Theaterwalllah crossed the Mandi House in New Delhi, saying that India returned to its 25th year with the promise of the best celebrations of Indian and International Theater in their 25th year. The major program of the National School of Drama (NSD) is called Bharangam, will see more than 200 productions from nine countries, staged at 13 places in India, Nepal and Sri Lanka.

NSD director Chittaranjan Tripathi says: “In our culture, the theater is not seen as a curricular activity. It is honored as an essential component for our physical and psychological development. ,

Although the slogan of the festival is ‘one expression, supreme construction’, Tripathi says that Bharangam will see the confluence of various voices and traditions. It will also place the culture of disgruntled communities – this festival celebrates the 150th birth anniversary of Birsa Munda, showing the folk theater of tribal communities. “And, we invite our new theater to the stage and pay tribute to Habib Tanveer in our centenary year. Agra marketThe festival will end with a rattan theum production. ,

In this historic edition of the festival, more than 20 female directors demonstrated their works, the audience will see issues from a woman’s point of view.

As the Bharangam wing takes, we talk to five eminent personalities to examine the pulse of the festival.

Manto in Malayalam

The famous theater director Neelam Mansingh Chaudhary joined hands with the Callicut University Little Theater Group (CULT) to make a spectacle, a conversion of four short stories of Saadat Hasan Manto in Malayalam. Neelam took the challenge of breaking the language barrier after Abhilash Pillai, Senior Theater Property of the School of Drama and Fine Arts, which was naked by Calicat University. “It was a wonderful journey through signs, sounds and words. What I was surprised had to have unusual energy, curiosity and ability to take instructions from young actors. ,

After lifting BU, The Dog of Tithwal, hundred watt bulbs and Panch Din, experienced says that some stories are so special that they become universal. “Manto talks about human nature, sex, jealousy, strength, survival tendency, all original for human experience.”

Neelam insisted that Manto was never only related to partition. “We can still see human chess around us. As an artist, everything is my business. Gaza is my business. ,

She recalls those days when Bhargam was a place for risk -taking tasks and a very strong international profile. “Quars, sometimes, start forming late night. Even if they were hungry, people wanted to see the theater. I don’t see that madness anymore. ,

Revision of Parsi Theater

Experienced theater practitioners Hema Singh, Aga Hash are re -evaluating Parsi theater with students of NSD to create a visual work of Kashmiri Khwab-e-HastiOver the years, Hema has imagined the largest-life of the Parsi theater with a contemporary lens and impuled it with a feminine gaze by tweeting the text. She sees Parsi theater as a combination of “Sanskrit, Lok and Victorian Theater”. Aga Hash attracted Shakespeare to create a complex emotional tapestry in her plays, and carries the conscience of Khwab-e-Hasti Macbeth.

This year, the festival Ambassador from Rajpal Yadav, Pankaj Tripathi, Hema has trained a generation of actors. She recalls the days when she played at the age of 16 during the day and in the evening as an old woman, Jora rubbed shoulders with Sehgal. “I miss that commitment and control over language and emotions among young actors, but then each generation is different.”

urban separation

Lubna Salim and in the hard shade We safar
Photo Credit: Special Arrangement

Salim Arif, a name for all seasons, brings We safarA fast step on contemporary relationships and urban isolation among children of fragmented houses increases.

The play follows the results of divorce on children, written by Javed Siddiqui and starring Lubna Salim and Harsh Chhaya. NSD alumni first participated as a designer on Naseeruddin Shah in Bharangam Name of Ismat Apa And, two years later, brought its ambitious production SoreA collage of the traces of communal riots written by Gulzar. He recalls how sniper dogs suddenly took stage as former Prime Minister Ik Gujral invited himself to watch production.

A Kashmir Love Story

Nadira Babbar Farida
Photo Credit: Special Arrangement

Nadira Babbar, one of the Indian theater dynasts, returns with Bharangam FaridaA contemporary love story is set in Kashmir which he has written. Nadira says that if it was not easy for a woman to fall in love tomorrow, then it is not easy today. The play follows the poignant story of Farida and Hyder. Leaving by her husband Sadiq, she finds association in her brother -in -law Mahmdu. Life again takes a turn when Hyder is surrounded by an injured soldier, Farida’s flexibility. As his bond is deep, the Mahmdu becomes the third angle of the story.

Nadira remembers generous applause Begum JaanWhere he portrayed the title role of the famous classical singer, when staged in an earlier version. Similarly, she remembers the enthusiasm when Dayashankar’s diaryThe first drama he wrote was staged. “It always offers one excellent (Excellent) experience. Since the festival attracts the best from all over the country, the love and respect you get on the festival is satisfactory. ,

 Critic notes

Diwan Singh Bajali, veteran theater critic and a continuous presence in the selection committee say that during the tenure of India director Ram Gopal Bajaj, Bharangam started as a platform for the students of the institute to express himself. However, it has become an important event in the international theater calendar and gives a platform to voices from the farthest parts of the country.

Diwan Singh says, “If the theater cannot survive, it surrenders its anti -establishment tone.” “This place is shrinking, but is stable in not providing a place for publicity, pornography and communally colored stories. Every year a small production from a remote part of the country surprises everyone. ,

While the festival promotes folk theater, he says that some folk traditions have not been given because of them. Although its global footprint is spreading, and Diwan Singh spoke excessively about polish presentations, he leaves an idea for the absence of plays from Pakistan and Bangladesh from the line up. He remembers the contemporary adaptation of Karachi Production Shakuntala“Cultural relationships must bear,” he introduces.