After successfully conducting workshops across Mumbai, Pune and Delhi, DSM Open Day comes to Thane for the very first time! Thane has traditionally been a place which cares about its arts and culture. And it is with the same love for the arts and theatre that DSM visits the city. Get a chance to experience world-class training and know more about the Post Graduate Diploma in Acting and Theatre-making at The Drama School Mumbai during its Open Day Series which has already travelled to 3 other cities. Here leading theatre-makers, who also happen to be DSM faculty, will show you what students at the school are taught as a part of their training. This is an excellent opportunity for you to witness first hand what makes learning at The Drama School Mumbai the best stepping stone for a bright career in theatre. About the Facilitator: Akshay Shimpi Akshay Shimpi has a Masters of Arts degree in Theatre Arts from the Mumbai University. Akshay is a well revered theatre-maker with over a decade of experience in the field. He is the faculty for Speech and Text at the DSM. In over a decade of working in theatre and film, Akshay Shimpi has done more than 30 plays and 7 short films that have toured festivals across India. He performs in both Hindi and Marathi and has been part of productions like Naag-Mandal, Ghashiram Kotwal, Hayvadan and Ram Sanjeevani ki Premkatha. He received acclaim for his portrayal of freedom fighter Anant Kanhere in the Marathi film 1909. His recent work with Astitva, Agdeech Shoonya is currently touring across Maharashtra.
Indian theatre is deeply rooted, not just in the traditions of Sanskrit Drama as explained in Bharata’s Natyashastra, but also very significantly in folk dance and music, as well as tribal rituals and ceremonies. Post the Victorian hangover there have been attempts by organisations like the Indian People’s Theatre Association, the Progressive Writer’s Association and the Youth Cultural Institute (none by the government) to rescue vernacular theatre from the shadow of the proscenium-based English Theatre. That is why we have put together a list of theatre spaces that mark the rural landscape of India, making theatre with the people from whom we have inherited the very language of theatre.
Naya Theatre evolved from Nacha, the Chhattisgarhi folk theatre. It is the legacy of the late PadmaShri Habib Tanvir. A graduate of the Royal Academy Of Dramatic Art, UK Tanvir established his own theatre troupe Naya Theatre in 1959 with handpicked folk artists in Bhopal. The artists of Naya Theatre spoke their own local dialect which eliminated any inhibition arising out of language and retained their particular dramatic skills which were often in opposition to English theatre training. For Tanvir the consideration of the sensibilities of the folk artists was an integral part of the creative process. A lot of research, from books, folk songs and conversations, and vigorous editing would go into creating the first draft of the plays. A report from Livemint states that for his play Bahadur Kalarin, on a son’s incestuous feelings for his mother, he chatted with people in Chhattisgarh on the topic before they were told the story of the play and asked to improvise dialogue and movements. Tanvir’s irrevocable conviction in the rich culture of Nacha and his commitment towards the folk community gave rise to milestones in Indian theatre like Charandas Chor, Gaon ka Naam Sasural, Mor Naam Damad and Kamdeo ka Apna Basant Ritu ka Sapna. Though Naya Theatre today is in need of new actors and plays, Tanvir’s daughter Nageen Tanvir is striving to carry on the troupe in all its vitality.
Kalakshetra Manipur (KKM) established in 1969 by the late stalwart Heisnam Kanhailal and his wife Sabitri as a space that presents “Theatre of the Earth”. In an interview with NEZINE Kanhailal explained the ideology behind this specific form of theatre, “….theatre must become a voice for the voiceless, a means that gives the power and strength to the disempowered to resist and take on the challenges.” These marginalised voices in Kanhailal’s plays are often non-actors of the oppressed communities themselves. New Theatre Quarterly 29mentions three such productions – Nupi Lan (1989), Sanjennaha (1979) and Thanghou Leh Liandou (1980).
Nupi Lan(Women’s War) was created through improvisations with around 70 working women from the famous Women’s Market of Imphal. Images of women in the Manipuri Lai Haraoba (ritual celebrations), in the market haggling and those of surviving, militant Manipuri women in political agitations became the aesthetics of the play. In Sanjennaha (Cowherd) the plight of the actors ,who were villagers, was inextricably linked with the narrative of the exploited cowherd in the play. Thanghou Leh Liandou engaged the tribal youth of the Paite community, reminding them of a cultural heritage they were in the process of forgetting through imposed westernization. Kanhailal’s ardent commitment to devising a unique form of Manipuri theatre through silence and minimalism has given KKM a venerable reputation both nationally and internationally. As of the last decade KKM, which is located on the foothills of Imphal is moving out of its ethnic culture to the rural and natural environment of Assam and Tripura.
Nilakanteshwara Natyaseva Samgha, better known as Ninasam is Karnataka’s cultural powerhouse located deep in the hinterland of the state’s Heggodu village. Established in 1949, this brainchild of renowned dramatist and Magsaysay award winner, K. V. Subbanna is dedicated to the dissemination of theatre and culture. Evolving from a small amateur theatre troupe, today Ninasam has a one year diploma course in theatre with emphasis on working in non-urban conditions. Its impressive infrastructure consists of a one of a kind 700 seat auditorium, its only kind in rural India, for the performance of various art forms. Almost 80% of its past students are active in non-commercial theatre and cultural activities, while aspiring students from across class, caste and gender come from all corners of Karnataka to Ninasam. Its theatre group Tirugata, completely localized, performs almost 120 shows each year, to an estimated of 20 lakh people covering almost all districts of Karnataka. According to a report by the The Hindusome of the biggest names in theatre from B.V. Karnath to Fritz Bennewitz have directed Ninasam productions. Ooru Mane Utsava is the organisation’s theatre and culture festival that involves villagers from all around Heggodu. The theatre activities at Ninasam only form a minuscule part of the sum of its cultural activities ranging from film appreciation courses, intellectual debates on the cultural politics of Karnataka and a 7-10 day long workshop on cultural appreciation. The participants for this event forms a daunting figure of 2000 people including students, teachers, rural cultural activists, journalists, housewives as well as thinkers, intellectuals and artists from all over the country. What makes Ninasam remarkable is that it has single-handedly enriched and empowered the cultural topography of rural Karnataka, becoming a model of inspiration for the rest of the country.
The students of The Drama School, Mumbai is set to do a week-long residency at Ninasam in this March and hope to breathe in some of this visionary work.
The Kattaikkuttu Sangam formed in 1990, is an organisation that integrates liberal education and the performing arts with an aim to promote and contemporize the art of Kattaikkuttu– the theatre of the rural people in the northern districts of Tamil Nadu. Based in the small village of Punjarasantankal, Kattaikkuttu Sangam is the only residential school for Kattaikkuttu. The Kattaikkuttu Gurukulam (Youth Theatre School) of the Sangam offers a training course in Kattaikkuttu for young rural Tamil boys and girls while providing them support to become professionals in the ancient art form. The students can also join the organisation’s theatre companies- The Kattaikkuttu Young Professionals, All Girls Company and The Junior Company. The Annual Kattaikkuttu Theatre Festival of the organisation brings Kattaikkuttu to local audiences, urban theatre enthusiasts, scholars and tourists. Kattaikkuttu Sangam is an indispensable theatre organ for the country for it has become a platform for folk artists to get together from all parts of Tamil Nadu and revive this dying theatre of Kattaikkuttu.
The centuries old theatre tradition of Karnataka- Yakshaganais what the Yakshagana Kendra in Udupi strives to keep alive. Steeped in Indian mythology, Yakshagana is a vibrant blend of folk and classical modes with ornate forms of costume and make-up. To promote Yakshagana on various levels the Kendra offers a residential programme that combines formal education along with training in Yakshagana, while its troupe Yaksha Ranga consists of almost 100 artists that engage in local and national performances. It also also acts as a center of research and documentation for Yakshagana by publishing books on it.
While doing research for this article, we were hard-pressed to find examples of such organizations. If any of our readers do know of some we should have covered, please do write in and we’ll do our best to include them. Because, in a world that is threateningly being consumed by a homogenizing global culture these organisations act as preservers and re-inventors of indigenous art forms. Which then allows theatre to become a people’s channel through the ages.
Shadows Of Fire is a solo performance that emerged from Butoh. It delves into the subconscious of the body and mind and tries to call out to the fire hidden within us. This fire physically has no shadow, but emerges every time it is evoked. This piece explores the birth of an untamed creature, its growth and its play with the different elements found in nature. It looks for freedom from all these, with help from the balance of the ambers and blues in a body, but gets stuck in a dilemma of energy. Does it escape the cacophony of the watchful eyes or does it perish? The question remains answered. Shadows Of Fire has been inspired by Naireet’s body-watching and exploration of the elements in the body that were realized into a dramatic piece while practicing Butoh. A highly interpretative piece, he expects audiences (and himself) to be “surprised” each time with the energies of the performance.
Click here for a glimpse of Shadows Of Fire at the Butoh Festival at Mcleodjang, Himachal in May 2016.
Naireet is a theatre-maker and performer whose primary interest is in telling stories through moving body images. He has trained intensively in Kalaripayatu and Butoh and worked withClowning, Tai-chi, Kudiyattam, contemporary dance and various other theatre-making forms. He has been involved with Children’s Theatre both as an actor and director in Kolkata. Last year he directed Love Circus – a six actor movement performance piece in Kolkata.
Date: 25th Feb Time: 7 PM Cost: Rs 200/- per ticket Venue: 5th Floor, Mumbai Marathi Sahitya Sangh, Dr Bhalerao Marg, Charni Road Kele Wadi, Mumbai-400002 Call 9619336336 for details
Corporeal Mime is an aspect of physical theater. It’s objective is to place drama inside the moving human body by allowing the actor to show thought through movement. It “makes the invisible visible” through the presence of the body. Developed by Etienne Decroux, Corporeal Mime is unlike pantomime that substitutes speech with gesture. The objectives of Corporeal Mime are to enable the actor to become more autonomous in creating metaphor-based physical theater pieces, which may include text, but are not based on text, i.e. to give the actor greater access to physical metaphors that work in traditional plays, and to increase the actor’s strength, agility, flexibility and imaginative powers.
This month we have an intensive Corporeal Mime workshop conducted by Vini Carvalho. He has been developing his practice as a movement teacher and performer for the past nine years, teaching various workshops and classes in theatre, neutral mask and mime. He trained at the International School of Corporeal Mime for four years in London and graduated in Performing Arts from University of Campinas, Brazil. Vini has also worked and studied with a number of companies and theatre practitioners, such as Theatre de l’Ange Fou, Alice K, LUME, Tiche Viana and Leris Colombaione. He is the artistic director of Fool’s Cap Theatre.
Through technical and creative exercises the workshop will focus on the following-
Articulation of the body and space
Counterweights: creating actions of ‘push, pull, lift’
Dynamo-rhythms: playing with different rhythms in movement
Walks - Improvisations based on the technique
Figures- short movement sequences based on daily actions
Pieces from the repertoire of the technique
Through the workshop the participants will be able to enhance their stage presence, precision, confidence in movement, balance, coordination, dynamics and rhythm, muscular tone and flexibility. At the same time the participants will gain an understanding of the basic technique and style of Corporeal Mime. .
Don’t miss this chance to dive into the world of mime and movement-based performance! Date: 16th and 17th February Time: 8 am to 2 pm Fee: Rs 4500 Venue: Mumbai Marathi Sahitya Sangh, Dr Bhalerao Marg, Charni Road Kele Wadi, Mumbai-400002 Age limit: Over 16 years
To apply send in your CV and a cover letter stating your reasons for wanting to do this workshop to email@example.com
Dress code: Tight workout/dancewear clothing or clothing that does not restrict movement and will allow your tutor to see your work more clearly.
In order to get the most from the workshop you should be able to-
The creative industry is always in flux. So much so that it is easy to be unaware of the passage of time. Which is why we decided to talk to prominent theatre-makers from India and abroad to get some of 2016’s biggest Theatre Moments down for you. Here you’ll find news, unmissable events, productions and collaborations that transpired in 2016.
Theatre Strikes the Hinterlands
Few organizations can claim to have singlehandedly galvanized the theatre scene in a city. Rangashakara is one of them. The Bangalore-based theatre organisation started 2016 with its new intense residential workshop, Making Theatre that ran for a month between May and June. This project brought together 20 handpicked theatre practitioners from different districts of Karnataka to be trained in all aspects of direction. The participants, post the workshop, directed a play with teams from their hometown and then staged it during December. Not only was that 20 new works for stage reaching new audiences, but 8 shortlisted productions will be showcased at the Shankar Nag Youth Festival in February 2017. Rangashankara director, Arundhati Nag believes, “Through Making Theatre Rangashankara was able to strike the hinterlands. And that’s what really matters, because theatre is ultimately for the people.”
The Continuing Romance of Epics and Theatre
An open air arena, fireworks in darkness, rains drenched in electric blue light, scent, soil and sky, life-size puppets, a music score of native and Arabic strings and percussion interwoven with the dramatic elements of Theyyam… These are the rich aesthetics of the play Khasakkinte Ithihasam (The Legends Of Khasak) that opened to spell-bound audiences in 2016. The play is based on O. V. Vijayan’s epic novel of the same name. The story explores human experiences – bliss, sorrow, loneliness, poverty, death, desire and religious fervour in lyrical prose. The setting is the fictional village of Khasak. Directed by Deepan Sivaram, this watermark in Malyalam literature, has now become a spectacular piece of theatre. Like Making Theatre, this three and a half hour production gives theatre back to the people. The cast is entirely composed of non-actors from Trikaripur and other villages of Kerala. The entire community participated in the play as an audience and come together to arrange props, sets, costumes, provide food and infrastructure. Veteran theatre actor and director Neelam Mansingh Chowdhury says that, “Sitting in the audience under a star-lit night, it (Khasak) gave you a feeling of being a grand people’s event.” The play has been performed in Kerala, Bangalore, Kochi, Goa and Mumbai in 2016.
To book tickets for Khasak‘s January shows in Mumbai, log on to bookmyshow now!
First Ever India-Palestine Theatre Collaboration: Freedom Jatha
2015-2016 saw the first ever India-Palestine theatre collaboration between Jan Natya Manch (JANAM) and Palestine’s Freedom Theatre. Delhi-based JANAM has always been at the forefront of protest theatre in India. It specializes in left-winged Hindi street-theatre while Freedom Theatre, based out of Jenin Refugee Camp in the West Bank has been using theatre to draw attention to the Occupation since 2002. The exchange started December 2015 , when students and artists from Freedom Theatre arrived in Delhi for training and rehearsals with JANAM. The play they created toured across 11 cities in India in the beginning of 2016, doing over 30 performances and events with local artists.
In April 2016, JANAM made the return visit to Palestine for joint performances in Jenin and other West Bank locations. In the words of JANAM actor-directorSudhanva Deshpande, “The most remarkable thing about this exchange was that it took place without any institutional funding. It was a pure people to people, artist to artist exchange that stood for international solidarity through art between two theatre groups.”
IAPAR International Theatre Festival
The International Association for Performing Arts and Research(IAPAR) is a network of artists and art professionals seeking to exchange ideas and increase opportunities within the arts. Based in Pune, IAPAR is the only Indian member institution of the UNESCO – UNITWIN Network for Higher Education in Performing Arts. The first IAPAR International Theatre Festival was organized from 18th to 22nd of November 2016. Artists from Austria, China, Germany, Italy, Japan, Korea, Russia, Sri Lanka and India participated in this festival. Held at the Jyotsna Bhole Sabhagruha in Pune, the focus of the festival was- ‘Actor at the Centre’. An exclusive exhibition of paintings titled ‘Lighting the stage: Magic of Theatre’ by veteran artist Shri Shyam Bhutkar was also showcased at the festival. For IAPAR’s founder and director Vidyanidhee Prasad Vanarase, “The festival was an attempt to unveil new global artistic work in the field of theatre.” He also looks at it as a catalyst for the setting up of the Indian National Institute of International Theatre-UNESCO – a learning organization that theatre-makers in India can look forward to hearing more about in 2017.
Paying our Respects
Indian theatre lost 3 greatly-revered thespians this year-Heisnam Kanhailal, Sulbha Deshpande and Kavalam Narayana Panicker.
Sulabha Deshpande, veteran actor of Indian theatre and cinema passed away on the 4th of June last year. She started her career onstage in the 1960’s and founded Awishkar in 1971 with her husband Arvind Deshpande. Awishkar continues to be a vital platform for new writing and new thought in theatre even today. Dramatist and poet Padma Bhushan Kavalam Narayana Panicker passes away on 26th June. He penned more than 25 Malyalam plays. He is also credited with reviving the oldest theatre-dance form of India, Kudiyattam. Heisnam Kanhailal was the founder-director of Kalakshetra Manipur. He passed away on the 6th October in 2016. Kalakshetra Manipur celebrates silence and minimalism as source of creative strength. For Kanhailal this was always a medium to speak to the political, cultural and linguistic exclusion of the North-Eastern states. As we enter 2017, let us not forget how these individuals illuminated theatre through their work onstage and off it.
Women take over Shakespeare
In 2012, director Phyllida Lloyd’s all-female production of Julius Caesar placed the story of the Roman general in a women’s prison. In 2014, Llyod reunited with actor Harriet Walter for Henry IV, the second installment in what was then announced as the ‘Shakespeare Trilogy‘. The trilogy was completed in 2016 with the opening of the Tempest at the Kings Cross Theatre in London. On the Donmar WarehouseYouTube channel Llyod describes her revolutionary step towards completely handing over the masculine energies of the Bard’s plays to the female, as an act of “getting women out of the ‘romantic’ and ‘domestic’.” This is evident when in the same clip theatre stalwart Harriet Walter, who stars in all three productions, claims that the plays “allow women to tackle things that they normally don’t get to tackle – power, conflict and philosophy, the big ideas that Shakespeare practically doesn’t ever give to women.”
Actor-Chorus-Text: Reinventing Stagecraft
MOON FOOL – International Music And Theatre Exchange is currently in the process of making their third production in physical theatre called STORM. The performance will premiere at The Vaults, London in June 2017. What distinguishes STORM from other forms of experimental physical theatre is that its actors will be trained in ACT, devised by Anna-Helena Mclean, founder of MOON FOOL. ACT stands for Actor-Chorus-Text, an original approach to generating ensemble theatre productions that interweave music, movement and poetry in telling stories, while reinventing the use of space. The training is applied to an exploration of archetypes in stories from around the world, particularly those from classical texts such as Shakespeare and the Ancient Greeks to generate original ensemble works of theatre. Mclean has conducted several ACT workshops in India as well and it would do well for theatre-makers to keep an eye out for one in 2017.
Look out! Artists are watching
Few things have upset the liberal world as much as the recent American presidential elections. And artists, as custodians of that liberty, have chosen to answer the imbalance in various ways. On 19th November this year, the cast of Hamilton: An American Musical addressed Mike Pence – U.S.A.’s Vice President elect – who was attending a performance of the award-winning show that just happens to celebrates America’s founding father and it’s notion of liberty, equality and fraternity. Actor Victor Brandon Dixon who plays the character of Aaron Burr in the play made the address, during the curtain call. He said, “We, sir, we are the diverse America who are alarmed and anxious that your new administration will not protect us, our planet, our children, our parents, or defend us and uphold our inalienable rights, sir. But we truly hope this show has inspired you to uphold our American values and to work on behalf of us, all of us.” In a world increasingly threatened by regimes of indifference, 2016 could not have showcased the role of the artist in public discourse any better. Here’s the entire moment as caught by an audience member at the show.
So, as we race in 2017, as theatre-makers, artists, individuals, citizens of this world, let us not forget the year that we have been through and the responsibilities we carry with us into this brave, new world.
unSEEN is a devised performance piece based on Rabindranath Tagore’s letter- ‘Ramabai-er Baktritar Upalakhse’ written in 1891. Tagore, one of India’s most celebrated thinkers, wrote the letter as a response to the celebrated social reformer Pandita Ramabai’s speech asserting that a “woman can do anything that man can except drinking alcohol.” Originally written in Bengali and published in the Bharti periodical, in this highly disputable response to Ramabai, Tagore points out how nature has made women weaker than men both physically and intellectually – to which women must comply.
unSEEN is a critique of the ways in which patriarchal society perceives femininity. It is an examination of the Nobel laureate’s misconstrued notion of womanhood.
Tagore is renowned for being an unwavering if anachronistic champion of the ‘feminine’ at a time when the world was yet to wake up to feminism. His oeuvre bears an extraordinary commitment to women’s issues and an empathetic understanding of the same. unSEEN then reveals the irony as well as a pervasive helplessness of this revered intellectual trying to pinpoint markers of masculine superiority, in a social system he himself questioned repeatedly.
unSEEN unfolds through the exploration of a woman’s self, her body, the male gaze over that female body, her biological cycle (menstruation, motherhood, pain and surrender) and her deification. Each of these aspects of womanhood is complemented with three specific elements in the play – sound installation, non-verbal performance and the recitation of the text itself.
Kalyanee Mulay, the solo performer of unSEEN says that the play is “a small step towards reclaiming the female body not only in performance but also in the social context.”
unSEEN is Process TheaterZ’s first production. Formed in 2012, the company aims at collaborative work, on a national level, among theater artists, designers, performers, fine artists, writer, directors and musicians with the main objective of exploring contemporary theater languages.
Directior: Vishnupad Barwe
Performer: Kalyanee Mulay
Light design: Gajanan Zarmekar and Arpita Dhagat
Object design: Satish Gaokar
Translation: Anwesh Singbal (Konkani) Geeta Joshi and Antara Bhide (English)
Date: 28th January 2017
Timing: 7-9 pm
For tickets or information regarding the performance, please call 9619336336.
The Drama School Mumbai is delighted to bring Sara Matchett back to Mumbai! Sara is a senior lecturer at the Department of Drama, University of Cape Town, and associate teacher of Fitzmaurice Voicework. She will conduct a two day long, intensive voice training workshop at the DSM this January.
Fitzmaurice Voicework is an unique system of theatre voice practice that integrates Euro-American voice training methods with adaptations of somatic body work including yoga, bioenergetics and shiatsu. The system is divided into two main components: Destructuring and Restructuring. Destructuring refers to a series of physical positions that are used to encourage the breath and voice to be free from habitual tensions, allowing for the discovery of a more authentic and spontaneous vocal expression. In Restructuring, this spontaneous and sometimes chaotic expression is channeled into a healthy voice that is free from tension, and is flexible, focused and emotionally connected.
The breath is investigated as the impulse as well as thread that connects body, voice, imagination and language. This ultimately serves to enhance the live sensorial presence of the performer in relation to themselves, their fellow performers and to the audience.
Sara Matchett’s teaching profile centres around practical and academic courses which include, voice, acting, theatre-making, applied drama/theatre, and performance analysis. She is presently completing her PhD at the University of Cape Town where her study aims to investigate the soma, the relation between breath and emotion and breath and image, in an attempt to make performance that is inspired by a biography of the body. She is also the co-founder and artistic director of The Mothertongue Project which focuses on women’s theatre with particular reference to cross-community professional theatre, as a means of facilitating conversations across differences. Her most recent work with The Mothertongue Project, is Walk: South Africa, which was made in conversation with Maya Krishna Rao’s Walk. The performance is a response to rape culture and violence against women. Walk:South Africa will be performed at the VIFA in Bhopal.
Date: 19th and 20th January
Time: 8am to 2pm
Venue: Bhalerao Auditorium, Mumbai Marathi Sahitya Sangh, Dr Bhalerao Marg, Charni Road Kele Wadi, Mumbai-400002
The Weekend Acting Programme is for theatre enthusiasts, who want to use theatre techniques in their respective areas or professions. So whether you are a teacher looking to understand how to hold a class’ attention or a corporate looking to amp up on those presentation skills or simply someone looking for a more engaging way to spend your weekends – this workshop could be your ticket to a better you! The structure of the workshop is designed to ease beginners into key skills for both private and professional life. Though the workshop aims at self-improvement, there will be an emphasis on good storytelling and aesthetics.
Week 1: Look at ourselves – physically, vocally, emotionally
Week 2: Look at how we got to where we are
Week 3: Take on a character to understand what it is like to be another person
Week 4: Comfort zones and how to work outside them and Final performances.
This January, the Weekend Acting Programme will be facilitated by Shruti Sridharan. She has an M.A. in Theatre from the Academy of Theatre Arts, University of Mumbai. She has performed under the direction of various stalwarts of theatre. Some notable performances include Madhavi with K.S. Rajendran, Mashirq-I-Hoor with Hema Singh and Insulting The Audience with Rehaan Engineer. Shruit was nominated for best supporting actress at Thespo for her role in Aashad Ka Ek Din directed by Chandan Roy Sanyal.
She has spent three years working as a drama instructor with Theatre Professionals and recently finished a two and a half year stint with Steps Drama, a drama-based corporate learning and development consultancy. She last performed in QTP’s White Rabbit Red Rabbit – a critically acclaimed play by Iranian playwright Nassim Soleimanpour.
Cost: Rs. 8000
Venue: 3rd & 5th Floor, Mumbai Marathi Sahitya Sangh, Dr Bhalerao Marg, Charni Road Kele Wadi, Mumbai-400002
To register for the Workshop, do fill in this form. For more information or for any queries write into firstname.lastname@example.org.
Performance traces it’s origins back to storytelling. India has a rich heritage of oral traditions from Padvani in Chhattisgarh to Kathakali Kerala to Baul storytelling in West Bengal.
Storytelling has ever been dependent on singing – entire narratives were initially presented as a musical arrangement with one or many performers. The emphasis was not so much on performance as on the nuances of singing. Over time, traditions evolved and body movement, gestures and postures added a visual layer to the hitherto aural experience. And then performers developed the third layer of character – developing body movement and dialogue according to the idiosyncrasies of the character and situation. In the Hindi-Urdu tradition, this practice came to be known variously as Katha-goyee, Kissa-faroshee, Baat-poshee or simply Katha-Gaayan.
This Saturday evening, catch NSD alumni and The DSM faculty Ajay Kumar take you through the process of turning ordinary in to extraordinary through the simple act of storytelling. He will present the stories of Vijaydan Detha – a prolific writer from Rajasthan whose stories inspired Habib Tanvir’s Charandas Chor and 2005’s Shahrukh Khan – starrer Paheli.
7 PM | 17th December | 5th Floor, Mumbai Marathi Sahitya Sangh, Charni Road East, Mumbai | Entry Free | Call 9619336336 for details
Incidentally, another story by Vijaydan Detha made splashes at NCPA’s Centrestage Festival this year – Dohri Zindagi. Directed by former Theatre Professionals facilitator Gurleen Judge – Dohri Zindagi, which explores what it is to love in a homophobic society, will makes it’s way to The DSM on the 24th of December. This play will be part of the Hive Around Town series. To book tickets for the show, log on to bookmyshow.
(Legendary British Thespian and first Director of the National Theatre, London)
Acting is has been described variously as an art, a craft, a reaction and a state of being. At the DSM we believe, acting, indeed drama as a whole, is a function of doing. And hence our Foundation Skills in Acting workshops focus on practical approaches to character and stagework. These workshops are held 3 to 4 times in a year and conducted each time by well-trained, experienced actors. The first in the series this year was conducted by Shruti Mishra. It took participants through the exercises of Jacques Lecoq in order to facilitate a discovery of core areas of acting: movement, voice and the development of strong performance by understanding dramatic texts. Then we had Neeraj Shirvaikar who brought the characterization sensibilities of Theatre of Cruelty to the floor.
Deshik has played various parts in the plays of Shakespeare in India and abroad – the most notable being Romeo in Romeo and Juliet, Clotten in Cymbeline and Angelo in Measure for Measure. He has directed and performed in radio plays for All India Radio. In Mumbai, his performances in The Boy who stopped Smiling and Dhara ki Kahani have received much acclaim. Read more about Deshik’s efforts to bring Shakespeare alive for a contemporary audience in India here.