There is violence but there is dance as well.” She says “Where I come from is a hotbed of insurgency. Her theatre relates her personal as well as social moorings. “Guti Phulor Gamusa” from Assam directed by Bidyawati Phukan, is a love story and is produced by the extension activities of National school of Drama.īidyawati Phukan, an NSD alumnus validates the use of folk traditions in her productions. GUTI PHULOR GAMUSA - Assamese – Bidyawati Phukan - UTSA Assam
Nominations – Actor (Nachiket Poornapatre) Actor in Supporting Role Male (Sarang Sathaye) The play grows out of a claustrophobic real-life situation pushed to the limits of endurance, burgeoning into a surreal holy dream that proves too unreal and brittle to stands the test and inevitably leads to near melodrama, with the animosities and tensions becoming sharper till they culminate in Shrimant stabbing Garbo to death As the play engages in the inner battles of these people, sexuality becomes the major concern.Ĭontextualized against the lives of Intuc, the frustrated intellectual, Pansy, the potential homosexual, Shrimant, the affluent but weak patron and Garbo, their mother/mistress/sex-goddess, the drama ends in the climax of her death. Garbo written by Mahesh Elkunchwar in 1970 is about the class of ‘young people’ living aimlessly with frustration of shattered dreams, the diffusion of mediocrity, and the burden of inhibitions, the generation which breaks out into defiance of living out their own lives with non-conformism for a credo. GARBO - (Marathi) – Mohit Takalkar- Aasaktha Pune Nominations –Direction & Choreography (Manish Mitra)-Costume design (Sima Ghosh) –Lighting design (Sudip Sanyal) and for best Ensemble The action of the play revolves around the incidents of the battle of Kurukshetra, when Abhimanyu boldly ventures to penetrate the dangerous, enigmatic chakravyuh, and is tragically killed inside it. In his play Bharat Katha Apart from the core cast, a group of Chau dancers from Purulia also features in this production. Native, rich and dynamic energy of folk music dance and theatre forms like Pandavani, Jhumur and chhau, Manish Mitra narrates narrate an episode from the epic, The Mahabharata. Spacing Theatre wishes all the plays and artists with the best of luck.īHARAT KATHA - (Bengali-Multilingual) - Manish Mitra – Kasba Arghya Kolkota I am personally thrilled to see the productions of my friends Deepan Sivaraman, Manish Mitra, Mohit Takalkar, and Pabitra Rabha, included in the list. The covetable award for the best play has been bagged in the former years by, SARHAD PAAR MANTO –Hindi- USHA GANGULI, Rangakarmee Kolkota (2006) COTTON 56, POLYESTER 84(Hindi) - SUNIL SHANBAGI - Arpana Mumbai (2007) KARNNABHARAM (The Anguish Of Karna) – Malayalam - CHANDRADASAN– Lokadharmi Kochi, Kerala (2008) and HAMLET – THE CLOWN PRINCE – English & Gibberish- RAJAT KAPOOR – The Company Theatre Mumbai (2009) and this year. The jury include DHRITIMAN CHATERJI, MS SATHYU, NAYANTARA SAHGAL, RANJIT KAPOOR, SEEMA BISWAS, and VIJAYA MEHTA. The Festival will take place at Delhi on the first week of march where all the selected plays will compete for the best play awards as well as for individual awards as per nominations. The form ranges from traditional folk theatre, culture, to realism to narration, to the usage of multimedia but it seems that all the plays are attempting for direct communication with the audience.
Many of the plays looks into morality, relationships, sex, revolt, social moorings, rituals etc. This time more plays are included from North East and a wide representation of regional language that include Bengali, Marathi, Assamese, non-verbal (a mime play), Hindi, Malayalam, and Garo. And there is an interesting mix of plays which vary in content, form, and treatment and is a showcase of the contemporary Indian theatre.
It is February and is time for Meta to announce the 10 shortlisted plays for the covetable awards for this year.
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