental theatre with Satyadev Dubey, and later started his own group, Aniket, in 1972. He is returning to stage with this production after a long gap of 25 years.

 

Playwright’s Note

As a writer I felt compelled to share the inner suffocating anxiety that is increasing day-by-day. The hidden skeletons of prejudices are being flaunted boorishly; the face of humanity is evaporating; violent discourse is ubiquitous. Kusur offered me the avenue to seek redemption for the cumulative corrosive malice. My attempt to peel off our contemporary facade defines the contours of this social thriller.

The Playwright & Co-director

Sandhya Gokhale, a lawyer by profession, has written about eight scripts with dialogues for nationally and internationally acclaimed films such as Anaahat, Paheli, Dhoosar to name a few. Sandhya also designs costumes and sets for films. Her contemporary sensibilities and aesthetics make a mark through her thematic as well as visual presentation. Her scholarly pursuits in the field of Hindustani classical music get reflected through the sound tracks of the projects she is involved in. She has co-directed the documentary Bhinna Shadja (Note Extraordinaire) on Gaansaraswati Kishori Amonkar. Kusur is her gift to her husband, Amol Palekar, on completing 75 years on November 24, 2019, when the play premiered at NCPA, Mumbai.

 

 

The Group

Annan Nirmitee is a Pune based very young theatre group, founded by veteran Indian theatre and cinema actor-director Amol Palekar along with his writer-director wife Sandhya Gokhale and few like-minded friends. Kusur is its maiden production which opened on 24th November 2019.

Cast & Credits

On Stage Amol Palekar
  Naresh Suri
  Sidhdhesh Dhuri
  Ashwini Paranjape
  Prita Mathur Thakur
  Ashish Mehta
  Neel Chapekar
   
Sound Design Mandar Kamalapulkar
Audio Execution Pratik Yadav, Marzban Irani
Light Design Harsha Pathak
Set & Costume Design Sandhya Gokhale
Set Realization Bhola Sharma
Production Design Sandhya Gokhale
   
Playwright                                            Sandhya Gokhale
Directors                                               Amol Palekar & Sandhya Gokhale
   

 

Contacts

Anaan Nirmitee

302 Ishkripa, 10th Lane Prabhat Road,

Pune – 411004

M: +91 9890997977

E: palekaramol11@gmail.com

sandhyago@gmail.com

 

 

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All Plays Hindi NSD Repertory Company

TajMahal ka Tender

Playwright: Ajay Shukla
Direction: Chittaranjan Tripathy
Group: NSD Repertory Company, Delhi
Language: Hindi
Duration: 2 hrs 20 mins

 

 

The Play

Emperor Shah Jahan invites the chief engineer of CPWD, Guptaji and shares his dream of building a monument in the memory of his late, wife, Mumtaz. After much deliberation he comes to the conclusion that a mausoleum be built in her memory and he wants it to be named Taj Mahal.

Guptaji, a shrewd, corrupt, official, entraps the Emperor in the snares of bureaucracy and red- tapism leading to many hilarious situations. The ridiculous bureaucratic procedure takes 25 years only to float the tender notice of Taj Mahal.

TajMahal Ka Tender is one of the successful satires of contemporary times.

 

Director’s note

The state is the best creation of man as it is not an imitation of anything that existed before. With the emergence of the State, a primitive society is transformed into a civil society, leading to the germination of division of labour, division of time, rank, file, red-tape etc., thereby giving birth to official dom. TajMahal ka Tender is a satire on rank –file, red tapism and the sad state of officialdom. It focuses on the organizational diseases that India is suffering due to – corruption, idleness, favoritism, arrogance and insensitivity to public needs.

 

The Director

Chittaranjan Tripathy graduated from National School of Drama in 1996 with specialization in acting. He was also enrolled in the musical theatre department in the Guildford School of Acting (GSA), Guilkdford, UK, under the Charles Wallace fellowship.

Shri Tripathy has directed plays for many leading theatre groups and repertory companies including the National School of Drama Repertory Company, the Shri Ram Centre Repertory and the Sahitya Kala Parishad Rang Mandal. Some of his most popular plays include TajMahal Ka Tender with NSD Repertory Company, Capitol Express, Arre Mayavi Sarovar with SRC Repertory; Ladi Nazaria  and Humare Sheher Ke Romeo Juliet with Sahitya Kala Parishad Rang Mandal.

 

The Playwright

Born in 1955, at Agra Ajay Shukla is a post–graduate in history from Lucknow University and then joined Indian Railway Traffic Service. His play, Doosra Adhyaay was directed by Ram Gopal Bajaj in 1998, and was broadcast from All India Radio later the same year. In 1993 he received the Delhi Sahitya Kala Parishad’s Playwright – Award for Doosra Adhyaya and   Mohan Rakesh Samman for his play Tajmahal Ka Tender. In 2000 he received the National Award by All India Radio (Akashvani) for his play Hum Honge Kaamyab.

 

The Group

Established in 1964 with a membership of only four persons, the Repertory Company is the regular performing wing of the School. It was set up with the dual purposes of establishing professional theatre on one hand and continuing with regular experimental work on the other. Over the years it has produced a variety of plays ranging from stylized musicals to realistic contemporary Indian drama to translations and adaptations of foreign plays. In addition, several eminent persons of national and international repute have worked with the Company, and it has performed over one hundred and eighty one plays by ninety-eight playwrights and has worked with ninety directors. Quite a few of its actors have emerged as celebrities in theatre, cinema and television. The Company has toured extensively in India and abroad. It is celebrating fifty years of its existence this year.

 

 

Cast & Credit

Shahajahan Shahnawaz Khan
Gupta Suresh Sharma
Sudhir Ashutosh Banerjee/ Virendra Singh
Bhaiyaji Deep Kumar
Mahila Neta Sampa Mandal/ Shruti Mishra
Kanhaiyalal Sikandra Kumar
Murarilal Sharma Naveen Singh Thakur
Shethi Shubham Pareek
Ladka Rahul kumar
Ladki Sakshi Sharma
Aurangzeb Parag Baruah
Mummo/ Mumtaz Snehalata  S. Tagde
Darbari Shubham Pareek, Vishveshvar M. Gondhali, Manish Dubey, Virendra Singh, Naresh Kumar
Jahanara Anamika Sagar
Shaktiman Jitu Rabha
Four Friends Virendra Singh , Manish Dubey, Vishveshvar M. Gondhali, Naresh Kumar
Dancer Aparna Menon
News Paper Hawker Shruti, Sampa, Aparna Menon, Snehalata S. Tagde
Other Palak Jasrotia
Production Co-ordinator Sukumar Tudu
Set Designer Pankaj Jha
Set Execution Ram Pratap, Manoj Kumar, Brijesh Sharma
Light Design Govind Singh Yadav
Light Execution Md. Suleman, Pradeep Aggarwal
Costume Design Sunita
Costume Helping Shruti Mishra
Chief Costume Co-ordinator C.S. Bhatia
Dance Choreography Meghana Malik
Singers All Repertory Artistes
Music Rearrangement Santosh Kumar (Sandy)
Property In-charge Moti Lal Khare
Sound Operation Mukesh Kumar
Make Up In-charge Sikandra Kumar, Shruti Mishra
Stage Manager Govind Singh Yadav
Assistant Director Md. Abdul Kadir Shah
Playwright                                                Ajay Shukla
Lyrics, Music, Design & Direction        Chittaranjan Tripathy

 

Contacts

NSD Repertory Company

Bahawalpur House

Bhagwandas Road

New Delhi – 110 001

Ph: 011 23383420

W: www.nsd.gov.in

D3
All Plays Hindi Indian Plays

DARAREN

Playwright & Director: Vikas Bahari
Group: Prism Theatre Society, Delhi
Language: Hindi
Duration: 1 hr 30 mins

 

The Play

A typical Indian family is struggling to make ends meet. Everyday arguments turn into a mysterious drama when there is a robbery in the house. There are many suspects from outside the family, but there is more to this than meets the eye. Do you have Sherlock’s instinct in you to figure out who created the mess?  Is there anyone inside the house who could be involved?

 

Director’s Note

I’ve always had a curiosity, a wonder, and an inclination, not about the end of a story but how it actually reached the end. What relationships, what moments, what ups and downs and what problems went into achieving that climax. And more than that, what I’m forced to think is whether the story selects an end for itself or is it in control of the writer. From script to stage, this story has touched so many lives including mine and of the actors portraying the story on stage. It has managed to plant many questions in my mind. Some were answered in the solace of my thoughts, and for some questions I and my protagonists were driven to seek answers, and some remained unanswered. It was like being stuck between the moment I started to write the story and when the story was acted out… between the endlessness of this one month. And it was not just me, it was all of us… all of us have fallen way down into this well of thoughts aroused in us by this play. And every attempt of ours to come out has been in vain.

 

The Director & Playwright

Vikas Bahari is an Indian playwright and director born in 1987 in Delhi. After completing his graduation from Delhi University, he went on to pursue a diploma course in Theatre from Madhya Pradesh School of Drama, Bhopal.  In 2014 he founded The Prism Theatre Society and has directed and designed various productions for it. He has written seven full-length plays and a few short stories and has a theatre experience of more than fourteen years. He is known for his new-age style of writing. His most recent plays Khidki, Chidiya aur Chand and Dararen are his best works till date, and have gathered nationwide critical acclaim and rave reviews. He is adept in writing in both Hindi & Urdu languages.

 

The Group

Prism Theatre Society is a Delhi based theatre group, an ensemble of professionals who work through repertory performances and theatre training led by actor / director Vikas Bahari. It provides a platform for independent artists who have chosen theatre as a medium of communication. It aims at continually challenging itself, thereby pushing the boundaries of its creative aspirations. It has always encouraged inter-cultural exchange and supported activities that engage with and explore new modes of expression, that will allow an individual artist as well as an ensemble to experiment, innovate and explore, thereby facilitating a deeper understanding of the arts of theatre. In the past few years, Prism has staged many plays and has more than a hundred performances to its credit. It has performed widely in Delhi, Mumbai, Ghaziabad, Guwahati, Jammu & Kashmir, Bhopal, Indore, Ujjain, Patiala, Uttarakhand, Bareilly and Chandigarh. It is one of the most promising theatre groups in Delhi. It is known for its modern approach towards theatre for which it has garnered nationwide acclaim.

 

Cast & Credits

Vishnu Prasad Bhargava Vijay Rajoria
Laxmi Prasad Bhargava Manisha
Ajeet Bhargava Ginny Babbar
Anand Bhargava Kapil Pal
Ankita Bhargava Tanu Suneja
Anjali Sharma Nisha Upadhayay
Ravi Kumar Jatin Sharma
Balli Raj Tanwar
Vijay Shrivastava Anoop Gosian
Radhe Sudhir Kumar
Music operation Sidharth Verma
Light operation Md. Azhar Khan
Props Md. Bilal Khan, Kamaldeep
Set Adnan Kohli
Playwright & Director                       Vikas Bahari

 

Contacts

Director, Prism Theatre Society

88/10 street No-1 Shakarpur

Delhi 110092

M: 011-22503440, 9811811221

E: vikasbahari@gmail.com

Charudatt IMG-20190303-WA0268 (1)
All Plays Hindi Indian Plays

CHARUDUTTA

Playwright: Mahakavi Bhasa
Director: Bupesh Joshi
Group: Gaatha Natya Dal, Delhi
Language: Hindi
Duration:

 

The Play

The theme of the play not only represents the society in the aforesaid era, but also throws light on the degenerating values of the modern society. Love and brotherhood have given way to deceit, cunning and crime. In the story, Charudutta, once a prosperous resident of Ujjaini, due to his compassion and generosity, is now a poor man. Vasantsena, a courtesan, is the pride of the town. She is a benevolent, gracious and beautiful young woman. Enamoured by the extraordinary qualities of Charudutta, she falls madly in love with him. Although the story is a unique example of realism in Sanskrit literature, it is also apt for contemporary Indian theatre.

 

Director’s Note

Among the plays written by Mahakavi Bhasa, Charudutta is exemplary in its narrative and character portrayal. It is said that Sudraka’s Mrichhakatikam is based on Charudutta. The central thought of the play is that one should remain steadfast in one’s principles and values even in difficult times. The play also emphasises responsibility and morality in the institution of marriage. The storyline primarily deals with Shringara, Karun, and Hasya rasas, which are a part of the Navrasas of Bharatmuni’s Natyashastra. Keeping the traditions of Sanskrit drama, the play begins with a prelude. Visuals and choreography are blended in the production to make the play more interesting.

 

The Director

Born in Pithoragah, Uttarakhand, Bupesh Joshi is a graduate of Bharatendu Natya Akademi, Lucknow (1999). He is a recipient of Safdar Hashmi Award (2018) from Uttar Pradesh Sangeet Natak Akademi. He worked as an actor with Rangmandal, Shri Ram Centre for Art and Culture, New Delhi from 2000 to 2011. He has acted in more than 50 plays including Hayavadan, Jis Lahore Nahi Dekhya…, Ek Gadhe Ki Atma Katha etc. and directed more than 40 plays including Charudutt, Ashad Ka Ek Din, Arey Mayavi Sarovar and Mayaram Ki Maya. He has acted in films like Pinjar, Chintooji, Soan Chidiya; and tele-serials like Dehleej and Tum Sath Dena Mera. Bhupesh has participated in Tractor International Theatre festival, Italy and various others theatre festivals held nationally and internationally. He is a recipient of the Junior Fellowship from Ministry of Culture, Government of India.

 

The Translator

Lalit Singh Pokhriya, a graduate of Bharatendu Natya Akademi (1984-87), is an actor, playwright, director and theatre faculty. He has been awarded by the Uttar Pradesh Sangeet Natya Akademi, and is active in Indian theatre for the last 35 years. He has acted in more than 60 plays and conducted more than 50 workshops on theatre. He is the Founder Director of Nisarg Natya Sansthan, Lucknow, and a guest theatre director and faculty at Bharatendu Natya Akademi, Lucknow; Himachal Cultural Forum Natya Akademi, Mandi, Himachal Pradesh; Garhwal University and various other institutes.

 

The Group

Gaatha Natya Dal was established in 2005. It organizes production-based theatre workshops and children theatre workshops every year in Pithoragarh with assistance from Sangeet Natak Akademi, Uttarakhad. The group conducts theatre workshops under the National School of Drama Extension Programme. It also organizes institutional seminars, theatre discussions and theatre readings on drama, art and culture.

Cast & Credits

Charudutt Bhupesh Joshi
Vasantsena Priyanka Sharma
Shakar Prasoon Narayan
Vitt Vikas Yadav
Maitraye  Mukesh Jha
Radanika Ritu Raj
Madanika Nikita Rawat
Sharvilak Rajeev
Samvahak Ashwin Saxena
Nat Ramashankar Yadav
Nati Shalu Rajput
Brahmani Rochika Agarwal, Shalu Rajput
Chaturika Purnima
Karnpoorak Amit,Ankush Verma
Vyakti Ankush Verma, Arun Bhatt
Choornagoshth/Vardhmanvaka Shivam Kumar Pathak
Chorus Tanishk Joshi, Samrat Singh, Lata Joshi,
  Akshat Singh, Kanishk Joshi, Sarita Chaturvedi
   
Stage Management Arvind Singh
Stage Setting Ankush Verma,Arun Bhatt, Kartikeya Masiwal, Sonu, Md. Bilal
Stage Design Bhupesh Joshi
Costume & Choreography Satprakash
Assistants Shalu Rajput,Lata Joshi, Shivam Pathak,
Stage Property Vikas Yadav, Ashwin Saxena
Music Ravi Sharma, Gagan Singh
Music Operation Waqar Khan
Movement Bhumikeshwar Singh
Light Design Rahul Chauhan
Make-up Mukesh Jha,
Production Controller Tara Chandra Pant

Playwright                  Mahakavi Bhasa

Translator                  Lalit Singh Pokharia

Concept & Direction  Bhupesh Joshi

 

Contacts

Gaatha Rangmanch Kala Evam Sanskriti

A-38/2, Second Floor

Gali No. 08, West Vinod Nagar

Delhi-110092

M: +91 8750935473, 8076115170

E: gatha.theatre@gmail.com

 

IMG-20191005-WA0029
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

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

IMG_6886
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

_NSD1148
All Plays Hindi NSD Repertory Company

BAYAN

Writer: Mahasweta Devi 
Director: Usha Ganguli
Group: NSD Repertory Company, New Delhi
Language: Hindi
Duration: 1 hr 35 mins

 

 The Play

Based on a story by Mahashweta Devi, Bayan is that play which creates awareness about the core expression of her writing, i.e. socio-economic disparities and the different shades of human life. Bayan’s Chandi Dassi is one who, at a very young age, is thrown into the work of burying dead animals. By invoking her responsibility towards the work of her ancestors, she is forced to live a life of great hardship. In time she decides to tie the knot with Malinder, a man who works in the government crematorium, and one who takes on her responsibility. However, the same Malinder later declares her to be a ‘bayan’ and Chandi Daasi loses all her rights to live a decent life. She starts believing that her life of inhuman exile is simply the norm.

 

Director’s Note

In my creative journey in field of theatre, along with the works of Rabindranath, Manto, Kabir and Premchand, the works of Mahashweta Devi have also struck me with a strange sharpness and intellectual perceptiveness that moves alongside their human aspects. Even before Rudali or Ganesh Mahima. Bayan’s Chandi Daasi had made a place for herself in my memory. Over the past few days, she has been helping this director search for a new vision, sometimes searching for a new theatrical language, shirking from the complexities of realism on the stage and trying to both give and take in the exchange of creative energies. For the past many years, the prop-less stage has appealed to me and attracted me for many reasons. I believe that minimalism on the stage might be able to help in the search for a new theatre vocabulary as drawn from the power of the actor’s body language, the internally developed characterization the symbolic imagery on stage, and the sounds of music- and this is what I kept trying for. Chandi Daasi and her creator Mahashweta Devi and those human shapes that get lost in the darkness and then remerge with strength and burn like sparks, are the ones who have been the sources of my inspiration.

 

The Director & Adapter

Usha Ganguli, a renowned theatre activist, known for her presentations like Lok Katha, Mahabhoj , Holi , Himmat Mai, Court Martial , Rudali , Mukti , Chandalika , Manasi , Hum Mukhtara and many others.

Rangakarmee, the Theatre troupe found by Usha Ganguli in 1976, remains the most active and prolific group, performing in Hindi, not only across India but also travelling abroad extensively. Usha Ganguli is perhaps the first and only theatre Director in India to be directing a play for a Pakistan theatre group Ajoka Theatre under their two-year long programme Theatre for Peace which includes theatre festivals, workshops, seminars etc. She has received the Best Production and Best Director Award (1993-94) by All India Critic Association and Paschim Banga Natya Academy for Rudali, Best Director Award for Lok Katha by Ritwik Ghatak Memorial Committee, Sangeet Natak Academy Award (1998), Girish Puraskar by West Bengal Govt in 2016 and several other awards from West Bengal and Uttar Pradesh State Academies. At present, apart from being the Director and President of Rangakarmee, Usha Ganguli is a member of SWAN (South Asia Women’s Network) which is a wing of SAARC. She is also currently the Scholar in Residence at the Viswa Bharati University.

 

The Author

Mahasweta Devi (14 January 1926 – 28 July 2016) was an Indian Bengali fiction writer and socio-political activist. Her notable literary works include Hajar Churashir MaaRudali, and Aranyer Adhikar. She was honoured with various literary awards such as the Sahitya Akademi AwardJnanpeeth Award, and Ramon Magsaysay Award, along with India’s civilian awards Padma Shri and Padma Vibhushan.

 

The Group

Established in 1964 with a membership of only four persons, the Repertory Company is the regular performing wing of the School. It was set up with the dual purposes of establishing professional theatre on one hand and continuing with regular experimental work on the other. Over the years it has produced a variety of plays ranging from stylized musicals to realistic contemporary Indian drama to translations and adaptations of foreign plays. In addition, several eminent persons of national and international repute have worked with the Company, and it has performed over one hundred and eighty one plays by ninety-eight playwrights and has worked with ninety directors. Quite a few of its actors have emerged as celebrities in theatre, cinema and television. The Company has toured extensively in India and abroad. It is celebrating fifty years of its existence this year.

 

Cast & Credits

Chandi Dasi Shruti Mishra
Joshi Sampa Mandal
Jhumu Anamika Sagar
Kali Suman Purty
Chumki Palak Jasrotia
Somari Sakshi Sharma
Puti Kaki Snehalata S. Tagde
Chorus

 

Sampa Mandal, Anamika Sagar,                         Palak Jasrotia, Suman Purty, Aparna Menon, Snehalata S. Tagde, Debomita Sur

 

 

Malinder Deep Kumar
Bhagirath Sikandra Kumar
Ketan Kaka Shahnawaz Khan
Sutradhar (Debu) Ashutosh Banerjee / Shubham Pareek
Dhuna Virendra Singh
Ganju (Gajendra) Naveen Singh Thakur
Budhu Manish Dubey
Dulu Rahul Kumar
Kali Mata, Khokan Jitu Rabha
Mintu Parag Baruah
Tulu Shubham Pareek / Ashutosh Banerjee
Khokha Vishveshvar M. Gondhali
Set Design Sanchayan Ghosh
Set Execution Ram Pratap, Manoj Kumar, Brijesh Sharma
Music Kajal Ghosh
Light Design & Operation Souti Chakraborty
Light Operation & Execution Govind Singh Yadav
Assistance Md. Suleman, Pradeep Aggarwal
Sound Mukesh Kumar
Costume Design Usha Ganguli
Chief Costume Co-ordinator C.S. Bhatia
Properties Design Dipankar Ghoshal
Assistant Mole Kumar Jana
Property Incharge Moti  Lal Khare
Make Up Sikandra Kumar, Shruti Mishra
Assistance All Repertory Artists
Tabla & Dholak Om Prakash
Shehnai Shakti Pada Matti
Octopad Narender Kumar
Harmonium Naveen Singh Thakur
Production Co-ordinator Sukumar Tudu
Stage Manager Govind Singh Yadav
Story                                                   Mahasweta Devi 
Dramatization, Design & Direction   Usha Ganguli
                                       

 Contacts

NSD Repertory Company

Bahawalpur House

Bhagwandas Road

New Delhi – 110 001

Ph: 011 23383420

W: www.nsd.gov.in

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

10
All Plays Hindi NSD Graduate Show

THOOTHUKUDI MASSACRE 13

Dramaturge & Director: Balasubramanian G
Group: NSD Diploma Production, New Delhi
Language: Hindi
Duration: 1 hr

 

The Play

The play aims to give voice to the dramatic event of Tuticorin Massacre and how non-democratic practices thrive, law and order deteriorates, the high-handedness of military and security forces prevails, and the common man’s life loses meaning. The play begins with the scene of protest against environmental pollution caused by a factory. The police resorts to baton charge and starts shooting at the unarmed innocent people. The play inevitably invites the audience to identify the hypocrisy of the so-called civilization in the contemporary world. The play also portrays the politics of atrocity and its ultimate purpose of acquiring power and wealth by exploiting and sacrificing the common people, who do not even understand the purpose for which they fight and die. The authoritarian body of the state and factory officials justifies this slaughter of democracy in the name of action against injustice. The people who are killed are neither the perpetrators of injustice, nor are they aware of the injustice. By showing how the authority and the management justify this massacre of innocents, the play tries to project the ambitions of the global powers to assimilate wealth and resources, and how these ambitions are realized through wars, neo-imperial political treaties and so on. The competing forces among the global powers work together but from different directions and for the same target – towards the ultimate and complete exploitation of the resources and territories of the people. Almost always, history has repeated itself in this way all around the world.

 

Director’s Note

The play centres on the brutal killing of unarmed innocent civilians in Tuticorin who were murdered for protesting against the toxic Sterlite Copper plant factory. The government itself seems to have ignored rules on the use of force to quash protests by firing at the heads of protesters rather than their legs. The government killed its own people without any mercy.  This shows the fascist dictatorship mentality of the so-called democratic country.  The greatest political invention of mankind is nothing but democracy. It enables for the people to regulate their leaders and to overthrow them without the need for a revolution. Collecting and documenting the data from the newspaper articles about those who became the victim of this protest against the Sterlite Copper plant factory, the play is a documentary theatre form with fictional elements. The play provokes questions in the mind of common people who believe in democracy. Who ordered the policemen to fire on the protestors? Why were highly advanced weapons used to disperse the crowd and under what law was this permitted?  Why was no warning given before the firing? Is it really a ‘democratic’ country?

 

The Director & Dramaturge

Balasubramanian G is a director, designer and dramaturge. He is also an actor, light-designer, set-designer, sound designer and projection designer. He holds a Diploma in Dramatic Arts, with Theatre Technique and Design as specialization from the National School of Drama (NSD), New Delhi, India, M.P.A. in Theatre Arts and B. Tech. in Electrical and Electronics from Pondicherry University, and Film Appreciation Course from FTII, Pune. He has participated in many theatre workshops in New Delhi, Goa and Pondicherry.

 

The Group

This play is a part of National School of Drama’s graduate showcase of class 2019. It aims to provide a platform to encourage emerging theatre practitioners to share their work with a wider audience.

 

Cast & Credits

On Stage          Snigdha Mondal, Suman Purthy, Melodi Dorcas, Jitu
Rabha, Manoj Kumar Tapar, Sayan Sarkar, Boomisutha Das, Somnath Chatterjee
Set and Lights Sarthak Narula
Sound and Video Saras Kumar Namdeo
Music Marthandan, Abhishek, Prerna
Guitarist Raman Kakkar, Sounak Karmakar
Costume Boomisutha Das
Properties Suman Purthy, Snigdha Mondal
Stage Manager Harishankar Ravi
Video Guidance Sourov Poddar
Poster & Brochure Vishala R Mahale
Translation Vishala R Mahale
Carpentry Jiyual Hassan, Rizwan Ahmad
Sound Sourov, Ahsan
Dramaturgy & Direction                   Balasubramanian G

Contacts

Balasubramanian G

No.11, I-Block

Thiogue Mudaliar Nagar, Mudaliarpet

Puducherry, India – 605004

M: +91 7291001102

E: dir.balan@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