October Schedule for @theDSM!

After a little break in September, we’re back with @theDSM in October with a brilliant talk with Shernaz Patel and an interesting performance based piece.

Here is how it will go down in October.

Conversations@theDSM

14th Oct- 5pm

A talk with Shernaz Patel
Theatre/film actress

Shernaz will share her amazing journey in theatre, stories of her childhood growing up in a family of theatrewallahs, her successes and setbacks, her theatre child Rage Productions, and her views on theatre in India and around.

Performance@theDSM

28th Oct – 7pm

“Backstagewalla Koni”
Written and designed by -Yugandhar Deshpande
(Marathi, Hindi, English)

A combination of reading, performance, interactions and a lot more about theatre, the addas, the people, the groups and everything that surrounds the theatre world off-stage.

 

Workshops

The DSM will hold a Weekend Acting Programme with Maneesh Verma in October. Watch this space for updates on further details.

 

We hope to see you @theDSM!


Pai Paishachi Goshta: Play@theDSM

People have changed with the changing times. The parameters of happiness have changed. Also the approach towards the practical and financial affairs has changed. An old lady summarisesthis change in her own words.

A story of an old lady “Pai Paishachi Goshta”

Pai Paishachi Goshta is based on a story by eminent writer Dr. Vijaya Rajadhyaksha. Adapted and directed by Vipul Mahagaonkar, the play had its first show in 2015, and has had numerous shows across the country.

The play has also won a lot of awards including a 2016 Zee Natya Gaurav for Best Actress to Ila Bhate, a veteran actress in Marathi theatre and film.

Production House :- Taleem

Actor- Ila Bhate

Story – Dr.Vijaya Rajadhyaksha

Adapted & Directed by- Vipul Mahagaonkar.

Produced by- Ujwal Mantri

Music by Prabodh Shetye

Costumes- Vinaya Walawalkar Mantri.

 

About the director 

Vipul Mahagaonkar

Vipul Mahagaonkar has directed two of the best experimental plays currently running – Khidki and Pai Paishachi Goshta. Both adaptations, done in his own special way. Both absolutely poles apart in terms of content and execution and even emotions. That has given us an idea of how versatile this man is with his handling of plays. And he intends to take theatre to every nook and corner of the country, especially the inaccessible ones. With such talent and such a remarkable thought of taking the art form everywhere, he is easily one of the best that experimental theatre has.

About the actor

Ila Bhate

In her stage career, Ila has played more than 25 roles. Her most popular plays are ‘Mi Majhya Mulancha’ with Vikram Gokhale and the widely acclaimed ‘U-Turn’ (2008) with Girish Oak. U-Turn, which treated the subject of companionship in the elderly age, has been played more than 500 times, which is rare for a drama that has only two characters. It received numerous awards including honour from the State Government of Maharashtra. In fact, we can proudly say the U-Turn is the only two character play to complete 500 shows with the same cast throughout.

 

When?

29th July, 7 PM

Where?

5th Floor, The Drama School Mumbai, Girgaon, Mumbai – 400 004

Tickets?

Rs. 200/-

Book tickets here.

 


Acting Shakespeare: Two-Day Intensive Workshop with Paul Goodwin

 

The Course Director for MA in Acting at the Drama Centre London, Paul Goodwin, brings decades of experience and expertise on Shakespeare and acting for Shakespeare to India. The Drama School Mumbai has managed to get a couple of dates from the man and arranged a workshop on Acting Shakespeare.

The 2-Day intensive workshop will delve into the various aspects of voice, breathing, movement, and the verses that will help an actor unlock his true potential in Shakespearean acting.

The workshop will be held on the 13th and the 14th July 2017, from 8 am to 1 pm.

About the Instructor
Paul Goodwin
Course Director, MA Acting at Drama Centre London
MA in Voice Studies, Central School of Speech and Drama
Artistic Director, The Shakespeare Edit (a classical theatre company), London

Paul has been teaching and directing Shakespeare for professional actors and students for more than 30 years. He is the Course Director at the Drama Centre London, alumni of which include: Tom Hardy, Michael Fassbender, Colin Firth, Pierce Brosnan and Emilia Clarke, to name a few. Prior to the Drama Centre, Paul has worked extensively in Text, Voice and Artist Development at the Royal Shakespeare Company. He is currently working on directing a dramatised version of Shakespeare’s narrative poem – LUCRECE, to be performed in London as well as a production of Twelfth Night at the Vakhtangov school in Moscow

Workshop Takeaways
Open and widen the horizon of the voice and the imagination.
Find the impulse for breath and vocal and physical gesture.
Be free to play within fully explored verse structures.
Use practical tools to unlock Shakespeare for you as an actor

Workshop Structure
Day One: You will be given a piece of Shakespearean text, and through a series of practical exercises explore – through the body, voice and rhythm – the clues that are contained in the text, that lead towards an understanding that can then be communicated to the audience through a soliloquy.

Day Two: Building on the exploratory text work from Day one, you will work on a scene, and with a partner, explore the action in the scene. What characters want, and how, as in life, character is revealed through action. “Suit the action to the word, the word to the action” Hamlet’s advice to the players

Through this 2 day workshop, you will gain practical tools that will unlock Shakespeare for you as an actor, and provide you with a working method that will allow you to be more confident when you approach heightened poetic drama.

Dates: 13th and 14th July | Time: 8 am to 1 pm
Venue: Bhalerao Auditorium, Mumbai Marathi Sahitya Sangh, Girgaon, Charni Road East, Mumbai.
Fees: ₹4500/-

To Apply :
To Apply : Email a recent C.V. with a cover letter that tells us why you want to participate to info@thedramaschoolmumbai.in

www.thedramaschoolmumbai.in
facebook/TheDramaSchoolMumbai
+91 9619336336


Documenting Theatre in India: Research in to Theatre Lives

by Zohra Malik

 

How much do we really know theatre and theatre-makers in India? Documenting theatre is vital. Yet, a casual Google search in all likelihood will yield little documenting of solid value.  Research & Praxis is such a vital strand of the programme at the DSM because it addresses this imbalance. It also embeds students in the living culture of theatre-making and encourages them to document, research and record the work of numerous individuals who stand at the edge of the spotlight.

Ramu Ramanthan – writer, respected journalist, playwright and mentor – developed this research module. He trains students in research methodologies, helping them create strategies to document as well as represent these lives as they occur and their relation to theatre practice today.

Batch 2016-17 decided to shine a light on the lives and practices of the following individuals:

 

Ramdas Padhye

Ventriloquist, Puppeteer, Puppet-maker

Researcher: Abhishek Chauhan

Ramdas Padhye and his creations

 

Ramdas Padhye was one of the first people to create puppets with contemporary Indian identities. As a child, Padhye was consistently disassembling and reassembling toys. Encouraged by his father, who was also a well-known magician and puppeteer, Padhye went on to do engineering. He then took to puppetry in order to talk about small big problems of India’s middle class  – family planning, saving money and education. Though, Padhye’s work has been featured across the globe,

 

Faezeh Jalali

Actor, Director, Theatre-maker

Researcher: Chrisann Pereira

Faezeh Jalali and a scene (left) from her META award-winning play 07/07/07

 

Faezeh Jalali is certainly not an unknown name. Her recent productions – 07/07/07 and Shikhandi have got audiences and critics alike raving. But Chrisann’s research looks at her directorial style from the perspective of a student of the art. It focuses on the aesthetic values that guide her work but also on how everyone on stage behaves in a certain way for a reason.

 

Chetna Mehrotra

Image Expression Artist, Drama Based Learning Facilitator, Dance Drama Storyteller

Researcher: Deepmala Khera

Chetna Mehrotra and the multiple roles she plays

Chetna Mehrotra has an incredible amount of experience in applied theatre – which applies principles of the performance space to the enable transformation of individuals, communities and society at large. Mehrotra’s work stems from the belief that theatre is not just to entertain but a medium to empower and to evolve. She is one of the leading practitioners in this emerging field and works extensively in learning & development, therapy and training. Knowing of her work and of others like her is vital to many of us who often restrict the scope of theatre to the stage.

 

Utpal Bhayani

Journalist, Theatre Critic

Researcher: Khushbu Baid

The career and contribution of Utpal Bhayani, one of the foremost authorities on Gujarati theatre. He has written several papers and critiqued Gujarati theatre extensively for about forty years or so, thus providing a fresh new perspective to the way one sees this regional form of theatre. His words and his influence are still relevant and ever-present to this day, as Utpal Bhayani continues to write a column for the Gujarati newspaper, Janmabhumi. Research and documenting of Utpal Bhayani’s work tells us  how  to critically appreciate theatre. It also holds the mirror up to the evolution of culture through movements on stage.

 

Manav Kaul

Theatre director, Playwright, Actor, Film-maker

Researcher: Komal Khanna

Manav Kaul, the man, his moods and his roles

You may recognise him from the various films he has been a part of, but Manav Kaul has been a significant contributor to the development of theatre in India. Komal’s compilation of anecdotes from his life (what better way to get to know a man and his practice) cover everything from his beginnings in Kashmir, the growing camaraderie between him and Kumud Mishra and the moment he realised that theatre was what he wanted to do. His writing, his process, his fascination with the bizarre and his response to criticism, all come together to inspire those who have just begun wading in to the deep waters of the performing arts.

 

Dr Arvind Ganachari

Historian

Researcher: Adarsh Gourav

Dr Ganachari is a noted scholar, specialising in Modern Indian History.  He wrote highly insightful pieces on India’s socio-economic and cultural history for the Economic and Political Weekly magazine.  He guided Adarsh through a discovery of political and moral censorship in Indian performing arts. According to him, “Although there is much debate about censorship attacking the fundamental right of “freedom of speech”, it is necessary and has to be there. Every freedom has a limit. A person has freedom and has their rights but if it infringes upon somebody else’s right or freedom,censorship comes into use. It is a very thin line.”

 

Deepa Gahlot

Theatre and film critic, Author, Scriptwriter

Researcher: Shruti Khandelwal

Deepa Gahlot at the NCPA

If you have seen a show at the NCPA, Mumbai, you’ve experienced Deepa Gahlot’s vision for theatre. She is the Head of Programming at the NCPA and has also translated and adapted several works for stage. Her critical writings not only display an awareness of the technicalities but also a certain esoteric knowledge that only those who are completely in tune with their field of expertise possess. Shruti’s research focuses on Gahlot’s propensity for promoting critical dialogue around the performing arts.

 

Arun Naik

Editor, Theatre critic, Translator, Teacher, Director, Designer, Columnist

Researcher: Shruti Sunder

Arun Naik and his family carry on the legacy of theatre

 

Arun Naik has had a massively versatile career in theatre for the past forty years. He has directed critically acclaimed pieces of theatre and contributed to The Oxford Companion to Theatre in India. Through him we can track the history of the resurgence of Marathi theatre and the integral role of the Mumbai Marathi Sahitya Sangh in the city’s performance culture.

 

Sunderlal Shyamlal Valmiki aka Sunder Chacha

Caretaker (Mumbai Marathi Sahitya Sangh)

Researcher: V. Vidyuth

Sunder Chacha, home at the MMSS

It seems fitting to close this little list of theatre lives with Sunder chacha. Apart from having achieved some amazing theatrical feats, Sunder chacha has been a caretaker of the Mumbai Marathi Sahitya Sangh for over 40 years. Vidyuth, as a researcher, makes a cogent point that while there are those who contribute to theatre in a more creative capacity, it’s also necessary to appreciate the ones who’ve helped preserve it for so many years. Not only has Sunder chacha taken care of one of Mumbai’s oldest theatre spaces, he has (and continues to do so even today) helped build sets, set up lights and sound and managed backstage processes.

 

These final projects are essentially profiles of very diverse individuals; names we need to remember, names we need to learn from as makers and consumers of theatre. Each of these lives builds the larger picture of the context, history and social reality of theatre. This research is a responsibility that students have been accepting as part of their education for the past 4 years. It tells the story of a city, its long tradition of theatre and it also tells a story of how theatre continues to grow into what it is today. And it is vital that we all, not only understand but also contribute to the research and documenting of these strands.


ExpressionLab@theDSM: दशानन: A solo performance by Harish Kulkarni

Dashanan is a solo performance. A single man on stage telling the story of Ravan. It is a story we all know. The story of Lanka’s demon king. But maybe not the whole story. We know the ten-headed demon for his greed and lust.  But Ravan was also a great king – renowned for good governance. He was an accomplished warrior and a devotee of Shiva. This solo performance concentrates on the oft-missed colours and flavours of a myth. And the people in his life. Thus does this tale become a commentary of on the social and political conditions of today.

About the Playwright: Pradeep Vaiddya

Pradeep Vaiddya has been working in theatre for over twenty years. He has been a writer, director, music composer, singer, light designer, theatre trainer and theatre manager. A household name in Pune, Pradeep was part of the India Theatre Forum’s first arts management programme. He has won a META for Best Light Design in 2007, 2011 & 2016.  His founded Expression Lab that focuses on enabling new artists through solo performances.

About the Director: Suyog D. Deshpande

Suyog has been working in experimental theatre for the past 6 years, mainly with Aasakta Kalamanch and Expression Lab. 

About Performer : Harish Kulkarni

Harish graduated from The Drama School Mumbai in 2013-14 and has since acted in several plays and films. Dashanan is his second solo performance @theDSM.


Training Session by Jehan Manekshaw: The DSM comes to Delhi

Open Day: Training sessions by Jehan Manekshaw

After successful Open Days in Bangalore, Mumbai and Pune the DSM now comes to Delhi with a free training session by Jehan Manekshaw on Sunday, 9 April, 10 am at The Tadpole Repertory.
Ever dreamed of seeing yourself on stage? Every wondered about your first stage performance in theatre? Ever wanted to make theatre your career? Well, look no further, because the DSM Open Day is HERE!
The idea behind the DSM Open Day Training sessions is to bring free workshops to various cities. Each training session is conducted by DSM faculty. Our faculty comprises of leading theatre-makers and arts managers.  The sessions will show you what students at the school are taught. It is an excellent opportunity for you to witness first hand what makes learning at The Drama School Mumbai the best stepping stone for a bright career in theatre.

About the Facilitator: Jehan Manekshaw

MFA (Theatre Direction) Birkbeck, University of London
Jehan is one of the founders of The Drama School Mumbai. He has taught as guest faculty at Ninasam Theatre Institute, Karnataka, Attakkalari Centre for Movement Arts, St. Xavier’s College, Mumbai, Shinshu University, Japan, and the National School of Drama’s T.I.E division in Agartala. He also has directed numerous plays in different languages in India, the US, UK, and Japan. Jehan founded Theatre Professionals in 2008 and The Drama School Mumbai in 2013. Jehan has most recently received the Sangeet Natak Akademi Ustad Bismillah Khan Yuva Puraskar for his organisation’s work in the advancement of the practice of Theatre. At theDSM, Jehan teaches scene study and leads the design module.
Oh, and the Open Day Training Session by Jehan Manekshaw is completely FREE and open to all!
To sign up, write to us on info@thedramaschoolmumbai.in or give us a call on 9619336336

Shadows of Fire: NaireetBasak@theDSM

Shadows Of Fire 1

Shadows Of Fire is a solo performance that emerged from Butoh. It delves into the subconscious of the body and mind and tries to call out to the fire hidden within us. This fire physically has no shadow, but emerges every time it is evoked. This piece explores the birth of an untamed creature, its growth and its play with the different elements found in nature. It looks for freedom from all these, with help from the balance of the ambers and blues in a body, but gets stuck in a dilemma of energy. Does it escape the cacophony of the watchful eyes or does it perish? The question remains answered. Shadows Of Fire has been inspired by Naireet’s body-watching and exploration of the elements in the body that were realized into a dramatic piece while practicing Butoh.  A highly interpretative piece, he expects audiences (and himself) to be “surprised” each time with the energies of the performance.  

Click here for a glimpse of Shadows Of Fire at the Butoh Festival at Mcleodjang, Himachal in May 2016.

Naireet is a theatre-maker and performer whose primary interest is in telling stories through moving body images. He has trained intensively in Kalaripayatu and Butoh and worked with Clowning, Tai-chi, Kudiyattam, contemporary dance and various other theatre-making forms. He has been involved with Children’s Theatre both as an actor and director in Kolkata. Last year he directed Love Circus – a six actor movement performance piece in Kolkata.

Date: 25th Feb

Time: 7 PM

Cost: Rs 200/- per ticket

Venue: 5th Floor, Mumbai Marathi Sahitya Sangh, Dr Bhalerao Marg, Charni Road Kele Wadi, Mumbai-400002

Call 9619336336 for details


2 Day Intensive Workshop in Corporeal Mime with Vini Carvalho

Vini Carvalho in action

Corporeal Mime is an aspect of physical theater. It’s objective is to place drama inside the moving human body by allowing the actor to show thought through movement. It “makes the invisible visible” through the presence of the body. Developed by Etienne Decroux, Corporeal Mime is unlike pantomime that substitutes speech with gesture. The objectives of Corporeal Mime are to enable the actor to become more autonomous in creating metaphor-based physical theater pieces, which may include text, but are not based on text, i.e. to give the actor greater access to physical metaphors that work in traditional plays, and to increase the actor’s strength, agility, flexibility and imaginative powers.

 

This month we have an intensive Corporeal Mime workshop conducted by Vini Carvalho. He has been developing his practice as a movement teacher and performer for the past nine years, teaching various workshops and classes in theatre, neutral mask and mime. He trained at the International School of Corporeal Mime for four years in London and graduated in Performing Arts from University of Campinas, Brazil. Vini has also worked and studied with a number of companies and theatre practitioners, such as Theatre de l’Ange Fou, Alice K, LUME, Tiche Viana and Leris Colombaione. He is the artistic director of Fool’s Cap Theatre.

Through technical and creative exercises the workshop will focus on the following-

  • Articulation of the body and space
  • Counterweights: creating actions of ‘push, pull, lift’
  • Dynamo-rhythms: playing with different rhythms in movement
  • Walks
- Improvisations based on the technique
  • Figures- short movement sequences based on daily actions
  • Pieces from the repertoire of the technique

Through the workshop the participants will be able to enhance their  stage presence, precision, confidence in movement, balance, coordination, dynamics and rhythm, muscular tone and flexibility. At the same time the participants will gain an understanding of the basic technique and style of Corporeal Mime. .

Don’t miss this chance to dive into the world of mime and movement-based performance!

Date: 16th and 17th February

Time: 8 am to 2 pm

Fee: Rs 4500

Venue: Mumbai Marathi Sahitya Sangh,

Dr Bhalerao Marg,

Charni Road Kele Wadi,

Mumbai-400002

Age limit: Over 16 years

To apply send in your CV and a cover letter stating your reasons for wanting to do this workshop to info@thedramaschoolmumbai.in

Carvalho Flier

Dress code: Tight workout/dancewear clothing or clothing that does not restrict movement and will allow your tutor to see your work more clearly.

In order to get the most from the workshop you should be able to-

  • Follow spoken instructions
  • Work within groups and pairs safely
  • Be able to undertake a movement class

unSEEN: A Devised Solo Performance

Process TheatreZ@theDSM

DSM Student Convenor and Process TheatreZ Co-founder Kalyanee Mulay in unSEEN

unSEEN is a devised performance piece based on Rabindranath Tagore’s letter- ‘Ramabai-er Baktritar Upalakhse’ written in 1891. Tagore, one of India’s most celebrated thinkers, wrote the letter as a response to the celebrated social reformer Pandita Ramabai’s speech asserting that a “woman can do anything that man can except drinking alcohol.” Originally written in Bengali and published in the Bharti periodical, in this highly disputable response to Ramabai, Tagore points out how nature has made women weaker than men both physically and intellectually – to which women must comply.

unSEEN is a critique of the ways in which patriarchal society perceives femininity. It is an examination of the Nobel laureate’s misconstrued notion of womanhood.

Tagore is renowned for being an unwavering if anachronistic champion of the ‘feminine’ at a time when the world was yet to wake up to feminism. His oeuvre bears an extraordinary commitment to women’s issues and an empathetic understanding of the same. unSEEN then reveals the irony as well as a pervasive helplessness of this revered intellectual trying to pinpoint markers of masculine superiority, in a social system he himself questioned repeatedly.

unSEEN unfolds through the exploration of  a woman’s self, her body, the male gaze over that female body, her biological cycle (menstruation, motherhood, pain and surrender) and her deification. Each of these aspects of womanhood is complemented with three specific elements in the play – sound installation, non-verbal performance and the recitation of the text itself.

Kalyanee Mulay, the solo performer of unSEEN says that the play is “a small step towards reclaiming the female body not only in performance but also in the social context.”

unSEEN is Process TheaterZ’s first production. Formed in 2012, the company aims at collaborative work, on a national level, among theater artists, designers, performers, fine artists, writer, directors and musicians with the main objective of exploring contemporary theater languages.

Directior: Vishnupad Barwe

Performer: Kalyanee Mulay

Light design: Gajanan Zarmekar and Arpita Dhagat

Object design: Satish Gaokar

Translation: Anwesh Singbal (Konkani) Geeta Joshi and Antara Bhide (English)

Date: 28th January 2017

Timing: 7-9 pm

unSEEN: Process TheatreZ@theDSM

For tickets or information regarding the performance, please call 9619336336.


2 Day Intensive Workshop in Fitzmaurice Voicework with Sara Matchett

2di-sara-matchett-jan-2017
Sara Matchett comes down to the DSM this January!

The Drama School Mumbai is delighted to bring Sara Matchett back to Mumbai! Sara is a senior lecturer at the Department of Drama, University of Cape Town, and associate teacher of Fitzmaurice Voicework. She will conduct a two day long, intensive voice training workshop at the DSM this January.

Fitzmaurice Voicework is an unique system of theatre voice practice that integrates Euro-American voice training methods with adaptations of somatic body work including yoga, bioenergetics and shiatsu. The system is divided into two main components: Destructuring and Restructuring. Destructuring refers to a series of physical positions that are used to encourage the breath and voice to be free from habitual tensions, allowing for the discovery of a more authentic and spontaneous vocal expression. In Restructuring, this spontaneous and sometimes chaotic expression is channeled into a healthy voice that is free from tension, and is flexible, focused and emotionally connected.

The breath is investigated as the impulse as well as thread that connects body, voice, imagination and language. This ultimately serves to enhance the live sensorial presence of the performer in relation to themselves, their fellow performers and to the audience.

Sara Matchett’s teaching profile centres around practical and academic courses which include, voice, acting, theatre-making, applied drama/theatre, and performance analysis. She is presently completing her PhD at the University of Cape Town where her study aims to investigate the soma, the relation between breath and emotion and breath and image, in an attempt to make performance that is inspired by a biography of the body. She is also the co-founder and artistic director of The Mothertongue Project which focuses on women’s theatre with particular reference to cross-community professional theatre, as a means of facilitating conversations across differences. Her most recent work with The Mothertongue Project, is Walk: South Africa, which was made in conversation with Maya Krishna Rao’s Walk. The performance is a response to rape culture and violence against women. Walk:South Africa will be performed at the VIFA in Bhopal.

Date: 19th and 20th January

Time: 8am to 2pm

Cost: 4500/-

Venue: Bhalerao Auditorium, Mumbai Marathi Sahitya Sangh, Dr Bhalerao Marg, Charni Road Kele Wadi, Mumbai-400002

To apply for this 2 day intensive training, email your updated CV to info@thedramaschoolmumbai.in with a cover letter explaining your reasons for applying. For more information or for any queries write into info@thedramaschoolmumbai.in.