35,594 matches
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eye-opener for most of uș and it also inspired uș to start working on a performance using this style. We were very clear that we did not want to re-perform or recreate any of the old nautankis aș they are for adults and not for children and young people - our target audience. Șo we set about looking for stories that could be adapted into nautanki (swaang-geet[2]). I suggested to Dr. Sharma to write and direct a short play în nautanki
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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uș and it also inspired uș to start working on a performance using this style. We were very clear that we did not want to re-perform or recreate any of the old nautankis aș they are for adults and not for children and young people - our target audience. Șo we set about looking for stories that could be adapted into nautanki (swaang-geet[2]). I suggested to Dr. Sharma to write and direct a short play în nautanki, based on a story
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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this style. We were very clear that we did not want to re-perform or recreate any of the old nautankis aș they are for adults and not for children and young people - our target audience. Șo we set about looking for stories that could be adapted into nautanki (swaang-geet[2]). I suggested to Dr. Sharma to write and direct a short play în nautanki, based on a story. Ouț of 3 stories he selected Hanuman Ki Ramayan by Dr. Devdutt Pattanaik
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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to write and direct a short play în nautanki, based on a story. Ouț of 3 stories he selected Hanuman Ki Ramayan by Dr. Devdutt Pattanaik, published by Tulika Books. Dr. Sharma hâd never written or directed a nautanki especially for children. Șo he was quite excited about the collaboration. But when he went back home to Delhi, his father Pt. Ram Dayal Sharma (a well-known exponent of nautanki) was șo touched by the story that he decided to write the
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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But when he went back home to Delhi, his father Pt. Ram Dayal Sharma (a well-known exponent of nautanki) was șo touched by the story that he decided to write the script himself. I think that hâș been a boon for uș because he brings șo much experience to the whole production and hâș used a range of verses and compositions, capturing the essence of nautanki în this short 40 minute piece! The training and rehearsals were structured by Dr. Sharma
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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aș Artistic Director I would observe and give feedback aș and when I felt was necessary. My role was more aș a pedagogue making connections between the performance and the perspective of a young audience. The entire rehearsal process lasted for 12 days and over the last 3 days we called some children to watch rehearsals. This completely changed the body language of the performers and the director. Now the rehearsal performance hâd the context of a live audience and helped
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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performers irrespective of the character. Șo, we have Sharvari Deshpande playing Valmiki[6] and Narad hâș been played by male (Harshad Tambe and Ghanshyam Tiwari) and female (Vinati Makijany) artists. Gender of the performer was not a concern while casting for a role. The performance was of utmost importance, especially the singing talent. Apart from the singing, the aspect of improvisation is very important and integral to nautanki. But I asked the performers and the director to refrain from too much
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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children have been enthralled by the antics of Narad. Sometimes we have seen adults and grandparents weep through the play, while children have been laughing away at the actions and interactions between characters. The contrasting responses have been most humbling for uș aș performers. Looking back, this experience hâș been most enriching for each and every person în the company, even those who are not în the production. The form hâș given uș the space and opportunity to explore our own
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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seen adults and grandparents weep through the play, while children have been laughing away at the actions and interactions between characters. The contrasting responses have been most humbling for uș aș performers. Looking back, this experience hâș been most enriching for each and every person în the company, even those who are not în the production. The form hâș given uș the space and opportunity to explore our own self aș artists and extend beyond our supposed realm. Artists have definitely
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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extend ourselves aș performers and understand the unique grammar of an operatic form. Words în a song and words în operatic verse work șo very differently. It would probably have taken uș years to realise this, hâd it not been for this engagement with nautanki. I am sure this will influence our approach to text, especially verse. [caption id="attachment 1116" align="aligncenter" width="289"] Publicul nostru tânăr[/caption] Our young audience Traditionally children have been a secondary audience during nautanki performances
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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nautanki performances (aș well aș most tradițional performance forms în India). În our play children become the primary audience and adults ‘tag-along’. It is our sincere effort to share with urban audiences the ‘râs’[7] of theatre without any labels. For uș it is aș contemporary aș any other performance form. Not folk or tradițional or fossilised, but alive and vibrant... something with huge value to uș aș performers and our audience aș ‘rasiks’[8]. HANUMAN KI RAMAYAN Hindi Swang-Nautanki / 40
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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it is aș contemporary aș any other performance form. Not folk or tradițional or fossilised, but alive and vibrant... something with huge value to uș aș performers and our audience aș ‘rasiks’[8]. HANUMAN KI RAMAYAN Hindi Swang-Nautanki / 40 min For children and adults Original Author - Dr. Devdutt Pattanaik Nautanki Adaptation & Music - Pt. Ram Dayal Sharma Direction & Hindi Translation - Dr. Devendra Sharma Costume design - Shama Zaidi Illustration - Anagh Banerjee Musicians - Ravindra Belbansi, Janit Temkar Actors - Sharvari Deshpande, Hetal Varia, Prăsad Dagare
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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Ki Ramayan is based on a short story by Dr. Devdutt Pattanaik, published by Tulika Books. În this specially commissioned piece we have adapted the story în nautanki form (swaangeet). It is a part of our series of short plays for young audiences, using various theatrical forms. [caption id="attachment 1115" align="aligncenter" width="300"] Riyaz (rehersal) before a performance[/caption] What is ‘Nautanki’?</em> Nautanki performances are operas (dramatic works set to music) based on popular folk themes from tales of
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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and remained șo until the coming of television and cinema. The pleasure of Nautanki lies în the intense melodic exchanges between the performers. Performances are often punctuated with individual songs, dances and skits, which serve aș breaks and comic relief for audiences. Nautanki performances can take place în any open space available în or around a village that can accommodate audiences în hundreds or thousands. Sometimes this space is made available by the village chaupal; at other times the playground of
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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night until sunrise! Nautanki still holds a strong influence over people’s imagination în northern parts of India, and even after the spread of mass media like TV and radio, a crowd of 10,000 to 15,000 shows up for a Nautanki performance. [1] A is a tradițional operatic form of performance from India. [2] A form which gave birth to nautanki aș we know it today. [3] Narad is a sage who prominently features în texts like the Ramayan
Recâștigarea poporului – un eseu reflexiv () [Corola-website/Science/295710_a_297039]
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cup and tradițional music. Aș if that wasn’ț enough, I later moved to the countryside - în Amară, Ialomița) - and moved up în the world: an annual music festival, with up and coming young “celebrities” and all the other artists for whom Bucharest was too small. That’s why, until I was 18, theater to me meant the radio theater show on Radio România, which I would skip every time I stumbled on it. Mom and dad paid just aș much
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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meant to explain, în a couple of words, why a hillbilly like myself doesn’ț have a clue about the theater, hâș never been în one, doesn’ț care about it and doesn’ț go to one when în Bucharest. For several years, “the theater” was that big building în University Square. Period. When I was about 23, I went into a theater hall for the first time. It was at the Național Theater. I hâd a girlfriend who was smarter
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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în one, doesn’ț care about it and doesn’ț go to one when în Bucharest. For several years, “the theater” was that big building în University Square. Period. When I was about 23, I went into a theater hall for the first time. It was at the Național Theater. I hâd a girlfriend who was smarter than me and, aș always, that weighs a great deal more than any posters of Florin Piersic. Besides, she was from Mizil, where they
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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educated, young (unfortunately Romă) woman. I can’ț remember how many times I’ve seen this play. Not because I didn’ț get it the first time, nor because it was the only one ouț there, but because I saw, for the first time, ideas taking shape. After spending ten years în the narrow world of Romă NGOs în the midst of wooden tongue approaches, of speeches and statistics, of lamentations, of dry, cold conflicts with those I perceived to be
De ce mă duc la teatru? Ca să recuperez () [Corola-website/Science/295727_a_297056]
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there are many variations, circles typically involve from five to twenty-five people who choose a theme and then, one by one, tell a tale. Each story is welcome no matter what its style. În accordance with the Appalachia-based Roadside Theater for example, stories might recount family history, local history, folklore, ghost lore, a personal experience, or even riddles or jokes passed down through the generations. Participants în story circles typically focus on listening to the other stories and they then decide
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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just himself but a whole class of people struggling against similar unjust treatment. Under what conditions are people with no social cachet individually not only listened to but treated aș catalysts, their experience deemed important, and their authority to speak for a group recognized? Aș Shoshana Felman writes, to testify is “to produce one’s own speech aș material evidence for truth—to accomplish a speech act rather than formulate a statement” (1992: 5). Testimony în a legal context refers to
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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social cachet individually not only listened to but treated aș catalysts, their experience deemed important, and their authority to speak for a group recognized? Aș Shoshana Felman writes, to testify is “to produce one’s own speech aș material evidence for truth—to accomplish a speech act rather than formulate a statement” (1992: 5). Testimony în a legal context refers to serious statements made under oath that may hold life and death consequences; the term also means a public declaration of
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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and initiating individual recovery” (Miller and Tougaw 2002: 13). There is, however, a danger of relegating the individual to a secondary position în the interest of furthering the social goal. Orly Lubin describes an example of imbalance between the value for the individual and for the collective în the uses of the testimony of Zivia Lubetkin. One of the leaders of the Warsaw ghetto uprising of April 1943, Lubetkin immigrated to Palestine and gave her testimony twice. The first time she
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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Miller and Tougaw 2002: 13). There is, however, a danger of relegating the individual to a secondary position în the interest of furthering the social goal. Orly Lubin describes an example of imbalance between the value for the individual and for the collective în the uses of the testimony of Zivia Lubetkin. One of the leaders of the Warsaw ghetto uprising of April 1943, Lubetkin immigrated to Palestine and gave her testimony twice. The first time she told her story privately
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]
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to her new community. Despite personal costs, the teller can absolutely galvanize a community that identifies with her. Such was the case of Roșa Parks, whose story was chosen by civil rights leaders to be the symbol of bus desegregation for a large, public audience. În December 1955, when Parks transgressed Jim Crow-era laws segregating people of color to the back of the bus, she was not the first. The previous March, “a feisty high school student named Claudette Colvin. . . defended
De la povestire personală la act politic () [Corola-website/Science/295715_a_297044]