Folk music, dance and theatre represent the traditions and cultural richness of an area. It sheds light on rural life, which is closely associated with inherent customs. Uttrakhand has a vibrant culture, and the diverse, authentic folk dance forms reflect the same. Folklore of Uttarakhand represent the love, passion, agony, sacrifice, misery, and compassion of these locals and help us relate to them to share their feelings.
Kuchipudi is one of the major Indian classical dance folk forms performed in India. It derives its name from its village of origin, Kuchelapuram and is one of the favourite dance forms of Lord Krishna. Kuchipudi is known for its fast rhythms and fluid movements, creating a blend of delicacy and strength. Kuchipudi has for sure occupied a special place among other Indian classical dance forms by being a country-wide celebrated dance folk form and is recognized worldwide in many international traditional festivals.
The desert state’s iconic Kalbeliya dance form performed and enjoyed by the Kalbeliyan community of Rajasthani snake charmers encompasses swirling and graceful movements that make this dance a treat to behold. Their dances and songs are a matter of pride and a marker of belonging for the Kalbelias, which reflect the imaginative adaptation of this group of snake charmers to ever-changing socioeconomic circumstances in their Rajasthani society.
The Glittering night of Natsamrat Theatre Awards. This was the most memorable moment of that year for StageBuzz Ed, Manohar Khushalani To be Awarded The 2019 Natsamrat Best Theatre Critic Award. It was indeed a fulfilling moment and an acknowledgement of his decades of consistent and persistent work as a critic for Pioneer (Column: Foot Lights), Mid Day (Culture Cocktail) and of course StageBuzz (Editor).
Sahir Ka Khayal Aaya (Urdu) – The play celebrated Sahir Ludhianvi’s 100th Birth Anniversary on March 8 this year. It is presented as a ‘Monologue’ (performed by Sharique Aziz) as it showcases young Sahir in the state of crafting his long poem Parchhaiyan, arguably the best and definitely the longest anti-war poem of the last 100 years.
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.
Dr Kapila Vatsyayan passed away peacefully at her residence (No.85, SFS Flats, Gulmohar Enclave, New Delhi), Wednesday 16th September, 2020 at about 0900 hrs, this morning, . She was a leading scholar of Indian classical dance, art, architecture, and art history.
I have been unwell and have been detected with cancer of the brain as well as the lungs. Yet I am sure I will pull through and that we will soon meet again. Your good wishes are my strength – Bansi Kaul
Theatre doyen and legendary Pedagog Ebrahim Alkazi, who shaped proscenium theatre in India, died peacefully on Tuesday afternoon after suffering a heart attack, his son, Feisal Alkazi, informed us. Feisal told me the whole family was proud of his fathers humongous achievements. A career spanning 74 active years he passed away at 94.
A popular actor of yester years, Lalita Kenkre, passed away in her sleep peacefully on 28th July 2020 morning. She was 86. Wife of noted theatre director, actor, designer Damoo Kenkre, mother of director...