Madan Lal Gupta – Innovations in Bricks/Archana H Colquhoun
Using an integrated art
methodology to study works of Madan Lal Gupta…..in conversation with Archana Hebbar Colquhoun
StageBuzz Blog
Folk Dances of India: Kuchipudi
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.
Theatre Union’s plays on Feminist Issues and those of Social Relevance
Firstly since Women’s Day just happened this month, it is important to recall the innumerable street plays we did on women’s issues mostly under the banner of Theatre Union and Workshop Theatre But here...
Folk Dances of India: Kalbeliya
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.
Editor Manohar Khushalani got Natsamrat Best Critic Award this day in 2019
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).
Autumn Tree of Pleasure – Japan/Archana Hebbar Colquhoun
The Bhagawad Gita (15.1) Lord Krishna describes the divine Ashvattha tree, as that whose roots grow upwards and the branches of which extend downwards; its leaves are the sacred knowledge of the Vedas; the...
Pierrot’s Troupe presents a new play on Sahir and it’s all time popular comedy on Ghalib
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.
Faiz Forever / Kanika Aurora
Gulon mein rang bhare Baad-e-naubahaar chale Chale bhi aao ki Gulshan ka karobaar chale Come bahaar or spring and we all end up quoting Faiz Ahmed Faiz conjuring up evocative and tantalizing images of...
The X factor of Installation Art/Archana Hebbar Colquhoun
Installation Art I would like to quote from the Tate glossary of art terms a definition of Installation Art. “Mixed-media constructions or assemblages usually designed for a specific place and for a temporary period...
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.
