Author: Gouri Nilakantan

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Play / Theatre

SO YOU GET WHAT YOU WISH a play by Gouri Nilakantan

SO YOU GET WHAT YOU WISHA Children’s Play by Gouri Nilakantan(For performing this play, read the corollary at the bottom) CharactersZooli/Mr Anthony LoboFreeman/rahulWise guy/ RohitFullon-rockon/ Puskar (Anthony lobo enters the stage. He has a...

Performing Arts / Play / Theatre

Playwriting for Children

10 golden pointers to be kept in mind while writing children’s plays.

1) Do not be afraid of using contemporary language and one can even throw in few phrases in Hindi, if the need be. Make it Hinglish if you want.

2) Children love comedy. They might not have the same taste as adults and might find things like “ farting” “ throwing up” comic. Add them to the script, they just add to the flavour. Please do not become prudish.

3) Another thing that fascinates children is the idea of mystery and surprise, you can use them too.

Read the rest……

Articles / Prose

The Prosaic Names the Profound

Vibrancy comes not from creating something new and novel all the time, but in the unchanging ways we have adapted ourselves into.   The ordinary is the one that creates the true promise of the………

Prose

The Dance of the Hyperbole

Let us not even once, then, discount these as mere undecorated flecks, but as gigantic astronomical atoms, that pinpoint to the immense creativity and churning in the human mind.  If just one of these little mites gets charged, we create a gigantic reaction in our minds.  That chemical reaction is sure to explode, not to destroy but ….

Theatre

The significance of props on stage

Andrew Sofer, in his book, “ The Stage life of Props” says that, “ the object must be seen as having a sign.” The stage props hence has a strong presence, sometimes as strong as the actor themselves.  As Felix Bossonnet sees the props they are much more than the physical presence they hold.  Props have to be read between the complex relationship between the actor the text and the audience.  It provides a complete whole experience of transmission of the audience into the world of the “ play or krida”.  As Sofer sees the distinctions between the props and the characters should become more and more blurred, it should be amalgamated as one whole.  The responsibility of this hence is not just within the text but by the directors as well as the actors.