The Play
Rajula Malushahi is a folklore of love between Rajula, daughter of trader Sunpati Shauka, and Malushahi, a great king of the Bairatha region in Uttarakhand. On knowing that Rajula has been engaged, Malushahi, disguised as a mendicant, reaches Sunpati’s residence. Sunpati poisons Malushahi and disposes off his body in the mountains. But Mirtu Garhwali, a mystic sent by Malushahi’s mother Dharmadehi, revives him from death. Malushahi returns and, after a battle, reunites with Rajula.

Director’s Note
Rajula Malushahi, composed by the renowned theatre musician, late Shri Mohan Upreti is based on his extensive research as imbibed in his work on the folklores of Uttarakhand, and sung by legendary folklorists. The melody and rhythm structure were ingeniously adapted while composing this retelling of the folklore Rajula Malushahi. This production is a tribute to Sh. Mohan Upreti, founder of the group Parvatiya Kala Kendra, who adapted the folk dances and songs of this region to the requirements of contemporary stage, creating various choreographic compositions which were staged in Delhi and other cities of the country and abroad.

The Director
Amit Saxena is an alumnus of National School of Drama, New Delhi. He is trained in Seraikella Chhau dance and Pantomime. Amit has directed plays and musicals for various cultural organizations of Delhi on multifarious themes. He regularly conducts Art & Culture Appreciation Course focusing on inter-disciplinary subjects like body-movement, dance-therapy, mime, voice and speech, ethnic visual arts, and literature, for young students, theatre practitioners and art lovers.

The Playwright
Shri Brajendra Lal Shah was a renowned writer, novelist, poet and playwright of Uttarakhand. In 1992, he was honoured with the prestigious Uttar Pradesh Sangeet Natak Akademi award for his contribution in the field of play-writing.

The Music Composer
Late Shri Mohan Upreti was a teacher, singer, researcher and theatre musician who pioneered the operatic singing traditions of Uttarakhand like Kumauni Ramlila, Jagar and other folk forms and created forays on the modern theatre platforms during the 1970s to 1990s. Operas for which he composed music are Rajula Malushahi, Ajuwa Bafaul, Rasik Ramol, Bhana Gangnath, Uttar Ramcharitmanas, Andha Yug, Inder Sabha, Meghdoot to name a few. He was honoured with prestigious awards like Uttar Pradesh Sangeet Natak Akademi award, Sahitya Kala Parishad award for Theatre Music and Uttar Pradesh Yash Bharati award amidst many others.

The Group
Parvatiya Kala Kendra was founded by Late Shri Mohan Upreti with a view to promote the folk forms of Uttarakhand. The Kendra’s aim is to build an indigenous theatre, which could reflect the life of the hill- people of Kumaon and Garhwal, their aspirations and their problems, their aesthetic sensibilities and awareness.

Cast & Credits
Rajula Ridhima Bagga
Ganguli (Rajula’s Mother) Chandra Bisht
Sakhiyan Abhilasha, Laxmi Mahato, Suman Rani, Neelam Rana,

Tripti Thapliyal, Shreshtha
Pariyan Tripti, Shreshtha, Suman & Abhilasha
Dharmadehi
(Malushahi’s Mother) Babita Pandey
Chorus & Villagers Laxmi Mohato, Neelam Rana, Gargi Latwal, Suman Rani,
Namrata Negi, Abhilasha, Shreshtha, Tripti Thapliyal

Malushahi Sudhir Rikhari
Sunpati Shauka Mahender Singh Latwal
Sidua Ramol Khilanand Bhatt
Bidua Ramol Mukesh Sanwal
Pujari Dinesh Sharma
Phachuwa Duryal Dhruv Kumar
Kalu Kahad & Lachchu Mahar Gaurav Verma
Pachhu Mahar Mukesh Sanwal
Mama Nagmal Gopal Pandey/Dinesh Sharma
Jogi Dal (Khekidas, Bhekidas,
Henidas, Phenidas) Deepak Rana, Gautam Kumar Singh, Laxmi Dutt Sharma,

Dhruv Kumar
Bheku Darwan & Pahri Bhupal Singh Bishit
Mirtu Gharwali Mukesh Sanwal
Chorus & Villagers Deepak Rana, Gaurav Verma, Govind Mahato, Khilanand Bhatt,

Bhuwan Rawat, Gautam Kumar Singh, Shanu

Harmonium/ Cue Control Bhairab Tiwari
Harmonium Navneet Pandey
Tabla Mohd. Idris Khan
Flute Rajender Samwal
Sitar Sayeed Khan
Sarangi Anil Mishra
Percussions Gagan
Folk Instruments of Uttarakhand Ramesh & Party
Music Arrangement Dr. Pushpa Tewari Bagga
Choreography Divya Upreti, Diksha Upreti
Make-up Hari Kholiya
Costume Late Shri Anand Singh Kumaoni, Hari Kholiya
Costume Assistance Mahender Singh Latwal, Chandra Bisht
Property & Set Gopal Pandey
Property & Set Assistance Khilanand Bhatt, Govind Mahto, Bhupal Singh Bisht
Aipan Art Asha Upreti
Lighting Shyam Kumar Sahni
Music Composition Late Sh. Mohan Upreti
Playwright Brajendra Lal Shah
Direction Amit Saxena

The Play
The play Agnijatak concerns children who are the future citizens of the world and who happen to be the most marginalised beings as they are exposed to both emotional and physical threats. Being vulnerable and defenceless, they cannot fight the atrocities by adults. The play addresses the burning issues of the globe through allegory. Monika, the protagonist hears from her unborn child that no baby is to be born in this ghastly world anymore. The foetus disturbingly questions the mother about the atrocities taking place world-wide. Throughout the interaction between the mother and the unborn child we get to see this planet in a horrifying light. The play ends in an optimistic note where all hope is yet not lost.

Director’s Note
Through directing this play I found an opportunity to convey the disturbing thoughts that come to a thinking mind while observing the terrible degeneration of the world both by physical and metaphysical parameters. Since the play addresses the issues of atrocities, which is becoming a global phenomenon, I, on principle tried to give it a look which is not area, geo or locale specific. Only time is specific here because the acts captured in this play are very much contemporary. I worked with a big cast which is always challenging for a play which is organically intimate. Though this play has elements of an adult fairy tale, I intentionally crafted pieces of news highlighting the morbidities happening worldwide to transform this play from surreal to real, from soul to skin, from the world of fantasy to the burning realities.

Director & Playwright
Ishita Mukhopadhyay has scripted and directed over 20 plays for her own group Ushneek and other groups as well. She had been associated with Desh, a biweekly magazine as a theatre critic for 3 years. She also has written more than 15 plays which have been aired by all India Radio, also scripted and co- directed numerous programmes of Kolkata Doordarshan. She also showed her multi-direction talent while scripted and directed tele-serials for channel Zee (Hindi). In 1984, at the age of 20, she directed the play Ghar, an adaptation of Jean Paul Sartre’s The Room. She also performed as an actor under the direction of Salil Bandhopadyay, Sunil Das, Manoj Mitra, Aloke Ranjan Dasgupta, Wolfram Mehering and others. Ishita has received Uttam Kumar Award, Pramathesh Barua Award, All India Critics Award, All India Women Association Award, Kalaratan Award and many more.

The Group
Ushneek was formed in 1984, and has produced 10 full-length plays, five one-act plays, organized theatre
workshops and taken part in various theatre related activities. It has received A.I.C.C award, Pramathesh
Barua award, Uttam Kumar award and many more. Ushneek has participated in almost all major theatre
festivals and has conducted theatre workshops for mentally challenged children with NGOs. It has also
produced a workshop based production Raat Parider Rupkatha with sex workers of Kolkata. Ushneek is
regularly involved in different theatrical activities like organizing workshops, seminars, play reading
sessions and arranging lectures by eminent theatre personalities.

Cast & Credits

The Play
Our will is to stage all of Cervantes’ Exemplary Novels, and time will let us do so in our theatre life. Now is the time to stage The Spanish-English Lady and The Two Maidens – two novels with women as main characters and a common issue: travelling. Travelling with three comedians from the XVII centuries, who are fixed to the stage since then, telling stories to the audiences of all the centuries. Each tale is drawn as a different world, with different languages and resources: by ship, over the sea… by horse, on land.

The Director
Gonzala Martin Scherman was originally an actress at the Royal Drama Art School in Madrid. She started directing plays for her company Factorfa Teatro in 2004. Her drama education also includes Mar Navarro's School following Jacques Lecoq's techniques. She has directed and written plays for children, young audiences and adults. In the last four years she has specialized in classical dramatic plays for young audiences, adapting the best authors of the Spanish Golden Age such as Cervantes or Lope de Vega. She has won several prizes as best director and her plays have received several Audience awards.

The Playwright
Diana I Luque is a playwright and translator. She is a member of several theatre investigation magazines in the writing department. She has written plays both for young and senior audiences, such as EI Nino Erizo (La Machina Teatro), Fisuras CON, Escritos En 10 Escena, La Imagen De 105 Sometidos, La Tierra En 10 Que Habitan 105 Peces, Y Tras 10 Puerto, Premio Ricardo Lopez Aranda, among others. She has translated The Quality of Mercy, by Peter Brook (La Pajarita de Popel. 2014) and The Power of Yes by David Hare (Primer Acto 244, 2013).

The Group
Factorfa Teatro Theatre group was founded in 1993 by Salvador Sanz and Gonzala Martin Scherman. Factorfa has dedicated its creations to young and senior audiences with very important achievements, such as being the finalist in the Max Awards for children theatre with Pinochio. We are located in a Cultural Centre in La Eipa, a District in Madrid since 2007, where we both rehearse and organize theatre workshops for children. We receive the support of the Madrid Community and the Ministry of Culture and Education. We have visited several countries with our plays such as Turkey, Dominican Republic, Equatorial Guinea, Chile, Argentina, USA, Morocco, Mexico and
Colombia.

Cast & Credits

The Play
Gul-e-Bakavali is a play based on an original popular fairy tale written in Persian. Many films have been made on this story, in various languages including Tamil, Telugu, Punjabi, Urdu and others. This production has a new script in a musical format. It has originated from the state of Reva on the banks of the river Narmada. Although Gubbi Veeranna’s Nataka Mandali used to play this story on stage, this version is totally new.

The Director
M S Sathyu has been into theatre since the 1950s. He has a number of plays to his credit, in Hindi, Urdu, Kannada and English. He is also a set and costume designer, having designed almost 100 plays in Gujarati, Marathi, Hindi, Kannada and English, for various groups of Delhi, Bangalore and Bombay. He is also a film producer and director.
The Playwright Sudhir Attavar is a new playwright of Kannada. He is a lyricist in Kannada films. He has also
produced and directed films in Kannada. This version of the play is totally original. It brings about the fairy tale in an effective manner. This year he has received the Karnataka Sahitya Academy Award for Gul-e-Bakavali.

The Group
Amateur Dramatic Association (ADA) is the oldest theatre group of Bangalore, formed over a hundred years ago. The group has its own fully equipped theatre, with a capacity of 600, called ADA Rangamandira. The group has produced a number of plays in English and Kannada. The Rangamandira is also let out for dance, music and other theatrical activities. Gule-e-Bakavali is its latest production with an altogether new set of actors and dancers. This is a collaborative production of Amateur Dramatic Association (ADA) and M S Sathyu Productions.

Cast & Credits

The Play
The story reflects the triumph of Ahimsa (Non Violence) against Himsa (Violence). The play begins with Bhagavatamela singing the story of Bharata and Bahubali, sons of the First Jaina Thirtankara – Rishabadeva to Chavundaraya, the Commander-in-Chief of the Western Ganga dynasty of Talkad. After hearing the story, Chavundaraya and Kalaladevi (His mother) wishes to go to Poudhanapura. The same night, Goddesses appear in their dreams and tells to erect a statue of Bahubali at Shravanabelagola . . When Chavundaraya made the elaborate arrangements to perform the abhisheka of Bahubali, the milk did not descend lower than the thighs. But when guru directed him to use for anointment the little milk brought by a pious old woman in a Gullakayi, it instantly ran down
all over the statue in streams and covered the hill. It is said that Gullakayajji or the Granny holding the Gullakayi was the Goddess Padmavati, who, in order to break the pride of Chavundaraya, appeared at the time of the anointment in the guise of a poor old woman. According to another tradition she was the mythological Kushmandini.

Director’s Note
The Play Gullakayajji written by Dr Chandrashekhara Kambara is unique in its way and is written on historical lines. At the times when communism and terrorism mock at the world, this play preaches peace and universal brotherhood. The caste and social hierarchy, which saddles in the Indian society too, is well used by the playwright to showcase the pureness in Bhakti and truthfulness which finally triumphs. The story revolves around the bonding of two brothers i.e, Bharata and Bahubali, their ego, war for supremacy, reconciliation and sacrifice. It on another side shows the unconditional love between Gulakkayajji and her grandson. Younger generation who are the pillars of the country should adapt the morals of this play which is to be carried forward for generations.
The Director Born in Konchigeri in Gadag district of Karnataka, Malatesh Badigera is a well known actor, director and organiser of Kannada theatre . After graduating from Neenasam, he has developed skills in large scale stage construction – costume designing, make-up and most importantly, in mask-making. Malatesh has directed several popular plays like Madhavi, Mahamayi, Tukarana Kanasu, Smashana Kurukshetra, Romeo Juliet, Surya Shikari, to name a few. In recognition to his talents, the Karnataka Nataka Akademi has conferred upon him the “Ustad Bismilla Khan “Youth award for the year 2006-07. Besides, he is also a recipient of Sammukha award, Antaranga award etc.

The Playwright
Chandrashekhara Kambara is a prominent Indian poet,playwright,folklorist, film director inKannada language and the founder-vice-chancellor ofKannada University inHampi. Kambara's plays mainly revolve around folk ormythology interlinked with contemporary issues, inculcating modern lifestyle with his hard-hitting poems. He has become a pioneer of such literature. After his post-graduation, he did his PhD fromKarnataka University,Dharwad. He has been conferred with many prestigious awards including theJnanpith Award in 2011, Sahitya Akademi Award, thePadma Shri byGovernment of India, Kabir Samman,Kalidas Samman andPampa Award. He has served as the chairman ofNational School of Drama Society, New Delhi from 1996 to 2000 and as the president of Karnataka Nataka Academy from 1980 to 1983. Kambara has to his credit 25 plays, 11anthologies of poems, 5 novels, 16 research works and several scholarly write-ups on folk theatre, literature and education. He was a pioneer in introducingBailahongal's famousSangya Balya (bayalata) andJokumaraswamy, a traditional ritual of his native district, to the literary world which have seen thousands of performances, not only in Kannada, but several otherIndian languages as well. His most recent novel,Shikhar Soorya, is rated among the best Kannada novels.

Cast and Credits

The Play
Life between Heaven and Earth was adapted according to the novel The True Story of Ah Q written by Lu Xun, a famous Chinese writer. It was a cold rainy night with a bleak autumn wind. A-kui was beheaded for the crime of "Revolutionary Party". His soul, not dispersed, was wandering in Wei Zhuang, his living place before death. The spirit looked back on his short life and searched for the cause of his miserable fate. He consulted the wise men, asked the noble lords in Wei Zhuang, and even inquired from his enemy, but there was no result. He was confused by his funny death and hated the coldness of the world. Finally, the spirit of the dead, self-questioning in confusion and anger, sighed helplessly about the life between Heaven and Earth.

Director’s Note
Life between Heaven and Earth, this way, and that way…

Director
Liu Libin is the Chairman of the Executive Committee of the Central Academy of Drama; Professor, Doctoral Supervisor, and Executive Chairman of Performance Art Committee of China Drama Art Institute, Vice Chairman of Asia Theatre Education Centre (ATEC), member of the Art Review Group of State Degree Office and member of the International Committee of Theatre Olympics. He was awarded the Innovation Award and Golden Lion Award (Direction) by the Ministry of Culture. Creation of a Full Figure was awarded Beijing Municipal Excellent Course, First Prize of Beijing Education and Teaching Achievements, and Beijing Famous Teacher Award etc. Some of the plays directed by him are Thunderstorm, Beijingers, Three Sisters, Twelfth Night, As You Like It, Servant of Two Masters, Wet Paint, Turandot, Wen Na Came down from the Tree, A Cat Wants to Become a Man etc.

The Original Author
Lu Xun (1881-1936) is a famous Chinese writer, thinker, an important participant of the May 4 th New Culture Movement, and the founder of modern Chinese literature. He was formerly known as Zhou Zhangshou, and later renamed as Zhou Shuren. He was from Shaoxing, Zhejiang province. Lu Xun is the pen name that he used for the first time in the NovelA Madman’s Diarypublished in 1918.

The Playwright
Yang Zhankun, Doctor of Drama and Film Studies, and an academic visitor of U.K., who was once an undergraduate of Department of Dramatic Literature of the Central Academy of Drama in 1997, is now an Associate Professor, and Deputy Head of the Department of Peking Opera of the Central Academy of Drama. He has made many plays, TV series and films. His production of Life between Heaven and Earth, on behalf of Chinese team, was invited to participate in the 7th Theatre Olympics 2016 in Poland.

The Group
National Theatre of China (NTC), affiliated to the Ministry of Culture, is a performing art organization with rich resources on art creativity and splendid cultural traditions on drama. The theatre is formed by a group of well-known senior artists, such as Ouyang Yuqian, Liao Chengzhi, Wu Xue, Shu Qiang, Jin Shan and Sun Weishi who helped to lay a solid foundation during each stage of the theatre’s establishment, development, inheritance and innovation. National Theatre of China has three modern theatres which are suitable for varieties of performances. In addition, NTC has centres in Beijing, casting influence across the whole country, promoting international theatre exchanges and cooperation, and presenting national and international advanced theatre to Chinese audience.

Cast & Credits

THE PLAY
Welcome Zindagi examines the relationship between a Mumbai family- a father, son, and
mother. An ordinary head clerk, Arun Ganatra, is on the verge of retirement. His wife, Bhanu
Ganatra, is a simple but sensible woman. Their son, Vivek Ganatra, has recently completed his
Masters in Business Administration. At the heart of the story is the father-son relationship.
While secretly caring for each other, they have different mindsets that prevent them from
communicating. The play delves into the complex emotions and psychological interplay that
prevents people from accepting another's point of view. In all of this the mother is the bridging
factor, doing her best to set things right. She is also a tongue-in-cheek Sutradhar (narrator) with
the keenest sense of humor.

Director’s Note
Welcome Zindagi is written by Saumya Joshi, a successful young playwright from Gujarat. I
believe that theatre enthusiasts typically watch original Hindi plays and, translations and
adaptations of western plays. Unfortunately, regional plays are no longer being translated into
Hindi and tend to not get the recognition they deserve. The 1970’s-80’s were a time when Indian
theatre was introduced to many plays written in regional languages and translated or adapted into
Hindi. These plays enriched the theater scene and I feel it is time we reintroduced translations
and adaptations from regional languages. Welcome Zindagi is my attempt at this goal.

The Director
Suresh Bhardwaj graduated from National School of Drama in 1980. He recently retired as
Professor of Theatre Lighting from National School of Drama. He is the former Technical
Director of Rangmandal, Bharat Bhavan, Bhopal. He is the founder member of Sambhav- a
theatre group of Delhi. Along with theater he has also worked in films and television. He created
and directed popular programmes like Aap Ki Adalat and Lekhu. He has conducted a number of
theatre workshops throughout the country and abroad. He served as a member of the
International Jury for UNESCO's meet of World Drama School in Sinaia. His major theatre
productions includ Adhe Adhure, Prem Samvaad, and Chatushkon. He is recipient of prestigious
Sangeet Natak Akademi Award and Rosco (UK) award of Chaman Lal Memorial Society.

The Playwright
Saumya Joshi is a Gujarati poet, writer, playwright, director and actor. Joshi founded the Fade-In
Theatre in 2010 and in September 2011 quit his job to pursue the theatre full-time. He is best
known for his plays Welcome Zindagi, 102 Not Out and Dost Chokkas Ahin Ek Nagar Vastu
Hatu, a musical black comedy based on the 2002 Gujarat Riots.
In 2013 he was awarded the Chandravadan Chimanlal Mehta Award for his contributions to
Gujarati theatre. He has also received the Yuva Gaurav Puraskar (2007), the Takhtasin Parmer

Prize (2008- 09), the Ravji Patel Award, the Balvantray Thakor Prize and the Sadbhavna Award
(2014).

The Translator
Rahil Bhardwaj did his graduation in theatre from M. S. University, Baroda and got his PG
diploma from National School of Drama in 2016 with specialization in Acting.

The Group
Akar Kala Sangam (AKS) is a group of artists interested in innovative drama. Many of them
have studied at institutes like NSD, Bhartendu Natya Akademi, and Shri Ram Center. AKS
participates in many workshops to keep its members up to date with different styles of
contemporary theatre. Their artists also get an opportunity to work with global pioneers and
leading theatre experts.
AKS has participated in Bharat Rang Mahotsav (2002 and 2003) with their productions Prem
Samvaad and Saari Raat. Aur Agle Saal performed in 2004 was viewed as one of the best plays
in Delhi and included in the Bhartendu Natya Mahotsav of Sahitya Kala Parishad. AKS has an
extensive repertoire, which it performs throughout the country.

Cast & Credits

The Play
Phantom is the compilation of 15 different short pieces. It shows the best of the theatre group HILT’s work in last ten years.Black light theatre is the very special theatre genre based on optical effects of darkness and UV lighting. This genre originated in The Czech Republic in 1955. Costumes and stage props shine in the dark creating visual illusions. Each piece of this show is has a different style – love, autumn, winter or Africa, India, Czech folklore and more.

Director’s Note
To celebrate 10 years of my theatre group HILT Black Light Theatre is a very special moment in my life. I still remember how we started 10 years ago and I am grateful to all my actors and dancers. Especially to Stepanka Pencova, the lady who helped me lead our group all these years. My life is theatre and I cannot imagine living without it. It gives me an immense pleasure to be able to communicate a story to the audience. Sure, my work is still evolving and with every experience I feel my shows are more advanced. Phantom is the biggest part of my heart – it
shows many different sides of my personality and of each person sitting in the audience as well.

The Playwright & Director
Theodor Hoidekr was born in 1980 in Czech industrial town Ostrava. While at the business school, Theodor was secretly visiting a dance school. In the year 2001, he moved to capital city Prague and soon became the lead dancer in many theatre shows. Later he was dancing in TV shows. His biggest love is black light Theatre. After being to different parts of the world, like India, Poland, Malta, Greece, Germany, Slovakia and Ecuador, Theodor Hoidekr formed his own theatre group in 2007 called HILT Black Light Theatre.

The Group
HILT Black Light Theatre, Prague was founded in 2007. The main idea was to put together experienced black theatre actors and dancers and to use these different experiences in a new theatre group. HILT is the abbreviation of "Hoidekr Interactive Light Theatre" – its founder and director is Theodor Hoidekr – and this group often likes to break the barrier and interact with the audience. This group has visited many countries with their show – Malta, Slovakia, Germany, Greece, Poland, Ecuador and India. Their most beloved and successful tour was in 2009 – the Bharat Rang Mahotsav festival in India.

Cast & Credits

The Form
Bharud is one of Maharashtra’s important folk forms. Its presentations are a source of joy all over Maharashtra. It is the second most popular folk form after ‘Tamasha’, and is an integral part of annual fairs, Jnaneshwari Paraayan (recital/presentation of Saint Jnaneshwara’s Gita), and Tukaram Gaatha (compilation of Saint Tukaram’s Abhangs). Bharud is not only entertaining, but also spiritually educative with its theatrical, witty and musical qualities. Sant Eknath is known to be the ‘Janak’ of this form.

The Play
The presentation begins with Gan Bharud which comprises of Ganesh Stavan. This is followed by Yedicham Barud i.e. various songs sung by the performers. Next is the Kabir Panth Barud – Mere Gaadi Waale Dheere Gaadi Hank. The act conveys that this body is like a bullock-cart which can move smoothly only if God resides in the heart of the driver. The presentation will end with Ambabaicha Jogra which will talk about the elimination of blind faith, through Araadheen Geet and Bhutancha Geet. This performance is unique in its ability to enrapture the audience with its songs, dances, dialogues, speeches & chorus.

Group Leader’s Note
Bharud is a folk form of Maharashtra that is saturated with dance, drama and music. It conveys the voice of Eknath Maharaj and Kabeer, denouncing the harmful rituals and traditions of the society. Along with these, it also hits hard on current social issues, using mythological and cultural tales, joyful melody, devotional music, and dramatic characterisation. It persuades the audience to self- introspect.

The Group
Shivrudra is an institute that has been actively involved in theatre and cultural activities. It has been working towards the revival, research and growth of the rich folk-art and traditions of Maharashtra. It conducts workshops for the youth. For the past 40-50 years Shri Sant Jnaneshwar Mauli, Bhajani Mandal has been constantly working towards eradication of social discrimination, through Bharud. Today, the youth is willingly participating in this art. The group has received many state and national awards.

Cast & Credits

The Play
The Restaurant of Many Orders, is a dance-drama which focuses on the relationship between human beings and nature. Inspired by Japanese fairy tale writer, Kenji Miyazawa's novel by the same name, Hiroshi Koike created this production where three performers play the role of human beings and the beasts in the forests. Three young men go to the mountain for hunting. The weather becomes bad and there is a storm. They try to take shelter from rain but they can't find a good shelter. Suddenly, they see a restaurant, The Mountain Cat Inn Restaurant. On entering the restaurant the hunters get many written ‘orders’. Feeling strange, they do what is written. Meanwhile, two of them realize that the third man is missing. They enter another room and find delicious food laid on the table. Eating greedily, they find a piece of cloth of the third hunter in the dish. They realize that they have eaten the body of their friend and run out of the restaurant facing the big storm.

Director’s Note
The Restaurant of Many Orders, is a comedy plus a tragedy. Some people think it is a scary story because the hunters open the hidden door of the forest continuously. However, what makes this fact scary? That’s my question. The world is human-centered, but is it of any benefit for us? This production is not the exact rendition of the story of the original novel by Miyazawa. I hope you not only follow the storyline, but see and feel the thought behind it.

The Director
Hiroshi Koike is a director, writer, choreographer, and the president of Performing Arts Institute. After working as a TV director, he established the performing arts group Papa Tarafumara in 1982. Since then he has worked on the production, direction and choreography of 55 works. In 2012, the following year of the big earthquake of 11 th March in Japan, he launched Hiroshi Koike Bridge Project. He had collaborative projects with three ideas of education, dissemination and creation based on creativity. He has produced 9 works until now. His shows have been presented in about 40 countries so far. He has conducted many workshops in Japan and abroad. He has served as the Artistic Director for Tsukuba Performing Arts Center; Chairman of the Asian Performing Arts Forum; and Committee Member of Japan Foundation (2005 – 2011).

The Group
Hiroshi Koike Bridge Project (HKBP) is a theatrical company started on June 2012 by Hiroshi Koike, after he had closed his former theatrical company Pappa Tarahumara, the forefront of performing arts of Japan for 30 years until it was disbanded on 31 May 2012. Not only does HKBP produce performing arts, but also makes use of various media, such as film, photography, installation works and essays. By means of events, lectures, workshops, and educational programs, it aims to educate people who can think through their body and create bridges between the world, time and culture.

Cast & Credits

Based on the novel The Restaurant of Many Orders by Kenji Miyazawa