Shadows of Fire: NaireetBasak@theDSM

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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


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.


Katha Gaayan @TheDSM: A lecture-demonstration in Katha-Gaayan storytelling by Ajay Kumar

Performance traces it’s origins back to storytelling. India has a rich heritage of oral traditions from Padvani in Chhattisgarh to Kathakali Kerala to Baul storytelling in West Bengal.

Storytelling has ever been dependent on singing – entire narratives were initially presented as a musical arrangement with one or many performers. The emphasis was not so much on performance as on the nuances of singing. Over time, traditions evolved and body movement, gestures and postures added a visual layer to the hitherto aural experience. And then performers developed the third layer of character – developing body movement and dialogue according to the idiosyncrasies of the character and situation. In the Hindi-Urdu tradition, this practice came to be known variously as Katha-goyee, Kissa-faroshee, Baat-poshee or simply Katha-Gaayan.

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This Saturday evening, catch NSD alumni and The DSM faculty Ajay Kumar take you through the process of turning ordinary in to extraordinary through the simple act of storytelling. He will present the stories of Vijaydan Detha – a prolific writer from Rajasthan whose stories inspired Habib Tanvir’s Charandas Chor and 2005’s Shahrukh Khan – starrer Paheli. 

7 PM | 17th December | 5th Floor, Mumbai Marathi Sahitya Sangh, Charni Road East, Mumbai | Entry Free | Call 9619336336 for details

Incidentally, another story by Vijaydan Detha made splashes at NCPA’s Centrestage Festival this year – Dohri Zindagi. Directed by former Theatre Professionals facilitator Gurleen Judge – Dohri Zindagi, which explores what it is to love in a homophobic society, will makes it’s way to The DSM on the 24th of December. This play will be part of the Hive Around Town series. To book tickets for the show, log on to bookmyshow.

NCPA Centrestage theatre preview & press Conference at Experimental Theatre, NCPA on 16/11/2017. Photo By : NARENDRA DANGIYA
NCPA Centrestage theatre preview & press Conference at Experimental Theatre, NCPA on 16/11/2017.
Photo By : NARENDRA DANGIYA

 

 

 


Exploring Childhood through Theatre

Childhood has an intrinsic propensity towards theatre – children perform the roles of adults that surround them and even develop make-believe friends. These friends become the co-actors of their internal worlds during play. The crossroad where childhood and theatre intersect gives rise to imagination, lateral thinking and ideation. In a world threatened by passive absorption of content, theatre has the power to breed a generation of idea-generators to power every walk of life. And watching theatre is as important to this process as creating it. Sitting in a dark room, concentrating on a single spectacle may seem like an unusual activity for a toddler but watching a play can lengthen a child’s attention span, develops patience and enhance listening skills. Theatre also has the advantage of connecting children to the world of books. It inculcates the written form’s sense of empathy, curiosity and literacy by being live, a form often more engaging than reading.

“The Attic” produced by The Starcatchers, Scotland
         The Attic produced by The Starcatchers, Scotland for 0-3 year olds

The act of going to the theatre and participating in it instills a strong sense of community, sharing and togetherness in children- values, which are taught in almost all education institutions. Where as self-confidence and courage often become markers of personality for children who have had stage experience. Children’s involvement with theatre does not only make them good artists, but makes them lifelong appreciators of the performing arts.

Children’s theatre which is formally known as Theatre For Young Audiences (TYA) is essentially of three types-Theatre for Young People (plays meant to be watched by young people aged between 0-18 years, Theatre with Young People (theatre made with young people aged 8-16 years) and Youth Theatre (young people aged 16 and above making theatre).

A platform that caters to all three is The International Association Of Theatre For Children And Young People (ASSITEJ). ASSITEJ unites theatres, organisations and individuals throughout the world who make theatre for and by children and young people. Programmes like Small Size focus on awareness and collaboration of performing arts for early childhood learning (0-6yrs) while its International Theatre For Young Audiences Research Network gives TYA an academic approach. Its Next Generation project engages young and emerging artists and professional theatremakers from all over the world interested in TYA, through a variety of exchange programmes, group projects and professional placements. Currently ASSITEJ has members from 100 countries across the world. All of us have a chance to see ASSITEJ’s work first hand at the Tifli – International TYA Festival that kicked of in Delhi this weekend. Tifli travels to Mumbai and Hyderabad from the 7th to the 9th of December. For a detailed schedule of Tifli and to get tickets for open shows, click here.

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Plays for all ages at the Tifli International TYA Festival

One of the first theatres to deal socio-critically with lives and living conditions of children GRIPS Theatre in Berlin.  Now almost four decades old the GRIPS’ plays have been re-staged more than 1,500 times in some 40 languages around the world. Nearly 100,000 theatregoers attend performances by the GRIPS Theater in Berlin each year, making it a theatre with one of the highest percentages of ticket sales. Each season, the GRIPS Theatre’s youth club prepares and stages a production. GRIPS also offers theatre education programmes, workshops and performances in schools. In cooperation with the energy company GASAG, the theatre presents its annual Berlin children’s theatre prize to authors of works for children’s and youth theatre. Inspired by this German endeavor GRIPS Pune was founded in 1989. What makes GRIPS distinct from other children’s theatre is that it takes issues from children’s world like lack of playgrounds, drug abuse, single parents as opposed to traditional children’s theatre where fairytales and other lighter content is performed. In 2015 as part of the Maharashtra Culture Center’s Children’s Theatre Festival, GRIPS Pune performed “Ekda Kay Zaala”, directed by Radhika Ingale, that talks about child abuse and good and bad touch using humour and music.

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Rehearsal still from Ekda Kay Zaala

Unlike most classroom learning, specific dynamics in children’s theatre helps children imbibe social values without being didactic. Theatre company Swangvale, in the production of its children’s play “Rang Rangeela Gittu Girgit” embeds the message of the play -to save and grow trees, through the play’s set and costume design that are made out of recycled material. Object theatre artist and winner of the Sangeet Natak Akademi award Choiti Ghosh says that, “Children share a natural relationship with objects which is part of their play. Objects occupy a neutral non-judgmental space through which children can explore the world. This gives children a greater interpretative power to read into the issues explored by object theatre.”

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Recycled costumes of Rang Rangeela Gittu Girgit

Theatre is often used to address and cope with particular childhood circumstances. Freedom Theatre from Palestine, has theatre programmes particularly for the young generation that provide them with important tools for dealing with the hardships of daily life under occupation.  The youth has always been associated as wheels of social change and revolution. Though various colleges across the country incorporate theatre in their cultural calendar or festivals, Shadow Liberation Project, an initiative of the students of the Srishti School Of Art, Design and Technology, Bangalore) have opened their performances to the public. They use shadow theatre to creatively craft visual narratives of gender violence- a widespread issue in India.

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Freedom Theatre, Jenin, Palestine

Britain’s National Theatre in London holds an annual theatre festival called Connections which stages 10-15 newly commissioned plays for the youth across prestigious theatre venues in the U.K after careful selection. In India Thespo, born in 1999, provides a similar platform for theatre aspirants under the age of 25. It aims at creating a professional space for youth theatre with its year round theatre related workshops and training activities and commences with its December youth theatre festival of one-act plays. Now in its 18th year the Thespo Theatre Festival kicks off on the 13th of December at the Prithvi Theatre and NCPA in Mumbai.

 

Theatre for young audiences is definitely an upcoming career option for those with theatre roots. In fact quite a few theatre professionals can trace their beginnings to college days, making youth theatre for events like Thespo. But it doesn’t come without it’s challenges. Former IPTA (Indian People’s Theatre Association) Mumbai’s co-ordinator Shaili Sathyu, now the artistic director of Gillo Theatre Repertory, a theatre company exclusively for children, says, “A variety in content for children is lacking. There are very few theatre groups performing quality plays for children and taking this genre seriously; regularity of performances is not viable for most groups (special rental rates would help); theatre connect programmes with schools (government and private) are still only starting in few places in India; very few performances are created for the 11 to 16 age group, most importantly there is a lack in understanding among decision-makers about the importance of aesthetic development of children (including theatre and other arts) and the scope of theatre activities in education.”

Children’s theatre is not a watered-down, sugar-coated version of adult theatre. The Godfather of drama, Constantin Stanislavsky had reportedly said that the only important difference between adult and children’s theatre is that the latter should be better. Better because children are honest spectators who will not oblige themselves to polite applause if their standards of engagement and  entertainment are not met. Better also because theatre has the greatest impact on an elastic mind, helping it expand, imagine the impossible. Better because through play, children can be moved to action in order to change the world we live in today.

Written by Payal Mohta

To know more about this topic or to write for us, mail info@dramaschoolmumbai.in


Koogu: A Solo Performance by Anish Victor @thedramaschoomumbai

Koogu: A Solo Performance by Anish Victor @thedramaschoomumbai

The First Point of Departure

Anish Victor is one of the founders of rafiki. He is an accomplished light designer, actor and theatremaker. Koogu is the first of a series of pieces that together form a project called ‘Points of Departure’. It was developed in collaboration with Michel Casanovas.

‘Points of Departure’ will be completed in 2017 and is a way to test the boundaries of theatre and push performance beyond conventional definitions.

Koogu, meaning ‘shout’ or ‘call’ in Kannada. It is based on real life events, and uses text, dance, sound, song and music in order to provide the audience with fresh ways of sensing a performance. The play has no set, uses simple lighting and promises to be a real treat in the intimate black box space of The Drama School, Mumbai. The performance will be followed by a discussion with the audience.

To know more about the performance, please visit www.bannikoogi.wordpress.com .

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When: 22nd June 2016 @7pm

Where: 5th floor, Mumbai Marathi Sahitya Sangh, Kele Wadi, Girgaon, Charni Road East, Mumbai 400004.

Donor Passes Available on BookMyShow for Rs. 200

For details: Call 9619336336 / Mail info@thedramaschoolmumbai.in


Aadyant: Two evenings of 9 new pieces of theatre by 13 graduating students

13 Graduating Students | 9 New Pieces of Theatre | 2 Final Evenings

The third year of rigor and intensive training at The Drama School, Mumbai comes to an end. It is time once again for our students walk into the world as confident actors, theatremakers and creative entrepreneurs.

But before they leave, they have two last evenings to share as DSM batch 2015-16.

Stories & Myths | Personal Truths | Dystopian Visions

Dates: 9th & 10th June
Time: 6.30 PM
Venue: 5th floor, Mumbai Marathi Sahitya Sangh, Girgaon, Charni Road East, Mumbai.
Call: 9619336336 |   Mail: info@thedramaschoolmumbai.in

Entry Free

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A day of theatre at The Drama School, Mumbai

Open day workshop April 16

Spend a day at The Drama School, Mumbai.

Get a sampler of our teaching at The Drama School, Mumbai with three FREE workshops with our leading faculty members:

Date: 2nd April

Venue: Dr. Bhalerao Auditorium, Mumbai Marathi Sahitya Sangh, Kele Wadi, Girgaon, Charni Road East

Workshop Line-up

11am: Yuki Ellias – The space of play

12pm: Puja Sarup – Working with Masks

1pm:  Jehan Manekshaw – Move with words

To participate in these workshops please register yourself on info@thedramaschoolmumbai.in or call on 9619336336.

After a rigorous day of training you ought to wind down with some entertainment.

Watch the last show of Juliet aur uska Romeo  presented by the current batch of students of One Year Certificate Course in Acting and Theatre Making.

Time: 7pm

Venue: 5th floor, Mumbai Marathi Sahitya Sangh, Kele Wadi, Girgaon, Charni Road East

Donor passes available on BookMyShow and at venue for Rs. 200. 


Juliet aur Uska Romeo on tour

The Drama School, Mumbai’s “Juliet aur Uska Romeo” is out on a tour to Ninasam Theatre Institute, Heggodu and Ranga Shankara, Bangalore.

Here are the details:

On: 17th March 2016 @7.15pm

At: Mini Theatre, Ninasam Theatre Institute, Heggodu

And

On: 19th March 2016 @3.30pm & 7.30pm

At: Ranga Shankara, Bangalore

Tickets available on BookMyShow

JAUR Bangalore Poster

 


Juliet aur uska Romeo

The annual production is a highlight at The Drama School, Mumbai. This year, the third batch of The Drama School, Mumbai students will bring onstage Shakespeare’s immortal story of love, betrayal, dreams and death that has inspired generations: Romeo & Juliet.

This Valentine’s Weekend,

DSM Batch 2015-2016 proudly presents

   ज्यूलिएट और उसका रोमिओ

(A Retelling of Shakespeare’s Romeo & Juliet)

Supported by Mumbai Marathi Sahitya Sangh and the Theatre Professionals

JAUR Low-Res image

This isn’t the glamorized tale of star-crossed lovers that has been the inspiration of generations of suicide pacts. It is the story of Juliet – who chose love at every turn, who refused to let the anger and impulsiveness of those around her change her heart, who knew what she wanted and went for it with all her might – and the story of her Romeo.

Dates: 12th, 13th, 14th February

Venue: 5th floor, Mumbai Marathi Sahitya Sangh

Time: 7pm

A black-box theatre experience| Hindi| 95 mins

Donor passes available on BookMyShow for Rs. 200

Read more


Ripples - a play about small choices that make a big change

The Drama School, Mumbai in association with The Blind and The Elephant is proud to bring to you under its initiative @thedramaschoolmumbai

Ripples, a play about small choices that make a big change

Date: 21st November, 2015
Time: 7:30 PM
Venue: 5th floor, Mumbai Marathi Sahitya Sangh, Dr. Bhalerao Marg, Girgaon, Charni Road East, Mumbai.
Donor Passes will be available for Rs. 150 at the venue.

DSM final performance FB

Synopsis:
Abhijit impulsively decides to shift base from Mumbai to a small town in Maharashtra to be a high school English teacher. What awaits him there is a ‘typical’ school and the wonderfully diverse students he encounters! The play is about those little interventions in the classroom and the little ripples that get created within the students, which can often become part of the student’s skins for a lifetime.

Duration: 90 minutes

Writers: Harsh Desai & Gerish Khemani
Director: Gerish Khemani
Cast: Arjun Radhakrishnan, Varun Vazir, Nikhil Modak, Chirag Lobo, Barkha Fatnani, Janhavi Sharma