Friday, November 12, 2010

Nitin's Art work






Nitin Saluja in his art attempts to present the complex symbolism and iconography surrounding Lord Ganesh in a colourful and experimental form. Taking inspiration from a variety of different art forms, a new art exhibition “Ganesha In Glory”featured different styles of painting with "Ganesha" as the central theme.
Additionally, he has made an incessant effort to promote the concept of Eco friendly Ganesha. Therefore, his exhibition aims at con-structing corporate and social conscience by promoting the cause of nature friendly paint-ings.
With his paintings, Nitin tries to reach back to the past, while looking forward, balancing the challenges between the spirit of modernism and the need to capture the essence of a tradi-tional art form, undiluted. Drawing inspirations from the mythology and philosophies of Hin-duism, his paintings are saturated with intense colour, evocative of the bright powdery pigments. His work is uniquely constructed and set in different coloured spaces that defy being tied down to any spatial context. This unusual exhibition of paintings displays some of the eight incarnations of Lord Ganesh which will draw large number of Ganesh devotees and art lovers.

Vishwaraja : King Of The World



Vishwaraja
King of The World
50 X 56 inches, Jute on Paper
This Ganesha is worlds one of the biggest Eco –Friendly made up of more than 300 meters long Jute rope. In this art work the jute rope has been coiled 367 times times on recycled paper without a cuton recycled paper. This unique idea of using jute and paper gave me a chance to get involved and contribute to a cleaner and greener environment.

Nadapratithishta : One who Appreciates & Loves Music



Nadapratithishta
30 x 55 inches
One who Appreciates & Loves Music
Acrylic on Canvas

Avaneesh : Lord of the whole World



Avaneesh
24 x 36 inches
Lord of the whole World
Acrylic on Canvas

Dhoomravarna : Smoke-Hued Lord



Dhoomravarna
8.7 x 13.5 inches
Smoke-Hued Lord
Water colour on Paper

Gajananeti : Elephant-Faced Lord



Gajananeti
11.7 x 16.5 inches
Elephant-Faced Lord
Ink on Paper

Dharmik : One who gives Charity



Dharmik
9 x 15.5 Inches
One who gives Charity
Coloured Paper

Kripalu : Merciful Lord



Kripalu
11.7 x 16.5 inches
Merciful Lord
Water colours on Paper

Manomay : Winner of Hearts



Manomay
11.7 x 16.5 inches
Winner of Hearts
Water colours on Paper

Ganadhakshya : Lord of All Ganas (Gods)



Ganadhakshya
11.7 x 16.5 inches
Lord of All Ganas (Gods)
Mixed media on Paper

एक दंत दयावंत चार भुजाधारी : CHATURBHUJ : ONE WHO HAS FOUR ARMS




Chaturbhuj
24 x 24 inches
One who has Four Arms
Acrylic on Canvas

Monday, October 25, 2010

"VISION OF A PERFECT INDIA"By Nitin Saluja


From ( L to R ) : Former President Of India Dr.APJ Abdul Kalam and Nitin Saluja on 19th October 2010

Dr.Kalam going through my poem "VISION OF A PERFECT INDIA".

VISION OF A PERFECT INDIA


In a perfect India,
I will be judged not by the function of my muscles,
But by the strength of my heart and mind,
And I will be happy knowing that I can walk among
Those individuals where there will be no distinction between people and people,
where mankind and humanity will be on and live in a spirit of friendship, fraternity and peaceful co-existence.
Who share a common goal
Of love and understanding.

In a perfect India,
Teachers and teaching profession would be respected and well-paid.
The old ‘guru-shishya’ tradition would be rejuvenated.
Student’s unrest will be unknown.
The field of politics will only be a platform for social service and welfare of people and the nation.
Crime, criminals and anti-social elements will be unknown to society.

In a perfect India,
I will walk on the path
That has no concept of good and evil,
And traditions would be patronised and different cultures would be fused.
Thus retaining a secular outlook.

In a perfect India,
All the social evils that plague the society, today, would be banished.
Her people will be self-reliant and will have utmost faith in action, labour and toil.


In a perfect India,
It will not be guided by stars and fate but by dynamic men,
who will write their own fate and destiny.
Truth, non-violence, virtue, high moral values of life and above all, the integrity of character will be the hallmarks of the Indian society.

In a perfect India,
An all-round development of the human personality
For the achievement of perfection of the human body, mind and soul will be the foremost ideal.

In a perfect India,
I would want
Science and technology,
With the modern sanctuaries of knowledge and learning
Would guide and satisfy the human quest for further knowledge and for the betterment, welfare and service of mankind.

In a perfect India,
The color of money is transparent,
While individual character remains solid like a diamond,
To work towards the common goal – development of nation.
I will be proud to say “Mera Bharat Mahan” to one and all,
where India would be an example of peace, calm, prosperity, progress and brotherly co-existence to the whole world.

In a perfect India,
I will climb to the top of every mountain,
Where I will fulfill my dream,
The dream of helping every person
Reach the pinnacle of their aspirations,
And when you and I can embrace freely,
Like Two Towers standing strong,
I will be content to sit in my wheelchair
For I know that we live

In a perfect India.

Nitin Saluja

"Ganesha In Glory":Meeting the Former President Of India Dr.APJ Abdul Kalam


From ( L to R ) : Nitin Saluja and Former President Of India Dr.APJ Abdul Kalam on 19th October 2010

Presenting a copy of my Art Exhibition Brochure " Ganesha In Glory ".The exhibition was held at India Habitat Centre on 12th & 13th October 2010.

From the visitors Diary

Nitin Saluja's work on symbolism and iconography are imaginative,beautiful and thought provoking.
My best wishes Nitin and his team.
-A .P.J Abdul Kalam
19/10/2010




Wednesday, August 18, 2010

GANESHA IN GLORY


Nitin Saluja in his art exhibition attempts to present the complex symbolism and iconography surrounding Lord Ganesh in a colourful and experimental form.

“Ganesha is a popular figure in Indian art. Unlike some deities, representations of Ganesha show wide variation with distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down, or engaging in a range of contemporary situations. Ganesha's big head inspires me to think big; the big ears show openness to new ideas and suggestions; the narrow eyes point to the deep concentration needed to finish a task well; the long nose encourages curiosity and learning” says Nitin Saluja.

With his paintings, Nitin tries to reach back to the past, while looking forward, balancing the challenges between the spirit of modernism and the need to capture the essence of a traditional art form, undiluted. Drawing inspirations from the mythology and philosophies of Hinduism, his paintings are saturated with intense colour, evocative of the bright powdery pigments. His work is uniquely constructed and set in different coloured spaces that defy being tied down to any spatial context.

This unusual exhibition of paintings displays some of the eight incarnations of Lord Ganesh which will draw large number of Ganesh devotees and art lovers.

Tuesday, July 13, 2010

How to apply stage make up for plays and theatre


How to apply stage make up for plays and theatre
Makeup can be used to create an infinite number of effects on stage.

Learn the basic techniques for applying stage makeup.



On stage, one’s features must be clearly visible to everyone sitting in the theater, even the people in the very back row. Both male and female actors use basic stage makeup techniques to enhance their natural features, correct or diminish other features, and change their appearance. Often, a role calls for “character” makeup, such as stylized fairies, animals, or a look of old age. Makeup can accomplish all of these looks and many more.
Assembling Your Makeup Kit
It’s not necessary to buy a ton of professional-quality makeup and tools, but do buy the best quality makeup you can afford. Cake foundation is the most common type used in theater because it covers well and blends easily, but you can also use street liquid foundation. More expensive foundations and powders do cover and last better than cheap drugstore brands; on the other hand, you can probably get away with cheap eyeshadows and lipsticks. Keep an assortment of brown eyeshadows and different shades of blush on hand, as well as brown and black eyeliner pencils and mascara. If you’re good at mixing colors, a theatrical quality “color wheel”, which is a single disc with red, blue, yellow, black, and white crèmes, can save you a lot of money in the long run on eyeshadow, eyeliner, and blush. You will also need a cosmetic pencil sharpener, cotton balls, and your favorite type of makeup remover.
A few good tools can drastically improve your makeup application. Sponges are necessary for applying foundation and blending. You’ll need several small brushes, especially if you’re going to use crèmes for eyeshadow or eyeliner. Q-tips can work in a pinch and are also indispensable for touching up smears and smudges. You’ll also need several large brushes for powder and blush. If you’re going to share the makeup kit, you’ll want to purchase disposable brushes, sponges, mascara wands, and mixing palettes. Finally, a toolbox or tacklebox will keep all of your makeup and tools organized.
Basic Stage Makeup Techniques
Basic makeup techniques are used for all types of theatrical productions, including high school, college, community, or regional professional theater. When working with young child actors in class plays or community productions, foundation and other heavy makeup is usually not necessary unless an animal or fantasy look is necessary. Always consider the style of production, type of character, and size of theater when planning a makeup design.
Before applying any makeup, wash the face thoroughly with a gentle soap or face cleanser. Be sure to remove all traces of street makeup. Next, apply an even coat of foundation over the entire face, and blend into the neck. If you are using dry cake makeup, drag a slightly damp sponge across the cake, then apply. Crème and liquid foundations should be applied with dry sponges. If you want the foundation to create a skin tone different from the actor’s skin tone, then you also need to cover any exposed skin on the neck, and possibly the hands, with makeup.
Once a base coat is on the actor’s face, use lighter and darker foundations (or blend white and brown makeup into the base foundation) to emphasize or create highlights and shadows. Use subtle highlights and shadows to emphasize the natural contours of an actor’s face. You can also change the shape of an actor’s face with highlights and shadows. For example, a crooked nose will appear straight with a strong straight highlight down the bridge of the nose, or you can bring out deep-set eyes by highlighting under the browbone. Be sure to blend highlights and shadows well, unless you are going for a very stylized look.
For male actors, a little color is needed on the cheeks and lips because stage lights tend to wash out the face. Apply blush with a soft hand, unless the male actor wants to look like he’s wearing blush. For lipstick, choose a matte color that is slightly darker than the actor’s natural lip color. Use a matching lip liner first to help the lipstick last.
If a female actor is playing a character who should not look like she is wearing makeup, then she should follow the same guidelines as male actors. For example, proper women in many time periods did not wear cosmetics, and it is rarely considered appropriate for young girls to wear makeup. On the other hand, a female actor playing a contemporary woman or a character such as a Cabaret showgirl will wear more makeup. For these types of characters, apply makeup in a similar manner to street wear, only more of it. Everything must be more dramatic than a woman would normally wear because it must be able to be seen from the back row of the theater. Apply your makeup, then stand under the stage lights and ask a fellow cast member or the director how it looks from the back row of the theater.
Character Makeup
When a young actor has been cast to play an older person, often makeup is required to achieve the necessary look. First, figure out how old the character should look, and then find pictures of people in that age group. Take note of where the skin has wrinkled and sagged, then use the principles of highlighting and shading to create that effect on the actor’s face. Have the actor smile, frown, raise his or her eyebrows, and scrunch his or her face together to see where the skin would naturally wrinkle, then use a brown eyeliner pencil (or mix colors from your color wheel) to draw in the wrinkles. Highlight the skin around the wrinkle, and then blend carefully.
Plays set in periods other than our own will have different makeup needs. In some time periods, men and women alike powdered their faces white, painted their lips red, and drew on beauty marks. In many periods, “proper” men and women didn’t wear any makeup at all, but lower class women did. A little research can help you to figure out what would have been common for the given time period, or consult the director for ideas.
Many plays feature animals or fantasy creatures. Masks can be used, but makeup can also create effects limited only by your imagination. When turning an actor’s face into an animal’s, study pictures of the animal and attempt to capture the essence of the animal’s expression. Sketch some designs first on paper, then use crème paints to draw on the actor’s face. Powder to set. One common fantasy character is the fairy. You can use highlights and shadows to make the face look more angular, and glitter and swirly eye makeup is common. Search the Internet or your local library for additional fantasy makeup resources.
You can also use makeup to create fantastic special effects---latex and spirit gum can make scars, wounds, and large crooked noses, but it can take much training and practice to be able to achieve effects that look realistic. If you are interested in learning more, many books, websites, and classes cover special makeup effects in detail. However, if you practice and experiment with the techniques covered here, soon you’ll be able to create a variety of looks for the stage.

Thursday, July 1, 2010

SCENIC DESIGN


Scenic design (also known as scenography, stage design, set design or production design) is the creation of theatrical, as well as film or television scenery. Scenic designers have traditionally come from a variety of artistic backgrounds, but nowadays, generally speaking, they are trained professionals, often with M.F.A. degrees in theatre arts.

The 'stage picture' is the 'look' or physical appearance of the stage for a play, whether in rehearsal or performance. It reflects the way that the stage is composed artistically in regard to props, actors, shapes and colours. The stage picture should express good principles of design and use of space. It should be visually appealing for the audience or should express the show's concept.

The scenic designer is responsible for collaborating with the theatre director and other members of the production design team to create an environment for the production and then communicating the details of this environment to the technical director, production manager, charge scenic artist and propmaster. Scenic designers are responsible for creating scale models of the scenery, renderings, paint elevations and scale construction drawings as part of their communication with other production staff.


In Europe and Australia scenic designers take a more holistic approach to theatrical design and will often be responsible not only for scenic design but costume, lighting and sound and are referred to as theatre designers or scenographers or production designers.

Like their American cousins, European theatre designers and scenographers are generally trained with Bachelor of Arts degrees in theatre design, scenography or performance design.

Wednesday, June 30, 2010

THE DRAMA OF INDIA



THE DRAMA OF INDIA



This article was originally published in A Short History of the Drama. Martha Fletcher Bellinger. New York: Henry Holt and Company, 1927. pp. 99-102.


INDIA is one of the few countries which can boast of an indigenous drama, unaffected by any foreign influence. When Hindu plays first became known to the European world through Sir William Jones' translation of Sakuntala in 1789, it was then generally thought that Greek literature had penetrated into India, influencing their playwrights; but that opinion does not prevail today. Most critics agree that Hindu drama was neither a borrowing nor an imitation, but the product of native genius.

The dramatist Bhasa, or Bhrata, thirteen of whose works have been recovered and published, is traditionally considered to have been the founder and "Father" of Indian drama. There is considerable confusion concerning the authorship of many plays, owing to the fact that it was the custom to attribute a literary work to the ruler at whose court, or under whose favor, the real author chanced to live. Thus the earliest extant stage piece, The Little Clay Cart, is ascribed to a sovereign named Sudraka. It should probably be dated sometime before 400 A.D. This is one of the few oriental dramas treating, in part at least, of middle-class life.

Language and conventions. The long play opens with a prayer, followed by a dialogue between the manager and one of the actors, in which the audience is complimented and the chief circumstances of the coming presentation described; then by skillful management the dialogue merges into the play. There is division into acts and scenes, the intermissions being filled by musicians. The greater part of the piece is in prose, while the more impassioned passages are in verse, the four-line stanza being much in use. (Nearly half of Sakuntala is in this form.) There are many lyrical scenes in which lovely things in nature are described, also many moral reflections and precepts of wisdom. Such lines are always put into the mouth of an important character and are given in Sanskrit, which has not been the common language of India since about 300 B.C., though it is still spoken by Brahmin priests. While the gods, heroes, and the few important personages speak in this aristocratic tongue, the women, slaves, and all minor characters use the dialect of the lower class. The play closes, as it opens, with a prayer.

The exhibition of undue ardor of love is not regarded as decorous or aesthetically permissible; nor extravagant expressions of jealousy, hate, or anger--in fact, nothing sensational or violent. Sorrow is toned down to a gentle melancholy. Kissing, sleeping, eating, scratching, or yawning are considered indelicate; and there is never any reference to such topics as banishment, plague, or national calamity of any sort. There are stock figures, such as the accomplished courtesan, the jester, the humble confidant and friend of the hero. There are also stock comic situations, like the complaining of the stubborn servant, and mock grief over the death of a wealthy relative. Other devices of the stage, such as the play within the play, the finding of hidden letters, and the antics of drunken men, are as well known and as popular in India as elsewhere. Magic and supernatural events have a large part in the action of many pieces: characters are put under a curse, bewitched, or caused to assume the form of an animal or a tree. In many of these cases, as in Greek tragedy, the intervention of a god is required to release the victim from his difficulties.

Unity of action in the Hindu play was rigidly insisted upon. Unity of time was interpreted as allowing, roughly, one act to represent the passage of one day, though this general rule was often disregarded. There was no attempt at observing unity of place; whenever it was necessary, the actor announced his whereabouts. The theater was usually a concert hall or the outer court of a palace. Scenery did not exist; and the curtain, instead of falling before the actor, formed the background and concealed the dressing room behind the stage. The stage properties were extremely simple, with perhaps seats, thrones, and occasionally chariots drawn by actors disguised as animals. Masks were not commonly used, and the costumes were usually those worn in everyday life. There was no chorus, and no official distinction between comedy and tragedy. In fact, pure tragedy was unknown, since every play was required to end happily. As in Greek plays, there was frequent intercourse between earth and heaven.

The production of plays was almost exclusively an affair of the aristocracy, who gave them in honor of a coronation, a lunar holidy, a royal marriage, or the birth of a royal heir. The actor's profession was regarded with respect, and there was no objection to women being employed on the stage. In many ways, however, the drama reveals the social philosophy upon which the caste system is based, as well as a profound religious feeling. Great importance is attached to the idea of self-sacrifice as the highest form of self-realization.

The brilliant period. We know of about a dozen plays, written in India probably between 400 and 900, which have excited the interest and admiration of modern students. Sometime during those five hundred years lived the two greatest playwrights, Kalidasa and Bhavabuti, whose works were attributed to the emperors Sudraka and Criharsha respectively. Wide differences of opinion exist concerning the dates of these two authors, especially of Kalidasa, the difference ranging from half a century before the birth of Christ to the sixth century after. Professor Kunow, in Das Indische Drama (1920), places him at about 400; and with this opinion Professor Jackson (Columbia University) agrees. Bhavabuti was a Brahmin of southern India and probably belonged to the early eighth century. He must have been much admired, for the people called him Crikantha, "he in whose throat is fortune." Three dramas survive from each of these authors.

Famous plays. The drama best known to Europeans is the Sakuntala of Kalidasa, which was translated into English by Sir William Jones in 1789. It made a profound impression upon such scholars as Goethe, and created something like a literary sensation. It is in seven acts, and the story is taken from the first book of the Mahabharata. Its hero, Dushyanta, was a celebrated king of ancient times. The action moves in part within the realm of fancy and the supernatural; and the dialogue is always poetic and elevated. On account of its imaginative insight, lofty poetry, and emotional appeal, it has been regarded by people of every nation as one of the masterpieces of dramatic literature. Mr. Arthur Symons has called it the most beautiful play in the world.

The Rise of the Moon of Knowledge is an allegorical and theological piece in six acts, in which abstract qualities such as Will, Reason, and the follies and vices of man are personified and made to struggle with one another. The obvious parallelism between the play and the European moralities of the late Middle Ages is of considerable interest. A political work called The Signet of the Minister, written about 800, and another named The Binding of a Braid of Hair, are among the well known productions. Besides these, the titles of more than five hundred Sanskrit dramas are known; and more than a dozen have already been translated into various modern European languages. From them and from other sources, much has been learned concerning the technique and ideals of the ancient Indian stage.

PARSI THEATRE


Parsi Theatre

While the contribution of the Parsi Zoroastrian community of India in the field of aviation, atomic energy, the medical sciences and even geology is documented and well known, the pioneering work of this community in the field of music and performing arts needs to be studied and documented. Parsis were the pioneers in the Modern Theatre Movement of India. The form of theatre, which they created is today known under the generic term “Parsi Theatre”.

While folk theatre had existed in India since very early times an interest in modern theatre began among the Parsis in the 1850's after watching European dramas brought to India by the English. Amateur dramatic societies such as the Elphinstone Dramatic Society began at educational institutions and the first Parsi Theatre company called “Parsi Natak Mandali” began in 1853. It was owned and directed by Gustadji Dalal and supported by Dadabhai Naoroji, K.R. Cama, Dr. Bhau Daji, Ardeshir Moos and others. It was followed by theatrical companies managed by Parsis, which included “The Zoroastrian Theatrical Club” “The Student Amateur Club” “The Victoria Natak Mandali”, “Natak Uttejak Company”, “Empress Victoria Theatrical Company” and “The Alfred Natak Mandali”. Between 1853 and 1869, 20 Drama companies were created by Parsis.

Parsi Theatre began in Gujarati and Dr. Gopal Shastri of MS Univ. Baroda states “The credit of giving birth to Gujarati theatre goes to the Parsis”. They brought new techniques, created amateur and professional groups, which they handled with managerial skills and wrote new dramas and operas. They also innovated stage techniques. Following this the first Urdu dramas and operas were written and performed by Parsi companies under the Victoria Natak Mandali and scholars state that Parsi theatre created the first Urdu play.

In the 19th century the Natak Mandalis presented theatre that inspired the Freedom Movement through socially relevant plays and social reforms. Some of these great names include Kaikushru Kabraji, Dadi Patel, Behramji Fardunji, Marzban Nusserwanji, Merwanji Khansaheb. While these belong to the classical tradition amongst the modernists who upgraded acting skills are the names Adi Marazban, Pheroze Antia, Erach Pavri. Today the only family troupe remaining is the family of Yazdi Karanjia of Surat.

Parsi theatre had certain unique traits, before the drama began three actors would collectively chant a prayer. After the prayer one actor would deliver a prologue. Music was an integral part of Parsi Theatre and at the end of the play an actor expressed thanks to the audience and often sang a farewell. The songs of Parsi Theatre have been preserved in the memories of the amateurs who have kept Parsi theatre alive in Calcutta for the past 100 years through the “The Calcutta Parsi Amateur Dramatic Club”. PARZOR has compiled a full list of the play scripts donated by the Calcutta Amatuer Dramatics Club(CADC) when Parzor visited Calcutta . These represent 100 years of Parsi theatre performed regularly by the CADC. Mr.Noshir Gherda, who played an active role in the CADC, including acting as a beautiful lady, took the Parzor team to visit the CADC premises which have become neglected over time. CADC, which is planning to shift out of these building requested Parzor to preserve their collection of Parsi Theatre items for posterity.

The plays performed by Parsi Theatre were in various languages: Urdu, Hindustani, Gujarati, and English. Themes ranged from the Shah Namah and Persian legends to Indian classics like Harishchandra (1883) and Chandravali (1881). It is significant to note that many plays with Sanskrit themes were written by Muslims like Murad Ali Murad and directed by Parsis like Sohrabji Ogra. It is this fusion of cultures and the creation of a pan Indian identity by Parsi Theatre that is perhaps its most significant contribution to the performing arts of India. Many plays were adapted from English plays such as “Dil Farosh” i.e. “The Merchant of Hearts” based on Shakespeare's “The Merchant in Venice” and “Gulnar Firoze” based on “Romeo and Juliet”. A popular actress was the beautiful English Mary Fenton, traditionally women's roles were acted by handsome men but as in this case there were some exceptions.

Parsi theatre was pan Indian also because they traveled right across India acting at various locations from the North- West Frontier Provinces down to Ceylon and Burma. Today most of the classics have been forgotten and what remains is the popular comedy – farce routine performed on celebrations like Navroze and Pateti. Parzor has collected not only printed plays but also hand written manuscripts, theatre programmes, props and even a journal written at sea during the long voyage to Africa by a member of a theatrical company. It is hoped that we can collect all that remains of a once glorious tradition and preserve it for students, historians and the theatre fraternity.

Sunday, May 23, 2010

Technical aspects & Types of Theatre

Technical aspects of Theatre

Theatre is a highly collaborative endeavour. Although the most recognisable figures in theatre are the directors, playwrights, and actors, plays are usually produced by a production team that commonly includes a scenic or set designer, lighting designer, costume designer, sound designer, stage manager, props mistress or master and production manager. Depending on the production, this team may also include a dramaturge, video designer or fight director. The artistic staff is assisted by technical theatre personnel who handle creation and execution of the production.

Types

Drama

Drama (literally translated as action, from a verbal root meaning "To do") is the branch of theatre in which speech, either from written text (plays), or improvised is paramount. A companion word dran, also Greek, means to do. Classical forms of drama, including Greek and Roman drama, classic English drama, notably works of William Shakespeare and Christopher Marlowe, and French drama, for instance works of Molière, are still performed today.

Musical theatre

Yakshagana a musical drama from India
Music and theatre have always had a close relationship. Musical theatre is a form of theatre combining music, songs, dance routines, and spoken dialogue. Modern musical theatre emerged from the variety, vaudeville, and music hall genres of the late 19th and early 20th century. Musical theatre includes spectacle as well. For instance, contemporary Broadway musicals often include lavish costumes and sets supported by million dollar budgets.

Comedy

Theatre productions that use humour as a vehicle to tell a story qualify as comedies. This may include a modern farce such as Boeing Boeing or a classical play such as As You Like It. Theatre expressing bleak, controversial or taboo subject matter in a deliberately humorous way is referred to as black comedy.

Saturday, May 22, 2010

PLAYWRITING AND SCEENWRITING


Playwriting and Screenwriting

Information about writing a play, a movie or TV show and activities to get you started as a playwright or screenwriter.

PLAYWRIGHTS are the people who write the plays. They get
to choose the characters, settings, and problems. They
also write the dialogue, what the characters say. They
write the stage directions, what the characters do.

DRAMATURGS help the playwright. They read the play then
ask the playwright questions to help him or her figure out what changes might be made to make the play even better. The dramaturge asks questions about the characters, the setting or environment, and the problem and incidents.

CHARACTERS are the people the play is about. Playwrights
get to choose the characters. The playwrights really need to know their characters so that they can make them seem like very interesting people. If the playwright does a good job, the actors will be able to know all about their characters. They can pretend to be the characters and do what the characters would do.

The playwrights and the actors also need to know what the characters want. This is called the character MOTIVATION, why a character does something. Actors and playwrights need to know why characters act as they do and say what they say.

Another important thing for the playwright to consider is how a character will talk.
Each character has his or her own special way of choosing words. This is called the VOICE of the character. The words should fit just him or her.

For example,
Teacher: Rohit, have you forgotten your homework?
Rohit : Betcha ya din’ do yer homework again!
The teacher didn’t use slang, but the student did!

PROBLEM/STORY - what the characters need to solve before the end of the play. For example, the bully is making fun of the little kids. He even hurts them. The children need to help the bully understand that he will have no friends if he keeps on hurting the younger kids.

SETTING/ENVIRONMENT - where the play takes place.
In a play it is also called the setting. But with a play it is important to think about the place and also about the mood. Is it a happy place? Is it a scary place? Is it a sad place? The setting tells the audience a lot about the play and what is happening to the characters. Because the setting can tell the audience so much in a drama, it is often called the environment. The environment includes where the play takes place, inside or outside? What furniture and things are in that place? Environment also includes lighting and sound. Is it light or dark? Are there any sounds the audience needs to hear? Will music help to create the mood and tell the story? The playwright can make suggestions about what the enviornment should look and sound like.

SCENARIOS - the outline of the playwright’s choices about
characters, setting and problem or plot. The plot has a problem that the characters must solve. It has a beginning. Next is the middle that has several incidents, what the characters do to solve the problem. Usually there are several things the hero has to do to solve the problem, or he or she can meet more problems. Then comes the ending. The problem is solved – or sometimes the characters can’t solve the problem! Then the play is sad.

SCREENPLAY – Playwrights tell stories with words and stage
directions. Screenwriters who write for TV and movies tell stories with words for the actors and directions for the cameraman.

DIALOGUE
- what the characters say. It is written by the playwright or made up by the actors in improvisations. Dialogue should sound just like the character would talk.
For example,
The Principal: Jatin, what are you doing?
Jatin: Waitin’ for my mom an’ baby sister. We’re
gunna’ go ta the zoo!
In other words, kids will probably talk differently than the principal or their parents. This is the voice of the character.
Also notice that dialogue has a special form. “Quotation marks” are not used to show what is said. Instead the name of the character is written, followed by : a colon. Then the words for the character to speak are written.

STAGE DIRECTIONS - the playwright writes what the actors
are to do. For example:
Charles: Come here, boy. (The boy kneels and pets the dog.)
The stage directions are in parentheses.
PLAY READING – actors reading a play out loud. Playwrights
like to hear their plays read out loud. It helps them decide if they like the dialogue they wrote or if they want to change it.

IMPROVISATION


Improvisation

Improvisation is making up things as you go along. Kids use improvisation to make up dramas about what they’re reading or studying in school. It is fun to improvise. We’re all good at coming up with new ideas.

We’re always surprised at the good ideas we come up with for dialogue. We also find that doing improvisation helps us understand our characters better.
Often if we have an idea for how a scene begins, we can find out things that might happen next or how the story ends if we improvise it.
Improvisation is fun.

It helps actors learn
• to listen to the other characters
• to think on their feet
• to use props and move on stage
• to use an “outside voice” with enough volume to be heard
• to stay in character, to concentrate on the scene
• to discover the meaning of the scene they are doing

It helps playwrights figure out
• how their characters get along with the other characters
• what dialogue their characters might use
• if the ideas for the story make sense
• if the meaning of their drama is clear to the audience


Each person is different. See the pictures of all the different people. Some are old; some are young. Some are with their family; some are at work. Each person talks differently. They also talk differently in different places. At home, people may not talk the same way they do at work or at school.
In drama, you'll be characters that are different from you

Starters for Improvisations

Here are some ideas that can start you and a partner doing an improvisation.
• Decide who will be which character. You can play either a boy or a girl, or you can change the names of the characters.
• The first line for one of the characters is given. Start there.
• Listen carefully to what your partner says.
• Watch what he or she does.
• Use your imagination to answer your partner's character and to respond to what they do.
• Stay in character and make up dialogue until the problem is solved
• After you’ve finished your improvisation, be certain to discuss what you’ve done – your performance and the meaning of the drama.


Remember to keep the improvisation going until the problem is solved. Be certain to listen to one another and to respond realistically to what your partner says.

Thursday, May 20, 2010

Theatre Artists Work Together

Theatre Artists Work Together


Theatre artists have to work together. Here are ideas about how to do that so everybody does well and has a good time.

Imagination, create, original – These words are related.

Imagination – a picture in your mind. Coming up with wonderful mental pictures to solve problems.

Create - make something new, come up with new ideas

Original – your very own ideas, new to you


Brainstorming – a group of people come up with ideas to solve a problem. Don’t worry about one correct answer. Instead, get as many ideas out as possible. Get someone to write down each idea. Make certain that you get ideas from everyone.

Selecting and organizing ideas – After you and your group brainstorm lots of ideas, it’s time to see which ideas are similar. Write the ideas that are pretty much the same together. Then see which ideas can be combined. Finally, choose the ideas that seem the best to solve your problem. You may need to compromise.
While putting a play together it is a good idea to try one way to do the play. Then try another. Then choose the one that works best for you and your group.
If an idea is not used, that doesn’t mean it isn’t a good idea. It just doesn’t work this time!

Consensus, Cooperation, Compromise – these ideas are related. Members of a group need to cooperate and compromise to reach consensus.

Consensus– everyone agrees, or makes compromises so they can agree. This may mean changing or giving up your idea so that the whole group can agree on the solution. This is not always easy, but the end result will be better. In drama, everyone has to work together to get the play on the stage – or to get it videotaped.

Compromise – changing your ideas so they can fit with the ideas of someone else.

Cooperation – working together to solve a problem or to get a job done.

Casting the play – deciding who will be each character.
This is not about being with best friends. It is about making certain that everyone has a role. It is about making certain that everyone will be able to do well with the role he or she has.

Tuesday, May 18, 2010

Mime Artist


A mime artist is someone who uses mime as a theatrical medium or as a performance art, involving miming, or the acting out a story through body motions, without use of speech. In earlier times, in English, such a performer was referred to as a mummer. Miming is to be distinguished from silent comedy, in which the artist is a seamless character in a film or sketch.

The performance of pantomime originates at its earliest in Ancient Greece; the name is taken from a single masked dancer called Pantomimus, although performances were not necessarily silent. In Medieval Europe, early forms of mime such as mummer plays and later dumbshows evolved. In early nineteenth century Paris, Jean-Gaspard Deburau solidified the many attributes that we have come to know in modern times — the silent figure in whiteface.

Jacques Copeau, strongly influenced by Commedia dell'arte and Japanese Noh theatre, used masks in the training of his actors. Étienne Decroux, a pupil of his, was highly influenced by this and started exploring and developing the possibilities of mime and developed corporeal mime into a highly sculptural form, taking it outside of the realms of naturalism. Jacques Lecoq contributed significantly to the development of mime and physical theatre with his training methods.

Street Theatre


Street Theatre – Breaking the Barriers


Street theatre as a form of communication is deeply rooted in the Indian tradition. In recent times this form has been used to propagate social and political messages and to create an awareness amongst the masses regarding critical issues. Street theatre breaks the formal barriers and approaches the people directly.

You could meet them in the most unexpected places – behind the vegetable complex in your market place, during your evening walk, at the bus stop or perhaps even on the street in front of your office- a group of people, acting out a short skit or play, for any one who might wish to stop and watch. They are not just philanthropists providing free entertainment. For them this is a means of reaching people of all strata and creating an awareness of events around them, calling them to change what they believe are the social ailments. These are the street theatre ‘activists.’

Street theatre is a situation where the audience has not come prepared to watch a play, and people may not have much time on hand. These limitations determine the parameteres of the plays. They are short. The exchange is close, direct and intimate and, to be more effective, usually loud and larger than life. The script and direction is always significant. In order to draw crowds from all walks of life, the plays are humorous. Songs based on popular catchy tunes are included to add to is appeal. The choreography of the play varies from script to script. The play must be as inexpensive and mobile as possible, since no stage props can be used. As Badal Sircar the noted playwright sums up, “the essential tool of the trade is the human body. The potentially of the human body, the ability to throw one’s voice so that 4000 people can be reached without the aid of a mike, must be explored.”

Tracing the need for the development of this form of communication which is sometimes referred to as the third theatre, Badal Sircar analysed the two existing forms- the sophisticated urban theatre borrowed from the British and rooted in western culture and values and the traditional rural theatre. “In spite of the tremendous popularity of folk theatre in rural areas, the ideas and values it dealt with remained backward….whereas the city theatre could propagate progressive ideas and values to a sophisticated audience which would be mentally stimulated at best but would not or could not act upon them.” So arose the need for a means of communication which would break barriers of stage and ticketed entries.

It would however be wrong to claim that street theatre is a new form- the content and style perhaps are- but snake charmers, bear and monkey dances on the street and also short dance and acrobatic sequences at fairs by trained performers are all forms of street theatre. But that is professional theatre where the primary aim is to get money from the show.

Apart from propagating social reform, street theatre is also a political weapon used during elections in particular or to get across an ideology. It has also been successfully utilised as a vehicle for inducing a scientific outlook in some people by bringing to them news from the world of science. Women have become an important theme for street plays. In 1980 the famous Mathura rape case instigated a lot of shows on the need to make the rape laws more stringent in 1980. “Om Swaha” dealing with demands for dowry resulting in harassment and sometimes death was a very effective street play. There have been several productions which give a short summary o the life of a woman in India and some have gone on to make the girl question her dependence, her need to get married and her ability to lead a full, purposeful life by herself. There have been several plays exposing the mechanism of black marketing and hoarding. Some talk of the use of political power for pressurizing people. Others highlight caste conflicts or ideas about hygiene and health. Street theatre is also used as a means to encourage literacy amongst villagers. One effective play on environment projected a beautiful relationship of trust and friendship between a little boy and a tree.

But do these plays bring about a change? If the communication has been worthwhile then there must be some tangible impact. What is important is that the plays make the people think. The play is seen by many people of different age groups who then question and discuss the contents of the play. This evocation of questioning is by itself an impact.

For Badal Sircar and his group the reward for their tireless efforts came in a different way. While touring the villages in Bengal they cam across audiences willing to sit through a performance in any kind of weather. He recalls one night when they performed through a continuous drizzle interspersed with heavy showers. So enraptured was the audience, that about 3000 people sat through the play for about three hours. Finally, when showers came down heavily Badal Sircar called it a day and begged leave of his audience. That they were interested enough to sit through the rain meant that the message was getting across.

Since the voluntary organizations carry out work in the villages and need to communicate forcefully with the people, Badal Sircar and his troupe organize theatre workshops to teach them the mechanics of street theatre.

When talking about street theatre it is mandatory to talk about Safdar Hashmi. Originally a stage actor, he moved on to street theatre adopting it as a cause, bringing about a social and political awareness. His message obviously hit home for while performing a play in the town of Ghaziabad near Delhi he and his group were attacked. He succumbed to his injuries a day later.

Habib Tanvir and Utpal Dutt used street theatre as a political catalyst in the 40s and 50s. It was revived in the 1970s and now the movement has spread all over the country. There are about 50 groups in the country, mainly in cities and the immediate suburbs.

Street theatre actors are mainly teachers and students committed to bringing about social change. Their returns in terms of finances or fame are nil. The time that this form of theatre demands is considerable. All evenings and weekends are spent rehearsing or performing. In fact, Badal Sircar was not able to attend the reception of his son’s wedding because he had an important rehearsal to attend and “my son understood that” he explains. “We become social outcastes but for us it is an addiction.” In the dry season- November to April- shows are put up at a hectic pace. After a whole day’s work this schedule demands a terrific devotion to the cause.

The preparation for the play is a joint effort. Each member has to agree completely on the theme for a production to go through. The script is usually written jointly as the play progresses. Of course different groups have varying aims. The Jana Natya Manch in Delhi for example performs plays on current topics. This demands that the play be produced as soon as possible to be relevant. Badal Sircar’s group however chooses themes which will have an appeal over longer period since it takes them six moths to a year to prepare a play.

A ‘dholak’ or choral song is used to attract people and once a large enough crowd has gathered the play being usually in a circular area with the audience all around. The chorus sings or speaks out the script. Sometimes one person narrates while the actors mime. No make-up is used unless mime is the medium. Then the face is painted white and the eyes an exaggerated black to highlight expressions. If the audience is very large and one person alone has to speak, a mike is used. There are no separate costumes for the actors. They might all wear a black robe but that depends on the theme. Being the kind of theatre it is there is not much scope for fine acting. The movements have to be very exaggerated.

Street theatre as a channel of communication is deeply rooted in Indian society. The modern form is different only in the themes enacted. The street theatre groups analyse the society as it exists, visualize its future, and then attempt to put the vision across.

Warm-Up Activities

Warm-Up Activities

They have been adapted by many different coaches, and like any teacher, I try to personalize each one with my own methods of getting the children excited, involved and focused.

It's quite important that students become committed "to the moment". This means they must involve themselves in any stage activity on all levels - intellectually, intuitively and physically. Some games which help to develop these commitments include the following:

BEAN BAG

This exercise demonstrates to the children how important it is to project their voices.

Place three bean bags in front of a row of children. One about 10 feet away from them - the second about 20 feet away, the third about 35-40 feet away (this can obviously be changed to suit the physical environment of the class).

  1. Ask each child to look directly at the first bean bag, say their name and the name of their favorite animal.
  2. Instruct him to say the exact same things to the second bean bag.
  3. Would he speak with the same volume? Of course not - the "person" is further away.
  4. When asked to address the third bean bag, he obviously should be projecting his voice as loud as he can.
  5. After all the class has addressed the bean bags, let them know they were really acting in a play just then - reaching the first three rows, the middle rows, and the back rows of the theatre!

MIRROR EXERCISE

  1. There are two players. "A" is the follower (mirror) and "B" starts all the action. "A" reflects all B's movements and facial expressions.
  2. Simple activities for B to initiate are washing her face, getting dressed,brushing teeth - etc.
  3. This exercise promotes inventiveness, clowning, and timing - the childrenshould be encouraged to be as specific as they can with each movement.

PANTOMIME

The actors will work in groups of 4 - 6 and are instructed to pantomime a single general activity (examples: Playing different sports at school, performing with an orchestra, circus acts, hospital work, etc.)

To communicate the idea of a GENERAL activity, each actor must pantomime a SPECIFIC one.

For example: "Office work".

  • One actor mimes being a typist, another delivers the mail, another is a "boss" at a desk (perhaps on the phone), a client visits the office to see the boss, etc.
  • The audience then guesses the general activity and then talks about the specific ones.
  • Make sure the actors understand they cannot SPEAK - only work with their bodies, facial expressions, etc.

TUG OF WAR

When I was growing up, there wasn't a kid on our block who hadn't played tug of war - it was a passage rite into the "Who's the strongest kid?"competition.

In theatre tug of war, the same concept prevails - except there's no rope whatsoever! The children play with a "space rope".

This game can be played with two, four, six or eight players at a time.

  1. The teacher encourages the children to "Pull! Pull" and challenges them to stay in the same space.
  2. If the children totally concentrate on the "object" between them, they will use as much energy as if there were a real rope between them.
  3. This is an important exercise in that no one can do it alone - it shows that problems can be solved ONLY by interacting with each other!

Tongue Twisters


Here are a few tongue twisters to get your lips and teeth around - great for rehearsals, party games or just to have a break at your computer!

There are thousands of tongue twisters out there - these are just some of my favourites. You may also know slight variations of these - it's amazing what Chinese Whispering can do...

Tip: Remember, it's not just how fast you say them, but how clearly too.

I like New York, unique New York, I like unique New York

Are you copper-bottoming them my man?
No, I'm aluminiuming them ma'am

Two toads totally tired, tried to trot to Tewkesbury

She stood upon the balcony, inimitably mimicking him hiccupping and amicably welcoming him in.

The sixth sick sheik's sixth sheep's sick

Betty Botter bought some butter
But she said, "This butter's bitter.
But a bit of better butter
Better than the bitter butter,
That would make my batter better."
So she bought some better butter
Better than the bitter butter
And it made her batter better.
So 'twas better Betty Botter
Bought a bit of better butter.

All I want is a proper cup of coffee,
Made in a proper copper coffee pot
I may be off my dot
But I want a cup of coffee
From a proper coffee pot.
Tin coffee pots and iron coffee pots
They're no use to me -
If I can't have a proper cup of coffee
In a proper copper coffee pot
I'll have a cup of tea.

The skunk sat on the stump. The stump thunk the skunk stunk. The skunk thunk the stump stunk. What stunk - the skunk or the stump?

Peggy Babcock loves Tubby Gigwhip

Rubber baby-buggy bouncers

Floppy fluffy puppies, Floppy fluffy puppies

Popacatepetl, Copper plated kettle

What a to-do to die today at a minute or two to two,
A thing distinctly hard to say but harder still to do.
For they'll beat a tattoo at a quarter to two:
A rat-ta tat-tat ta tat-tat ta to-to.
And the dragon will come when he hears the drum
At a minute or two to two today, at a minute or two to two.

Imagine an imaginary menagerie manager
Imagining managing an imaginary menagerie

Drama Techniques

Drama Techniques

These drama techniques can help shape drama sessions and increase the effectiveness of drama as an educational tool. They are drawn from a wide range of sources.

Drama Techniques 1: Conscience Alley

A useful strategy for exploring any kind of dilemma faced by a character. The class forms two lines facing each other. One person (usually the teacher/leader) takes the role of the protagonist and walks between the lines as each member of the group speaks their advice. It can be organised so that those on one side give opposing advice to those on the other. When the protagonist reaches the end of the alley, she makes her decision. Sometimes known as Thought Tunnel.

Drama Techniques 2: Flashbacks/Flash Forwards

Performers in a scene are asked to improvise scenes or incidents which take place seconds, minutes, days or years before or after a dramatic moment. This enables the exploration of characters' backgrounds, motivations and the consequences of their actions. The technique can be combined with image theatre or still images.

Drama Techniques 3: Forum Theatre

A technique pioneered by Brazilian radical Augusto Boal. A play or scene, usually indicating some kind of oppression, is shown twice. During the replay, any member of the audience ('spect-actor') is allowed to shout 'Stop!', step forward and take the place of one of the oppressed characters, showing how they could change the situation to enable a different outcome. Several alternatives may be explored by different spect-actors. The other actors remain in character, improvising their responses. A facilitator (Joker) is necessary to enable communication between the players and the audience.

Drama Techniques 4: Still Images and Freeze Frames

Still images and freeze frames are both a form of tableau. With freeze-frame, the action in a play or scene is frozen, as in a photograph or video frame. Still images, on the other hand, require individuals or groups to invent body-shapes or postures, rather than freeze existing action.

Groups can be asked to tell a story through a series of prepared still-images. This can be an effective method for students who are less inclined to improvise dialogue. The still images can also be brought to life through improvisation. Freeze-frames and still images can be usefully combined with thought tracking, forum theatre or flashbacks and flash forwards.

Drama Techniques 5: Hot Seating

A character is questioned by the group about his or her background, behaviour and motivation. The method may be used for developing a role in the drama lesson or rehearsals, or analysing a play post-performance. Even done without preparation, it is an excellent way of fleshing out a character. Characters may be hot-seated individually, in pairs or small groups. The technique is additionally useful for developing questioning skills with the rest of the group.

Drama Techniques 6: Image Theatre

Another technique developed by Augusto Boal. Participants rapidly sculpt their own or each others' bodies to express attitudes and emotions. These images are then placed together and 'dynamised' or brought to life. The method is often used to explore internal or external oppression, unconscious thoughts and feelings. It is a flexible tool for exploring issues both with groups who are confident with drama and those with little or no experience. No-one has lines to learn or has to 'act' or move around in front of others. Image theatre can enable individuals to explore their own feelings and experiences in a less forbidding way than that offered by improvisational techniques.

Drama Techniques 7: Mantle of the Expert

Developed by British drama guru Dorothy Heathcote, this technique involves the creation of a fictional world where the children assume the roles of experts in a particular field. The teacher's role is of someone who knows nothing about the particular issue. The children may be involved in mimed activities, improvisation, research or discussion. The technique gives pupils an opportunity to assume responsible roles and can be an effective method of interactive learning.

Drama Techniques 8: Role Play

Role play is the basis of all dramatic activity. The ability to suspend disbelief by stepping into another character's shoes comes quite naturally to most children. Through the structure of the drama lesson this can be used to great effect, challenging children to develop a more sensitive understanding of a variety of viewpoints whilst sharpening their language and movement skills. By adopting a role, children can step into the past or future and travel to any location, dealing with issues on moral and intellectual levels. Thus role play can be easily utilised to illuminate themes across the curriculum.

Drama Techniques 9: Teacher in Role

An invaluable technique for shaping the dramatic process. Simply put, the teacher assumes a role in relation to the pupils. This may be as a leader, a peer, or any other role which is useful in the development of the lesson. The teacher may ask questions of the students, perhaps putting them into role as members of a specific group and encouraging them to hot seat her in return. A token piece of costume, a hand prop or special chair can be useful to denote when the teacher steps into and out of role.

Drama Techniques 10: Thought Tracking

Individuals in a group freeze in position and, one at a time, are asked to speak their thoughts or feelings aloud - just a few words. This can be done by tapping each individual on the shoulder or holding a cardboard 'thought-bubble' above their head. Alternatively, thought tracking (also called 'thought tapping') can involve other members of the class speaking one character's thoughts aloud for them. The technique can readily be used in conjunction with image theatre or freeze-frame. Equally, it can be a useful precursor to improvisation.

Acting The Passion and The Dream


By: Nitin Saluja

Beautiful acting is when the actor isn't there, just the character is there.”

The universe and all of history is your classroom


It takes a very strong and dedicated person to pursue a career in acting. After all, you are doing it because you love it. You couldn't imagine doing anything else. And of course, not many people will understand this. Some people cannot understand why anyone would want to do something with such an unpredictable future.

No one can quiet explain that feeling that you get when you perform. One of the most exciting things about acting is that you can be or do anything that you want. All the worries and sorrows disappear. The stage is a very relaxing place. It's your home. You learn, grow, and develop there, as an actor and as a person.

The members of the audience come to be entertained and/or educated. They are living out their fantasies through your character. Therefore, your portrayal of the character must real and truthful.
In order to act, you must be an observer of life. You must watch people closely: how they talk, the gestures they make, and so forth. You must observe and then be able to duplicate what you see. This is real. This is true life. You also must experience all that you can. This gives you more knowledge and a broad area to work with for understanding your character.
Try new things, experience life. Don't be the spectator, that's not your job. The definition of to act is to do. As Miss Stella Adler said, "You cannot afford to confine you studies to the classroom. The universe and all of history is your classroom."

In show business, the first impression can sometimes be the last impression. Producers, directors and casting directors are busy people. The deciding factor in giving an unknown (or even an experienced actor whose opportunities have been limited) a chance to read for a part is often based on first impressions.

It's up to you to know how to handle yourself during an interview: how to be at ease, and how to be well poised. How to sell yourself; how not to oversell yourself.
To become the actor that you want to be takes loosing your ego and trusting in your teachers experience to help develop you into the professional that you know you can be.


Acting isn't about you; it is all about the character.

Monday, May 17, 2010

EDUCATIONAL QUALIFICATIONS

COLLEGE
B.A(Hons.)Economics
Hans Raj College , Delhi University, 
New Delhi, India


SCHOOLING
Std V to XII
St.George’s College, Mussoorie

Std IV
St.Steohen's School,Chandigarh

Std I to III
Sarvhitkari Vidya Mandir,Muktsar