Father: "I want you to marry a girl of my choice"
Son: "I will choose my own bride!"
Father: "But the girl is Bill Gates's daughter."
Son: "Well, in that case...ok"
Next - Father approaches Bill Gates.
Father: "I have a husband for your daughter."
Bill Gates: "But my daughter is too young to marry!"
Father: "But this young man is a vice-president of the World Bank."
Bill Gates: "Ah, in that case...ok"
Finally Father goes to see the president of the World Bank.
Father: "I have a young man to be recommended as a vice-president.”
President: "But I already have more vice- presidents than I need!"
Father: "But this young man is Bill Gates's son-in-law."
President: "Ah, in that case...ok"
This is how business is done!!
This is how business is done!!Moral: Even If you have nothing, you can get anything. But your attitude should be positive
Saturday, April 24, 2010
Saturday, April 10, 2010
Street theatre as a form of communication is deeply rooted in the Indian tradition. In recent times this form has been used to propagate social and political messages and to create an awareness amongst the masses regarding critical issues. Street theatre breaks the formal barriers and approaches the people directly.
You could meet them in the most unexpected places – behind the vegetable complex in your market place, during your evening walk, at the bus stop or perhaps even on the street in front of your office- a group of people, acting out a short skit or play, for any one who might wish to stop and watch. They are not just philanthropists providing free entertainment. For them this is a means of reaching people of all strata and creating an awareness of events around them, calling them to change what they believe are the social ailments. These are the street theatre ‘activists.’
Street theatre is a situation where the audience has not come prepared to watch a play, and people may not have much time on hand. These limitations determine the parameteres of the plays. They are short. The exchange is close, direct and intimate and, to be more effective, usually loud and larger than life. The script and direction is always significant. In order to draw crowds from all walks of life, the plays are humorous. Songs based on popular catchy tunes are included to add to is appeal. The choreography of the play varies from script to script. The play must be as inexpensive and mobile as possible, since no stage props can be used. As Badal Sircar the noted playwright sums up, “the essential tool of the trade is the human body. The potentially of the human body, the ability to throw one’s voice so that 4000 people can be reached without the aid of a mike, must be explored.”
Tracing the need for the development of this form of communication which is sometimes referred to as the third theatre, Badal Sircar analysed the two existing forms- the sophisticated urban theatre borrowed from the British and rooted in western culture and values and the traditional rural theatre. “In spite of the tremendous popularity of folk theatre in rural areas, the ideas and values it dealt with remained backward….whereas the city theatre could propagate progressive ideas and values to a sophisticated audience which would be mentally stimulated at best but would not or could not act upon them.” So arose the need for a means of communication which would break barriers of stage and ticketed entries.
It would however be wrong to claim that street theatre is a new form- the content and style perhaps are- but snake charmers, bear and monkey dances on the street and also short dance and acrobatic sequences at fairs by trained performers are all forms of street theatre. But that is professional theatre where the primary aim is to get money from the show.
Apart from propagating social reform, street theatre is also a political weapon used during elections in particular or to get across an ideology। It has also been successfully utilised as a vehicle for inducing a scientific outlook in some people by bringing to them news from the world of science. Women have become an important theme for street plays. In 1980 the famous Mathura rape case instigated a lot of shows on the need to make the rape laws more stringent in 1980. “Om Swaha” dealing with demands for dowry resulting in harassment and sometimes death was a very effective street play. There have been several productions which give a short summary o the life of a woman in India and some have gone on to make the girl question her dependence, her need to get married and her ability to lead a full, purposeful life by herself. There have been several plays exposing the mechanism of black marketing and hoarding. Some talk of the use of political power for pressurizing people. Others highlight caste conflicts or ideas about hygiene and health. Street theatre is also used as a means to encourage literacy amongst villagers. One effective play on environment projected a beautiful relationship of trust and friendship between a little boy and a tree.
But do these plays bring about a change? According to Feisal Alkazi who teaches street theatre at the Jamia Millia University in Delhi, “If the communication has been worthwhile then there must be some tangible impact. What is important is that the plays make the people think. The play is seen by many people of different age groups who then question and discuss the contents of the play. This evocation of questioning is by itself an impact.” Alkazi recalled an interesting experience he had while travelling by a DTC (Delhi Transport Corporation) bus. He was very surprised to hear a passenger sing the words of a song from his street play based on a popular film tune. “At an unconscious level at least the message had got across.” He claims most street theatre groups have had members of the audience coming up to them for a discussion on the play they had just witnessed.
For Badal Sircar and his group the reward for their tireless efforts came in a different way. While touring the villages in Bengal they cam across audiences willing to sit through a performance in any kind of weather. He recalls one night when they performed through a continuous drizzle interspersed with heavy showers. So enraptured was the audience, that about 3000 people sat through the play for about three hours. Finally, when showers came down heavily Badal Sircar called it a day and begged leave of his audience. That they were interested enough to sit through the rain meant that the message was getting accros।
( sourse(Sourse from- E- Book )
Your - Parth
You could meet them in the most unexpected places – behind the vegetable complex in your market place, during your evening walk, at the bus stop or perhaps even on the street in front of your office- a group of people, acting out a short skit or play, for any one who might wish to stop and watch. They are not just philanthropists providing free entertainment. For them this is a means of reaching people of all strata and creating an awareness of events around them, calling them to change what they believe are the social ailments. These are the street theatre ‘activists.’
Street theatre is a situation where the audience has not come prepared to watch a play, and people may not have much time on hand. These limitations determine the parameteres of the plays. They are short. The exchange is close, direct and intimate and, to be more effective, usually loud and larger than life. The script and direction is always significant. In order to draw crowds from all walks of life, the plays are humorous. Songs based on popular catchy tunes are included to add to is appeal. The choreography of the play varies from script to script. The play must be as inexpensive and mobile as possible, since no stage props can be used. As Badal Sircar the noted playwright sums up, “the essential tool of the trade is the human body. The potentially of the human body, the ability to throw one’s voice so that 4000 people can be reached without the aid of a mike, must be explored.”
Tracing the need for the development of this form of communication which is sometimes referred to as the third theatre, Badal Sircar analysed the two existing forms- the sophisticated urban theatre borrowed from the British and rooted in western culture and values and the traditional rural theatre. “In spite of the tremendous popularity of folk theatre in rural areas, the ideas and values it dealt with remained backward….whereas the city theatre could propagate progressive ideas and values to a sophisticated audience which would be mentally stimulated at best but would not or could not act upon them.” So arose the need for a means of communication which would break barriers of stage and ticketed entries.
It would however be wrong to claim that street theatre is a new form- the content and style perhaps are- but snake charmers, bear and monkey dances on the street and also short dance and acrobatic sequences at fairs by trained performers are all forms of street theatre. But that is professional theatre where the primary aim is to get money from the show.
Apart from propagating social reform, street theatre is also a political weapon used during elections in particular or to get across an ideology। It has also been successfully utilised as a vehicle for inducing a scientific outlook in some people by bringing to them news from the world of science. Women have become an important theme for street plays. In 1980 the famous Mathura rape case instigated a lot of shows on the need to make the rape laws more stringent in 1980. “Om Swaha” dealing with demands for dowry resulting in harassment and sometimes death was a very effective street play. There have been several productions which give a short summary o the life of a woman in India and some have gone on to make the girl question her dependence, her need to get married and her ability to lead a full, purposeful life by herself. There have been several plays exposing the mechanism of black marketing and hoarding. Some talk of the use of political power for pressurizing people. Others highlight caste conflicts or ideas about hygiene and health. Street theatre is also used as a means to encourage literacy amongst villagers. One effective play on environment projected a beautiful relationship of trust and friendship between a little boy and a tree.
But do these plays bring about a change? According to Feisal Alkazi who teaches street theatre at the Jamia Millia University in Delhi, “If the communication has been worthwhile then there must be some tangible impact. What is important is that the plays make the people think. The play is seen by many people of different age groups who then question and discuss the contents of the play. This evocation of questioning is by itself an impact.” Alkazi recalled an interesting experience he had while travelling by a DTC (Delhi Transport Corporation) bus. He was very surprised to hear a passenger sing the words of a song from his street play based on a popular film tune. “At an unconscious level at least the message had got across.” He claims most street theatre groups have had members of the audience coming up to them for a discussion on the play they had just witnessed.
For Badal Sircar and his group the reward for their tireless efforts came in a different way. While touring the villages in Bengal they cam across audiences willing to sit through a performance in any kind of weather. He recalls one night when they performed through a continuous drizzle interspersed with heavy showers. So enraptured was the audience, that about 3000 people sat through the play for about three hours. Finally, when showers came down heavily Badal Sircar called it a day and begged leave of his audience. That they were interested enough to sit through the rain meant that the message was getting accros।
( sourse(Sourse from- E- Book )
Your - Parth
Tuesday, April 6, 2010
आज एक पुराने दोस्त ने,
दरवाजे मैं दस्तक दिया ,
दरवाजा खोला तो उसे
देख कर अचानक हे कह पड़ा ...
"आज रिहर्सल नहीं है "....
उसने कहा पार्थ मैं निखिल हूँ...
तुम्हारा दोस्त मेकेमन .....
जो नाटको मैं सब के चरित्र को
बदल देता था.....
मैं सहम गया , क्यूँ की मैं उन दिनों
मैं वापस चला गया था.....
जहाँ लोग नाटक को नाटक नाहे
"नौटंकी " कहते थे...
नाच गाना कहते थे....
पर हम उस ज़माने मैं भे नाटक किया
करते थे......
आज सब कुछ बदल गया है...
हाथो मैं ताली के जगह रिमोट
हो गया है ...हमारा
रंगमंच लोगो की बेडरूम
मै हो गया है........
पर मैं काल भे निर्देशक था
आज भी निर्देशक हूँ ....
तब मैं गली कुचो मैं नाटक
करवाता था, आज मैं प्रेक्षग्रिः
मैं नाटक करवाता हूँ.....
कल मुझे पैसे नहीं मिलते थे
पर आज पैसो के "लिए "नाटक करवाता हूं
कल मैं समाज को बदल ने का
काम करवट था...आज खुद हे समाज मैं
रह कर "बदल " रहा हूँ....
उस लिए her बार दरवाजा खोलते
हे मैं डार जाता हूँ.......
दरवाजे मैं दस्तक दिया ,
दरवाजा खोला तो उसे
देख कर अचानक हे कह पड़ा ...
"आज रिहर्सल नहीं है "....
उसने कहा पार्थ मैं निखिल हूँ...
तुम्हारा दोस्त मेकेमन .....
जो नाटको मैं सब के चरित्र को
बदल देता था.....
मैं सहम गया , क्यूँ की मैं उन दिनों
मैं वापस चला गया था.....
जहाँ लोग नाटक को नाटक नाहे
"नौटंकी " कहते थे...
नाच गाना कहते थे....
पर हम उस ज़माने मैं भे नाटक किया
करते थे......
आज सब कुछ बदल गया है...
हाथो मैं ताली के जगह रिमोट
हो गया है ...हमारा
रंगमंच लोगो की बेडरूम
मै हो गया है........
पर मैं काल भे निर्देशक था
आज भी निर्देशक हूँ ....
तब मैं गली कुचो मैं नाटक
करवाता था, आज मैं प्रेक्षग्रिः
मैं नाटक करवाता हूँ.....
कल मुझे पैसे नहीं मिलते थे
पर आज पैसो के "लिए "नाटक करवाता हूं
कल मैं समाज को बदल ने का
काम करवट था...आज खुद हे समाज मैं
रह कर "बदल " रहा हूँ....
उस लिए her बार दरवाजा खोलते
हे मैं डार जाता हूँ.......
Friday, April 2, 2010
चुनोती एक इन्सान की....
Once a there lived a busy Doctor called Dr. Sam. He was busy not because of his skill as a Doctor but due to his talent in handling his patience. It was about 10:30 pm when Dr. Sam was about to leave his clinic. Suddenly a patient came running to the doctor’s room. Dr. Sam asked him what was his problem? The patient said - “Dr. Sam, I have a great regard for you. Now all I require is a straight forward answer for my question”. “What is you question?” asked Dr. Sam. He replied - “I wanted to know whether there is any place on earth where there are no challenges?” Dr. Sam asked him why he was asking it. The patient replied that he wanted to be in that place.
Dr. Sam said that it was too late and asked him to come to his house early in the morning by 7:00 am and he promised him that he would take him to the place. The patient went home and was wondering where the doctor would be taking him, the next day. He never slept for the night and was waiting for the sunrise. Then he visited the doctor’s residence by 7:00 am, where the doctor was waiting for him. Then both of them walked down to the nearest taxi stand and took a taxi.
It took about one hour of drive from the place and they reached the place. It was a big area with a high-raised walls and the entrance had a big gate. The patient was wondering and started thinking whether the Dr. Sam had gone mad or what? Yes, Dr. Sam had brought the patient to the cemetery. And Dr.Sam got down from the taxi and said - “from my experience, this is the only place without any challenges”
Your - Parth
Dr. Sam said that it was too late and asked him to come to his house early in the morning by 7:00 am and he promised him that he would take him to the place. The patient went home and was wondering where the doctor would be taking him, the next day. He never slept for the night and was waiting for the sunrise. Then he visited the doctor’s residence by 7:00 am, where the doctor was waiting for him. Then both of them walked down to the nearest taxi stand and took a taxi.
It took about one hour of drive from the place and they reached the place. It was a big area with a high-raised walls and the entrance had a big gate. The patient was wondering and started thinking whether the Dr. Sam had gone mad or what? Yes, Dr. Sam had brought the patient to the cemetery. And Dr.Sam got down from the taxi and said - “from my experience, this is the only place without any challenges”
Your - Parth
Thursday, April 1, 2010
India`s multilingual aspects find a poetic articulation amidst Indian theatre. Diverse culture, varied religion and most importantly the multifariousnesses of Indian language has played a great role in shaping up India`s rich heritage and culture. The fusion of different Indian language and the union of varied Indian traditions from different region has enriched India`s ethnicity in quite a large way since the remote past. India, as a multilingual and multi religious state can not be allied with one particular kind of trend and aspect in its theatres and dramas. This is the reason why the deep fervor of Bengali theatre has gelled well with the passion of Hindi Manipuri, Kannada and Marathi theatre and has given birth to a whole new concept of "Indian theatre". It is right after the independence of India, Indian theatre in different Indian languages and regions developed as an important element in taking theatre to the further level of maturity.
Malayalam Theatre, Gujarati Theatre, Kannada Theatre all has its roots associated with the British rule as the seed of the contemporary drama in India was sown during that era. Bengali theatre started with an intention of private entertainment however gradually it became the weapon to illustrate the dislikes and frustration of the British imperialism in India. As an art form Bengali theatre has its roots associated with the British Raj. Although started as private entertainment in the early 19th century Bengali theatre gradually became not only an eminent art form but also started playing the major role in illustrating the discomforts of the British Raj in India. The year was 1947 and the day was 15th August.
The day is indeed a red letter day in the Indian history . It is the Independence Day. Not only India stood apart as a socially and politically sovereign state but also Indian culture, art, music, literature all witnessed a colossal change. Drama and theatre in India in different Indian languages and regions gradually became an art form to illustrate the social and political ailments of independent India. Right after the independence in India the leftist movement in West Bengal, used Bengali theatre as a typical means of advertisement or propaganda. Quite ideally therefore a new trend in Multi lingual & regional theatre gradually developed and the emergence of the group theatres is one of them. All these theatre groups carried somewhat an ideologic at the same time as distinct cultural inspiration to differentiate themselves from the typical artistry of the ancient Indian theatre.
Multi lingual & regional theatre in India can actually be classified into two distinct streams like the urban theatres and the rural theatres. This was even particularly common in the classical art form of the Marathi theatre and Hindi theatre. With the thriving development of the various Indian metropolis Marathi, Kannad and Hindi theatre developed in accord to the Bengali theatre. With the direct influence of the "Yakshagana" the ethnic dance drama of Karnataka which offered a distinct shape to the artistry of Marathi and Kannad drama in the late 19th century. This was the time when Indian drama witnessed the emergence of subtle contrivances and ploys, in illustrating a particular kind of idea. Multi lingual & regional theatre in India thus for the first time saw the materialization of allegorical fantasies in farcical comedies. Some more regional languages in which theatre later developed as an important element took this art form to further level of maturity. Sindhi Theatre,which further popularized the folk art again reshaped the contour of regional theatre in India. With the establishment of the Hyderabad Amateur Dramatic Society in 1912, the change in theme of Sindhi drama became evident. The society`s mainstay, Nanikram Mirchandani, introduced social realism in Sindhi theatre to aid it in befitting the modish aspect of the society. Konkani theatre, Kashmiri Theatre and also the Maithili Theatre witnessed a marked change. Maithili theatre spread to Assam and Nepal, producing a huge corpus of Maithili drama. Siddhi Narasinghadeva and Bhupatindra Malla were among the known playwrights in Nepal. At the end of the nineteenth century Parsi theatre and Ramlila reached Mithila, leading to the premature burial of Kirtaniya. Oriya Theatre blended a deep philosophical meaning with that with the religious fervor to make regional theatre in India to stand out with pride. Assamese Theatre, Dogri Theatre, Manipuri Theatre needs mention in shaping the structure of regional theatre in India. It is with the colors of Rajasthani Theatre, the verve of regional theatre in India gained a dimension. Rajasthani theatre as a popular theatre form was formed in the late nineteenth century. Nepali Theatre, Tamil Theatre, Telugu Theatre, and Urdu Theatre all aided in shaping the Indian regional theatre to a great extent
The journey of the Multi lingual & regional theatre in India thus unfolds the rich history of British Raj and the independence of India. It is the saga of a changing trend; the account of an altering pattern which made Indian theatre lot more contemporary with its entire sophistication and modishness.
Your - Parth Roy
Malayalam Theatre, Gujarati Theatre, Kannada Theatre all has its roots associated with the British rule as the seed of the contemporary drama in India was sown during that era. Bengali theatre started with an intention of private entertainment however gradually it became the weapon to illustrate the dislikes and frustration of the British imperialism in India. As an art form Bengali theatre has its roots associated with the British Raj. Although started as private entertainment in the early 19th century Bengali theatre gradually became not only an eminent art form but also started playing the major role in illustrating the discomforts of the British Raj in India. The year was 1947 and the day was 15th August.
The day is indeed a red letter day in the Indian history . It is the Independence Day. Not only India stood apart as a socially and politically sovereign state but also Indian culture, art, music, literature all witnessed a colossal change. Drama and theatre in India in different Indian languages and regions gradually became an art form to illustrate the social and political ailments of independent India. Right after the independence in India the leftist movement in West Bengal, used Bengali theatre as a typical means of advertisement or propaganda. Quite ideally therefore a new trend in Multi lingual & regional theatre gradually developed and the emergence of the group theatres is one of them. All these theatre groups carried somewhat an ideologic at the same time as distinct cultural inspiration to differentiate themselves from the typical artistry of the ancient Indian theatre.
Multi lingual & regional theatre in India can actually be classified into two distinct streams like the urban theatres and the rural theatres. This was even particularly common in the classical art form of the Marathi theatre and Hindi theatre. With the thriving development of the various Indian metropolis Marathi, Kannad and Hindi theatre developed in accord to the Bengali theatre. With the direct influence of the "Yakshagana" the ethnic dance drama of Karnataka which offered a distinct shape to the artistry of Marathi and Kannad drama in the late 19th century. This was the time when Indian drama witnessed the emergence of subtle contrivances and ploys, in illustrating a particular kind of idea. Multi lingual & regional theatre in India thus for the first time saw the materialization of allegorical fantasies in farcical comedies. Some more regional languages in which theatre later developed as an important element took this art form to further level of maturity. Sindhi Theatre,which further popularized the folk art again reshaped the contour of regional theatre in India. With the establishment of the Hyderabad Amateur Dramatic Society in 1912, the change in theme of Sindhi drama became evident. The society`s mainstay, Nanikram Mirchandani, introduced social realism in Sindhi theatre to aid it in befitting the modish aspect of the society. Konkani theatre, Kashmiri Theatre and also the Maithili Theatre witnessed a marked change. Maithili theatre spread to Assam and Nepal, producing a huge corpus of Maithili drama. Siddhi Narasinghadeva and Bhupatindra Malla were among the known playwrights in Nepal. At the end of the nineteenth century Parsi theatre and Ramlila reached Mithila, leading to the premature burial of Kirtaniya. Oriya Theatre blended a deep philosophical meaning with that with the religious fervor to make regional theatre in India to stand out with pride. Assamese Theatre, Dogri Theatre, Manipuri Theatre needs mention in shaping the structure of regional theatre in India. It is with the colors of Rajasthani Theatre, the verve of regional theatre in India gained a dimension. Rajasthani theatre as a popular theatre form was formed in the late nineteenth century. Nepali Theatre, Tamil Theatre, Telugu Theatre, and Urdu Theatre all aided in shaping the Indian regional theatre to a great extent
The journey of the Multi lingual & regional theatre in India thus unfolds the rich history of British Raj and the independence of India. It is the saga of a changing trend; the account of an altering pattern which made Indian theatre lot more contemporary with its entire sophistication and modishness.
Your - Parth Roy
Subscribe to:
Posts (Atom)