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.

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.

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.

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

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.

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

As a Theatre Artist

2009:Name of the play :BholaRam Ka Jeev

Playwright :Harishankar Parsai

Direction :Nitin Saluja

2008: Name of the play: Seven Steps around the Fire

Playwright : Mahesh Dattani

Direction : Udit Khurana

2007: Name of the play : B3

Playwright : Shahid Anwar

Direction : Nakul Dutt

2006: Name of the play :The Stranger From Heaven

Playwright : A.Ball

Direction : Nitin Saluja

Name of the play :Chutti Ka Din

Playwright :Vinod Rastogi

Direction :Sudhir Kumar Dhawan

Name of the play :A PLAY ON LIFE ST.PATRICK

Direction & Playwright:Nitin Saluja

Name of the play : Mock Parliament

Direction & Playwright:Nitin Saluja

Name of the play :A Play On St.George’s

Direction & Playwright:Nitin Saluja

2005: Name of the play :Helena’s Husband

Playwright :Philip Moeller

Direction : Nitin Saluja

2004: Name of the play : The Emperor’s New Clothes

Playwright :Hans Christian Anderson

Direction : Nitin Saluja

2003: Name of the play : Desh Hamara

Direction & Playwright:Fr.Charles Vas

2001 Name of the play : Let’s Hear It For Pied Piper

Playwright :Robert Browning

Direction :Anuradha Ramesh

ACADEMIC AWARDS AND DISTINCTIONS

• Member of Hans Raj Economics Council. 2008-09
• Member of National Service Scheme. 2008-09
• Awarded the Bro.Cummins Gold Medal for Excellent Academics Record and Exemplary Behaviour. 2006
• Headed position of a Captain at St.George’s College, Mussoorie. 2006
• Awarded the Principal’s Cup for Cock House for the year. 2006
• Awarded “ Award For Excellence” for authoring a book for ICSE. 2005
• Headed position of a Vice-Captain at St.George’s College, Mussoorie. 2005
• Got the General Proficiency Award for consecutive five years. 2001-05

EXTRA CIRRICULAR ACTIVITIES

Positions of Responsibility

• President of Hans Raj Dramatics Society. 2009-10
• Appointed as the Festival coordinator of Éclat-The 1^st Theatre Festival of Hans Raj College. 2009
• Secretary of Hans Raj Dramatics Society. 2008-09
• President Dramatics Society, St. George’s College, Mussoorie. 2005-06
• Organized the Inter School Cultural Extravaganza-Milestone for 4 consecutive years. 2003-06

Awards

• Awarded Blazer & Colour for Dramatics at Hans Raj College, Delhi University. 2009-10
• Awarded Blazer & Colour for Dramatics at Hans Raj College, Delhi University. 2008-09
• Awarded Colour for Dramatics at Hans Raj College, Delhi University. 2007-08
• Awarded the school Colour for Dramatics. 2006

Competitions Won

• Awarded the Best Mime at Kamla Nehru College Theatre Festival. 2009
• Won the Best Actor at “OLD WORLD THEATRE FESTIVAL’08”, India Habitat Centre. 2008
• Won the Best Actor at Inter College Competitions at Gargi college,Miranda college. 2008
• Won the Best Monologue,Best Narration and Best Mime at Miranda College. 2008
• Awarded the Best Monologue at Shri Ram College Of Commerece. 2008
• Secured 1^st position in a Monologue Competition,Mime,Act & React and Street Play at National Level 2007

at OASIS 2007,Bits Palani.

· Won the 1^st position in Choreography,Ad-Bag and On the spot skit during the Culture Week. 2006

· Best entry in Group A – All India Camel Colours Competition. 2001

PROJECTS UNDERTAKEN

• Organization : Government Of India 2009

Designation : Core Group member of Indian Youth Delegation to China,

(Was the only one selected from Delhi by Ministry of Youth Affairs and Sports, Government of India)

Key Responsibilities:

-To promote mutual understanding of values and cultures amongst the youth.

-To give a report of the Volunteer Programme in China specifically for holding large

international events like Beijing Olympics, World Expo and similar international.

• Organization : National Service Scheme, Government Of India 2009

Designation : Core Group member of Capacity Building of nominated NSS Volunteers for the

Commonwealth Games Delhi 2010.

Key Responsibilities:

-To prepare a Training Module on Soft Skills to be imparted to the selected volunteers for

Commonwealth Games Delhi.

• Organization : Centre For Civil Society 2009

Designation : Chief Campus Coordinator

Key Responsibilities

-To mobilize volunteers from Delhi University and organize the troupe.

- Promoting social objectives of providing livelihood options to the people.

• Organization : World Lung Foundation 2009

Designation : Coordinator

Key Responsibilities

-To coordinate the best of collegiate theatre street play teams.