National School of Drama today inaugurated its, evergreen, much-awaited 11^th Bal Sangam – a folk & traditional performing Arts & folk Theatre festival, at the lush green lawns of the campus amid much fanfare. Watch the film made on the occasion by my Digital Media students at IIITD: Sahil Yadav, Aseem Saini & Dilnawaz Ashraf

https://youtu.be/BtmyaJwBD2I

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The opening ceremony of Bal Sangam witnessed the gracious presence of Renowned Theatre Actor & Director, Prof. Ram Gopal Bajaj, Prof. Suresh Sharma, Director-in-Charge, NSD, Abdul Latif Khatana, Chief, TIE Co., and Prof. (Dr.) Abhilash Pillai, Dean-Academic.

The opening ceremony was followed by Rangoli – a stage performance by Folk & Traditional child artistes of India, choreographed by renowned choreographer Shri Bharat Sharma, who has an illustrious career spanning over three decades.

Renowned Theatre Actor & Director, Prof. Ram Gopal Bajaj said, “Without relation and communication there is no world. Festival like Bal Sangam help building relationship among the children of different culture. Strong relationship and bonding lead to form a strong nation.”

Prof. Suresh Sharma, Director-in-Charge, National School of Drama said, “I’d like to thank everyone who managed to take out their valuable time to come here and give their blessing to the participating kids. I welcome all the participants and audience to this festival. We are proud that the TIE Company has been working hard to make children know about their own culture, traditions, and values. NSD will continue taking such initiatives in the future as well.”

Mr. Abdul Latif Khatana, Chief, Theatre-in-Education said, “Theatre-in-Education has been continuously trying to reach and touch the lives of children across the country in last three decades. Apart from folk & traditional performing arts and folk theatre, we conduct interactive workshops among participant children from different parts of the country.  The experience and exposure they get at such a young age, will definitely inspire them to do something in the field of folk and traditional performing arts and folk theatre in the future.”

Prof. (Dr.) Abhilash Pillai, Dean-Academic, extended the vote of thanks to chief guest, children and the audience for taking out their time and being a part of Bal Sangam.

Bal Sangam provides the platform for young talent who have never got chance to show their talent and whose performances have never been witnessed at national level. Long Man, Rajasthani Puppet, Behroopiya, and Magician etc. are the special attraction of the festival. Various types of art and craft workshops are also being conducted during the festival.

This year around 15 productions from 12 states are participating in the festival. Bhavesh Chau Nritye Kala Kendra Jharkhand will perform Kharsama Chaun Sholi, likewise Manipuri Folk by Thang-Ta Cultural Association Manipur, Rajasthani Lok Kala by Manganiar Group Rajasthan Rajasthan, Gotipua Dance by Aradhana Dance Academy Odisha, Bodo Folk by Sifung Harium Afad Assam, Oggudolu by Kunta Sadaiah Oggudolu Group Telangana, Kalarippayat by Hindustan Kalari Sangam Kerala, Punjabi Folk by Punjabi Folk Art Centre Punjab, Malvi Lok Nritye by Pratikalpa Sanskrit Sansthan Madhya Pradesh, Gujarati Folk Dance by Kalrav Sewa Trust Gujarat, Pasumukha (Animal Mask Dance), Kandhei Nata (Puppet Dance) Kothishala by Bichitra Barnali Natya Sansada Odisha, Tiwa by Tiwa Bhakha – Sanskriti Charcha Somittee Assam and Folk & Traditional Theatre performances will be Ram Vijay by Manjula Kalakendra Assam, “Gosian Pather” by National Bhand Theatre J & K, and Yakshagana Dance Drama by Yakshagana Kendra Karnataka.

 The Bal Sangam festival is an ensemble of various performing traditional art forms presented by children, with the objective of encouraging children to continue traditional performances so as to preserve our cultural heritage in this rapidly changing world. The fanfare and hub of Bal Sangam 2019 start from 9^th November and goes on till 12^th November 2019 at the New Delhi Campus of NSD at Bhagwandas Road. Timing- 4:00PM to 8:00PM. Entry to the event is free.

National School of  Drama, the foremost theatre training institutions in the world and the only one of its kind in India today announced the commencement of its much awaited 11^th edition of Bal Sangam from 9^th-12^th November 2019, in its premises. The 11^th edition of the festival will showcase enthralling folk & traditional performing Arts & folk Theatre from 12 states of India dedicated to children.

Bal Sangam, an outreach programme of Sanskaar Rang Toli (Theatre-in-Education Company), in every alternate year brings forth both the heritage and legacy of traditional art forms and performances that are presented by children belonging to traditional performing families, guru-paramparas, and institutions across the country.

The four-day cultural mela will begin on November 9th, five days ahead of the Children’s Day with an inaugural performance ‘Rangoli’ by folk and traditional child artistes of India, choreographed by renowned choreographer Shri Bharat Sharma, who has an illustrious career spanning over three decades. The Festival also includes folk dance, martial arts, acrobatics, street play performances and also acts like juggling, puppetry and magic shows.

To encourage eagerness in children for traditional performances, states like Assam, Odisha, Rajasthan, Manipur, Jammu and Kashmir, Karnataka, Telangana, Kerela, Gujarat, Punjab, Jharkhand, and Madhya Pradesh will bring to the fore the magic of folk performances and plays so that Indian cultural heritage will be preserved in this rapidly changing world.

Dr. Arjun Deo Charan, Acting Chairman, National School of Drama said, “The festival is an ensemble of various performing traditional art forms that are presented by children. We are proud that the TIE Company has been working hard to make children know about their own culture, traditions and values,”

Highlighting the importance of theatre and folk performances, Shri Suresh Sharma, Director-in-Charge, National School of Drama said “Theatre and folk performances are a great learning medium for exploring and sensitizing children towards issues. Such activities and festivals are a wonderful platform to not just perform, but learn, travel, and share. NSD believes that theatre makes a person sensitive towards issues and an active participant of society as it boosts powers of communication. Theatre brings in all these qualities and if children are introduced to this wonderful, they become better human beings”.

Mr. Abdul Latif Khatana, Chief, Theatre-in-Education, said, “Bal Sangam is a confluence of folk and traditional art forms performed by children. When the child artistes imbibe these folk and traditional art forms with the mastery of their art and their innocence then the performance becomes magic.”

NSD authorities will be making special arrangements through various NGOs working with underprivileged children and social organisations, to reach out and invite children from not so privileged class so as to give them the due privilege to experience and be enriched by this long awaited festival of National School of Drama for children.

There will also be various types of art and craft workshops during the festival from 9^th–12^th November.

About National School of Drama

National School of Drama is one of the foremost theatre training institutions in the world and the only one of its kind in India. It’s an autonomous organization, fully financed by the Ministry of Culture, Government of India. Training in the School is highly intensive and is based on a thorough, comprehensive, carefully planned syllabus which covers every aspect of theatre and in which theory is related to practice.

About T.I.E. Co.

Sanskaar Rang Toli (T.I.E. Co.) of NSD was established on October 16, 1989, and completed 30 years of its existence. Sanskaar Rang Toli is the only theatre education resource centers in the country and has worked with around 20 thousand children till date in various workshops. It consists of a group of actor-teachers working with and performing for children. The major focus of the TIE Company is to perform creative, curriculum-based and participatory plays in schools, specially designed and prepared for children of different age groups.

The TIE Company has done more than 2000 performances in various parts of the country. More than 10 lakh children, apart from college students, teachers, parents and theatre lovers, have witnessed these plays in approximately all the states in the country as well as internationally such as Poland, China, Philippines and Japan.

The Toli began with an objective of bridging the gap between passive education and an active method of learning by doing through its performances of varied plays, Summer Theatre Workshops on self-development and social integration, Sunday Club for devising original performances with children, workshops with teachers on effective teaching-learning process. All these activities are practiced round the year as per the children’s annual school calendar in Delhi and other parts of the country.

A Review by Prof. Manohar Khushalani
Published earlier as ‘Intertwined Lives’ in IIC Diary Nov-Dec 2010 Issue

Indian theatre professionals have been complaining about lack of contemporary indigenous playwrights. But a crop of new playwrights is emerging. Abhishek Bhattacharya’s ‘Nothing Will Happen Between Us’ and Anushka Ravi Shankar’s ‘Phoenix’ come to one’s mind. The latest new playwright to hit the horizon is Nilanjan Mukhopadhyay, a seasoned journalist; whose first play, ‘Everything Personal’, was presented by Yatrik under the direction of Bhaskar Ghosh. Incidentally, all the three plays were produced by the India International Center, though the first two were presented by Ruchika Theatre Group at IIC earlier.

Mukhopadhyay’s precisely written script is about what happens when Everything Personal leaks into the public domain.  The play revolves around a radio reality show. The show has listeners phoning in, and, using made-up names, answering very personal questions, hopefully truthfully – since they are promised by the Radio Channel that their identities will be kept concealed. The story revolves around two couples whose lives get intertwined due to the radio show. Vivek (Sunit Tandon) and Nupur (Rupali Sharma) are a lovey-dovey couple who have Ganesh, (Vishaal Sethia) and Madhuri (Isha Joshi) as frequent visitors, often coming over for dinner. Vivek is intrigued by the show and is uncontrollably attracted to it with his thrill-seeking temperament. As Vivek is artfully drawn in by the Radio Jockey (Aarti Nayar) to reveal intimate secrets of his life, it creates a turmoil in the lives of the remaining three. For one, Vivek had a previous relationship with Madhuri, which he confessed about on the radio show, without revealing her identity – though, it didn’t take long for the spouses to guess. As the shows progressed, the pressure of keeping the listeners entertained led to unprecedented brinkmanship on Vivek’s part. So much so, that he inadvertently revealed a deep dark secret of his life which shocked even the radio channel.

Bhaskar’s taught direction did full justice to Mukhopadhyay’s script which kept the audience on tenterhooks. Sunit Tandon’s rendition of an unfathomable liar, who keeps others guessing as to whether he was lying or not, was well crafted. Arti Nayar, Rupali Sharma and Vishaal Sethia gave competent performances. Sinia Dugal and Ramesh Thakur as Vivek’s parents provided the appropriate support, however, Isha Joshi needs to work on her voice projection. The play was not just entertaining, but it also examined some issues regarding the high expectations of the younger generation and marital loyalty in a contemporary framework. One hopes that the Playwright will continue to write and contribute to the Indian theatre scene.

Published earlier as ‘Intertwined Lives’ in IIC Diary Nov-Dec 2010 Issue

A Review by Prof. Manohar Khushalani

IICs  Annual Day was celebrated with a fitting tribute to Munshi Premchand by dramatic renditions of four of his most well known short stories directed by Rajinder Nath and presented by Nepathya Foundation. All the four plays were really heartwarming epitomized by the Director’s deft presentation, which was minimalistic and intellectually stimulating, thus doing justice to the author’s own style of writing. Competent performances by all the actors, especially Mala Kumar, Rekha Johri,  Animesh Singhal and Gaurav Sehgal propelled the play.

Known as a pragmatist, social reality and pathos has been the focus of Premchan’s writings, which was also emulated by two of the plays performed that day; Shanti and Satgati. But, pathos isn’t the only emotion he could write about. In ‘Moteram Ji Shastri’, the story of a lovable charlatan, who, like Molier’s Mock Doctor, gives us twinkle-eyed humour of unbelievable situations. But, despite his wife’s warnings, of not getting entangled with women, Moteram ends up becoming the Queen’s physician, enchanting her with his gift of poetic gab, only to be kicked unceremoniously out by the guards.

Bade Bhai Sahab, a light-hearted story of sibling rivalry between two brothers, one of whom is five years elder to the other. While the elder brother is prone to sermonize the younger one; on the need to take studies seriously, much to his own embarrassment, the younger one catches up with him as he gets promoted each year. Unfortunately, the older one stays put in the same class. Charmingly enacted, the mirthful story ends with food for thought. Is educational qualification really superior to wisdom laden experience?

Published earlier in IIC Diary

Review as published in IIC Diary

NSD Play Directed by Waman Kendre

A review by Manohar Khushalani

First Published in IIC Diary

National School of Drama’s “Ghazab Teri Ada”, an anti-war play, adapted from Aristophane’s Greek comedy, Lysistrata, was staged at IIC. Adaptation, music design and direction is by Waman Kendre and light design by Suresh Bharadwaj. The play was initially performed at NSD as a tribute to war victims around the centenary of World War I. However, with the prevailing war psychosis, the play has contemporary relevance too. Taking a cue from the Greek play, first performed in classical Athens in 411 BC, which was a comic account of one woman’s extraordinary mission to end the Peloponnesian War, the protagonist of the Hindi play, Laya, convinces the wives of soldiers, to withdraw sexual favours to their husbands, until  they agree to desist from fighting the War Mongering King’s battles. In the non-violent protest, even the Queen is co-opted. In order to seal all alternatives for men, even the lady brothel-keeper is made a co-conspirator. There are hilarious scenes of desperate men trying to win favours first from their wives and later, in futility, from the women in the brothel. Even the King is brought on his knees by the Queen. The play ends with the soldiers laying down their arms.

The racy musical, with a folk flavor, has been intricately designed by Kendre. The women’s protest, was unusually orchestrated with strident ringing of hand held temple bells, in a martial style. He avoided the obvious Ghungroo, realizing that it was more a symbol of femininity than feminism.

The Review Published in IIC Diary

Lola Chatterji (26 July 1924 – 5 June 2019)

Lola Chatterji, who died peacefully on 5th June 2019 was a well-recognized figure in theatre circles in the capital. As a member of the English Department at Miranda House for over two decades, she was involved in many theatre productions in Delhi University in the sixties and seventies. Among the plays she directed or co-directed at Miranda House were: Easter (Strindberg), The Rape of the Belt (Levy), The Member of the Wedding (McCullers), Ring Round the Moon (Anouilh), Mourning Becomes Electra (O’Neill), and The Importance of Being Earnest (Wilde). She was also closely involved as staff advisor and mentor in three plays put up by DUMADS (Delhi University Music And Drama Society): Rhinoceros (Ionesco), A Man for All Seasons (Robert Bolt), and Rosencrantz and Guildenstern Are Dead (Stoppard).

Lola’s life-long interest in the theatre continued for many years after her retirement. She served for many years as Vice President of the Shakespeare Society of India and as a board member of Yatrik. She was particularly known for her make-up skills. There would e few actors in Delhi University theatre or in Yatrik who did not have their make-up doen by her.

A memorial event for Lola Chatterji will be held on 4th July 2019 at 6:30 pm in the Multipurpose Hall, Kamladevi Wing, India International Centre, New Delhi. All are cordially invited to the event

Playwright: James Graham

Director: Ajay Khatri

Group: N.S.D. Diploma Production, New Delhi

Language: Hindi

Duration: 1 hr

The Play

The play Privacy is a story of a writer who is hiding all these years in her shell. She’s afraid of coming out in public and the social media. Heartbroken and after having a deep interaction with a psychoanalyst, she is determined to take on the world. She wants to write a play, meet new people, interact and experience their lives. Through the process of meeting she is introduced to the social media and technologies and learns how they are involved in surveillance. She unveils and reveals herself to society and ends up meeting someone similar.

Director’s Note

During my training in Direction at National School of Drama I tried exploring a new language of theatre in the contemporary world. Since past few years, I have been fascinated with technology, media and re-invention in theatre. In this era of globalization, I strive to locate a language that is mutually complementary to masses – as viewers and we as artists.

My interest in privacy and surveillance dates back to graduation days. Initially, social media always intrigued me instigating thoughts to question the way it interfered with our lives. I have extracted the recollections of collective impressions made on me in all these years in the play – Privacy.

This adaptation of the play involves gender inequality and how our society reacts to privacy and surveillance predominantly, of females begins from birth, continue into her teens till she matures. Then her next ‘milestone’ is when she belongs to the watchful eyes of her husband’s family. The unstated social activities and other social elements intrude and lay claim on her life. Through this narrative / performance, we try to express and understand how a hitherto unknown woman protects her privacy from being waylaid by agents of society. Though it is strange and difficult for anybody to firstly realize and then accept that there are now new weapons and systems being engaged to trap, track and control targets especially those considered disruptive by society which is also the State.  Our social, economic and political leanings are trapped by and handcuffed in a technologically – driven society. Surveillance is meant to intrude upon and deny privacy- a person struggles for his personal expression and existence amidst it’s, all pervasive and overpowering presence in our lives.

Violence erupts and flourishes to stop or counter state sponsored hostility. The State wields a powerful backup or ‘in the wings’, weapon of sophisticated technology-driven surveillance; destroying and disrupting natural human passages of vent: behavior, emotions, social, work, family or relationships. When an individual’s surveillance is used unopposed against his/ her/ or their own will.

The Director

Ajay Khatri is a graduate from National School of Drama. He is instrumental in guiding theater workshops and instilling these with creative energy befitting young independent theatre aspirants and groups, school, colleges and NGOs. Starting his journey in 2005 as director he presented: Surya Ki Antim Kiran Se Surya Ki Pehli Kiran Tak, Yayati, Illa, Komal Gandhar. He has worked and designed lights in national projects such as Othello, Comedy of Terrors, and Arjun Partigya among other experimental exploratory pieces include: Saturday Night and Privacy.

The Playwright

James Graham (born 1982) is a British playwright, television writer and actor. His work has been staged throughout the UK, at theatres including the Bush, Soho Theatre, Clwyd Theatr Cymru and the National Theatre. He was discovered by, and has been a playwright – in – residence at, the Finborough Theatre.

He wrote the script for the film X+Y, which premiered in 2015. He has written The Culture, This House, Labour of Love, Little Madam,  The Whiskey Taster, The Vote, Finding Neverland, The Men and Sixty – Six Books among several others. His play Privacy had its world premiere at the Donmar Warehouse, London.

The Group

This play is being presented as a part of National School of Drama’s graduate showcase (class of 2018), which aims to provide a platform for emerging theatre practitioners, allowing them to share their work with a wider audience.

Cast & Credits

On Stage: Meenakshi Thapa, Sanjeev Jaiswal, Rachna Gupta, Debashree Chakrabarty, Bhagyashree Tarke & Rahul Kumar, Jayanta Rabha, Parag Barouah, Sayan, Shruti

Technical Team: Vishala Mahale, Saras

Lights: Sarthak

Animation: Priyansh

Music: Daood Husain, Vikesh Bisth, Sachin Rohilla, Mahadev Singh Lakhawat, Devika

Story: James Graham

Dramaturge: Ajay Khatri

Translation: Meenakshi Thapa

Adaptation, Design & Direction: Ajay Khatri

Playwright: Hara Bhattacharya

Director: Goutam Mukherjee

Group: Chhandam, West Bengal

Language: Bengali

Duration: 1 hr 40 mins

The Play

After 15 years of absence, veteran theatre actress Kamini returns to stage as the protagonist of  Euripides’ play Medea, directed by her ex-fiancé and famous theatre director Purushottam Dasgupta who had used Kamini’s acting ability and charm to make his plays successful, but had later married Ipshita, the daughter of an influential Minister. Kamini’s friend Kanchan is serving life-imprisonment for killing her new born male child out of vengeance towards her husband, who had got her previous pregnancies aborted since she was carrying a female foetus in her womb. For Kamini, Kanchan is the Medea of our time. Gradually Ipshita also starts identifying herself with Medea, Kanchan and Kamini. Kamini’s interview by a famous theatre critic Tonumoy, in Kolkata’s leading newspaper, reveals the present day story of several Medeas.

Director’s Note

I have tried my best to give the complex fabric of gender politics a modern stage-language by designing the play with the austerity that it deserves. It was a challenging and thrilling project for me as a director, to bring out the essence of the concept of an intricate and intense subject brilliantly depicted by the playwright. Ultimately, I can humbly say, with chiaroscuro light design, absorbing sounds and a relatable set-design, Medeara has become a brilliant play to watch.

The Director

Goutam Mukherjee started his theatre journey as an actor in 1985. He directed the play Moinuddiner Bhoot for the group Samay in 1993 which was awarded District’s Best Production by Paschimbanga Natya Academy. In 1994, Goutam joined Chhandam and started acting in many remarkable plays by the troupe under the direction of Late Sudhangsu Dey, the pioneer director of the troupe. In 2015, at Chhandam, Goutam directed the play Lajja written and compiled by him. The play Medeara is his second directorial work for the troupe Chhandam.

The Playwright

Hara Bhattacharya is an eminent playwright of West Bengal who has been active in Bengali theatre since 1987. Most of his plays have been produced by eminent directors like Bibhas Chakraborty, Biplab Bandopadhyay, Chandan Sen, Anirban Bhattacharya and others. Some of his remarkable plays are Nashta Asim, Noti o Ghorachor, Adbhut Andhar, Aguner Barnamala, Ashtitwer Akaar, Oedipus, Medeara. He was awarded with Sundaram Puraskar in 1990, and West Bengal Journalists Association’s Dishari Award for Best Playwright in 1996. His play Aguner Barnamala was staged in Bharat Rang Mahotsav in 2007.

The Group

Chhandam was founded by a few young theatre enthusiasts of Raiganj in 1962. Since then it has been traversing the path of theatre uncompromisingly. It celebrated its golden jubilee in 2012 and has almost 60 outstanding plays to its credit, one of which has been crowned with presidential award and some of which have been honoured with several other awards. It has established its own theatre auditorium where most of the theatre groups across the state regularly stage their productions. Besides producing plays, the group frequently arranges seminars and conducts intimate discussions and workshops to develop the physical skills as well as the mental capabilities of the theatre aspirants of the group.  

Cast & Credits

Kamini / Medea: Srabani Dey

Kanchan: Barnali Nandi

Jason: Koushik Das

Tonumoy: Santanu Chatterjee

Purushottam Dasgupta / Creon: Goutam Mukherjee

Reporter: Sumitra Bhowmick

Ipshita: Ratna Basu

Tapan: Subrata Talapatra

Satyada:  Satyabrata Deb

Suman / Photo Journalist: Suvra Ghosh,

Medearas / Group of girls:   Sangita Ghosh, Shilpa Deb, Ritwika Biswas, Debolina Paul

Stage & Costume Design:  Neel Koushik

Stage Designing Assistance:  Koushik Saha, Goutam Basak

Light Design & Application:  Soumen Chakraborty

Choreography & Music:  Deb Kumar Pal

Music Application:  Anirban Mandal

Make-up:  Bhanu Mitra

Production Design:  Shubhabrata Sinha Roy

Playwright:  Hara Bhattacharya

Director:  Goutam Mukherjee