Friday, February 27, 2015
Thursday, February 26, 2015
सभी लेखक मित्रों से आग्रह है कि वे अपना डाक पता मुझे इनबॉक्स या मेल में भेज दें। प्रकाशक ने आश्वस्त किया है कि सभी को प्रति भेज दी जाएगी।
मेल आईडी- firstname.lastname@example.org
पुस्तक मूल्य- 400 रुपए
(किताब पढ़ने पर प्रतिक्रिया अवश्य दें। और खुद भी लिखें। मुझे email@example.com पर भेजें।)
Tuesday, February 24, 2015
Parents do it too!!!
➧ vatsala shrivastava
Are “we the people of India”, wired to judge morally whenever sexuality unbuttons itself in unconventional settings? Has the era of FIDA (Facebook inbox display of affection) and the virtual paradises nonplussed us? Or, we are just reacting to the time and space of PDQ (pretty damn quick) social change? These questions swaddled me while watching Go to your Room Mother, a comedy play showcasing life after kids – well, after parents have kids for a couple of decades. I turned around to find fellow members of the audience punch drunk, some with laughter and other with thoughts. Vinita Sud Belani’s production captures the mood of “modern” India’s oldies and their desire to explore life in diverse horizons. The play, which opened in the San Francisco Bay Area, comments on the changing equation between parents and their middle-aged children.
An empty-nester couple’s plan to rekindle warmth in their marriage extinguishes when their mothers arrive to live in with them. Rita, a graphic designer, and Rajiv, an advertising executive are ordinary modern-day Delhites. Both the moms, however, are extraordinary; over 60 in age, and under 16 at heart. They fight over petty things like bed and bath but bond over men and partying. The tech savvy mom Sheila is a star of dating sites and the “slut” of gymkhana club. The prim and proper mom Purnima begins her day with a bottle of wine and Begum Akhtar’s ghazals. The story spices up when the moms embark upon a joint date leaving behind an anxious and embarrassed son. Like many young Facebook users who accidently discover their parent’s colorful virtual life, Rajiv is torn between his newfangled perspective and traditional ethos. The moms refuse to move away from their terrific territory like any other free soul of the world. The storyline explores the subterranean emotional struggle of India residing in the post-internet era. This India is far ahead of the India which migrated to the West in the early 70s or 80s with a heavy baggage of conservative values.
“There is a sense of sanctorum attached to us. We aren’t allowed or expected to have fun after we reach certain stage of life. Go to your Room Mother was developed under our ‘theater for a cause’ program. We were fundraising for Maitri, an organization which helps South Asian victims of domestic violence, elder neglect and elder abuse. We wanted to talk about these issues without sounding offensive, so we took refuge in humor. Age is no barrier, it is just a mindset,” says Vinita, the founder and artistic director of EnActe Arts. She feels that this play, written by Sanjiv Desia, will always remain contemporary because we switch roles – from being a child to being a parent – over our lifetimes, and there will always be a disconnect that will need careful sensitive tending.
Vinita started EnActe to bring quality South Asian stories to universal audiences and create a platform where theater professionals could work with aspiring amateurs to foster the growth of local performing talent. She wants to create a space for Indian theater the way Jhumpa Lahiri and Vikram Seth did for Indian literature, and Mira [v1] Nair for Indian films. “I want to bring the richness of our theatrical tradition to this place.” EnActe had quite a high profile opening with Jean-Claude Carriere revisiting Mahabharat for it.
Vinita has lived gypsy-style; moving across 20 countries in 27 years. In the process of life and its paraphernalia, theater was getting short shrift in Vinita’s world. “I was feeling a big void in my life. One day after a job interview, I realized I shouldn’t do anything else but theater. There wasn’t a kind of Indian theater I wanted to do, so I created a business plan to start my own theater company in the US,” she add.
Go to Your Room Mother will be showcased in Delhi soon. It will be interesting to see the audience of Delhi react to their own story. After all, the script was kept away from city audience for over four years, as no one would take it up to bring it alive on stage. May “we the people” sit down to ponder over, and may “we the people” stand up to face the reality.
Saturday, February 21, 2015
(NATNI - A Gypsy woman who earns her living doing acrobatic shows on the roads)
Maithili – that’s the language my mother speaks. It’s the language our next film is in. Despite having the language as my “Mother’s tongue”, I never had the opportunity to witness any theater or movie in Maithili.
Vibha jee is stubbornly persuasive, in her gentle consistent way. In our several fleeting interactions, she never failed to remind that I should come and watch her play NAURANGI NATNI at Kala Ghoda Festival.
Natni, the street performer is very pretty, talented and famous – with a huge following. Naurangi Raja - the pompous king hears about the Natni and wishes to see her act. His Ministers warn him not to indulge in cheap lowly people. But King is curious to witness the bewitching act which has mesmerized his people.
The Thanedaar goes to convey the kings message to Natni and is unsettled by her beauty. Natni is a chaste lady, dedicated to her man and infant child. Thanedaar assures her the King is benevolent and a visit to him will yield profitable results for her. Natni agrees to meet Naurangi.
Naurangi asks her to dance on swords and broken glasses. Natni completes the feat. Naurangi is not impressed. He then tells her to walk a rope tied across three mountains to the dome of his palace – with her child tied to her back. If she manages, the King would give half of his kingdom to the Natni’s Son. The feat is scary and risky. But the reward is too big. Natni, is hopeful that her son will become king. And she takes up the challenge. What happens next? Do catch the play at its next show.
Vibha jee can’t sing. Surely not the way professional or trained singers do. But her singing keeps you glued. Because she sings like a mother does to her child. There is a narrative, a tale which weaves pictures with words. The magic world is created just due to sincerity of the narrator.
Vibha jee can’t dance. That she acknowledged post the show that whatever good happened, the credit goes to the Dance Director and whatever did not, was her doing. But her dancing works. Her movements are basic and to the point. And yes, graceful.
At times, I felt Vibha jee did not even act. She lived the character instead. My personal favourite was the expression of hope from the Natni when she thinks her child will be a king. That entire sequence, I observed, moved the audience most. Probably because she is a mother herself, her playing one came naturally. There were difficult sequences when she played two characters interacting with each other. She performed change overs with ease.
If there were fleeting moments when the act did seem to not fall in place, especially when it started – the initial few minutes – no one remembered that further down the line (except snooty nosed me). Also in the end, the play goes on in a socialist revolutionary tone which to me seemed unnecessary addition.
All said and done, this was a marvellous experience savouring Naurangi Natni. And certainly would like to see more of plays from Vibha jee and her group Avitoko.
An accomplished writer herself, I had the fortune to witness her skills when I asked her to write a song for me in Maithili. The result was overwhelming. She is one of the last of the generation which has had the opportunity to experience uncontaminated rural life as well as seamlessly adapted to urban values of today. I convey to her my best wishes for many such super quality work. Congratulations to her entire team.
Sunday, February 15, 2015
इस नाटक को आप यूट्यूब पर भी देख सकते हैं। लिंक है- https://www.youtube.com/watch?v=XvsD194tqrQ
“नौरंगी नटनी” की कहानी मूलत: हिमाचल, उत्तराखण्ड और राजस्थान में प्रचलित एक लोक कथा का मिलाजुला रूप है, जिसे वरिष्ठ कथाकार संजीव ने अपने उपन्यास ‘सर्कस’ में एक दलित स्त्री के, एक मां की आंतरिक शक्ति के, भविष्य की एक संभावना के प्रतीक के रूप में प्रयोग किया है। उपन्यास में वर्णित डेढ पन्ने के इसी अंश को विभा ने एक सम्पूर्ण नाटक का स्वरूप दिया.
Saturday, February 14, 2015
मार्च 2014 में आरंभ हुआ “अवितोको रूम थिएटर” अपने अभिनव स्वरूप के कारण अपने पहले कार्यक्रम से ही चर्चा में आ गया। हर माह के पहले इतवार को आयोजित “अवितोको रूम थिएटर” का उद्देश्य छुपी हुई प्रतिभाओं को मंच प्रदान कराते हुए रचनात्मकता के हर क्षेत्र के विशिष्टजनों से उनका साक्षात्कार कराना है। इसके अलावा “अवितोको रूम थिएटर” में साहित्य और कला के हर पक्ष पर प्रकाश डाला जाता है, ताकि कला के हर क्षेत्र को कला-प्रेमी और कला से जुड़े लोग जान सकें। “अवितोको रूम थिएटर” का एक और महत उद्देश्य है, न्यूनतम खर्च में सर्व साधारण के लिए सार्थक थिएटर उपलब्ध कराना।“अवितोको” कला, थिएटर और साहित्य के माध्यम से जेल बंदियों, वरिष्ठ नागरिको, ‘विशेष’ वर्ग के लोगों के साथ-साथ समाज की मुख्य धारा से जुड़े लोगों के लिए नाटक, प्रशिक्षण, कार्यशालाएँ आयोजित करता है। विशेष जानकारी के लिए 09820619161/ firstname.lastname@example.org पर संपर्क किया जा सकता है। ###
Friday, February 13, 2015
"AVITOKO's Room Theatre" is completing its one year in the month of March. March is the month for International Women's Day (8th March) and World Theatre Day (27th March) We are happy to share that we at AVITOKO are saluting women power and rehearsing theatre on the very first anniversary of "AVITOKO's Room Theatre" A tentative schedule and our activities are placed below. We would be happy to get you there as a part of this event. Our contact details are +91 9820619161/ email@example.com
"AVITOKO's Room Theatre" A tentative schedule and our activities are placed below. We would be happy to get you there as a part of this event. Our contact details are +91 9820619161/ firstname.lastname@example.org
The proposed program is designed as under:
1. 1000 hrs Inauguration