Natyanaad Directed by Bansi Kaul

In this performance what I like more is that set. Actually I don't know that what the motivation behind the set still I liked because concept of the performance is going with the set. The style of presentation is presenting the old classics to present time & remembering the old times. Looking at the lines (horizontal, vertical, curved, ramps, cloths, filling the space) material of the set, composition of stage, actors using of the stage labels, water projection all are looking like for me “the old coming with new costumes”

Meri zeeyoree

In this play more I like the music because it’s shows lots of ways to compose theatre music according to the play (subject) & also the whole play leaded by the music In terms of acting & making the whole performance step by step. And also how to bring the music in to performance as well as in the actors.

ELEMENTS WHICH I OBSERVED


What kinds of instruments you need for your text

where you need singers, what kind of song,

Every instrument has a character & rhythm with in it.

How many instruments are need to create for the particular emotion or mood or atmosphere

How to create the atmosphere with the music.

How to create the emotion with the music.

How music should be help to the actors.

How to create Tempo, pitch, energy, movements, lines, sound, rendering the dialogues, pauses etc. (with the actors through the music.)

@ sunita

THE ENCOUNTER BETWEEN DESIGNS AND ACTORS

NOW A DAY THE MAJOR ASPECTS OF THEATRE ARE ACTOR AND DESIGN.
THIS TWO ASPECTS GOES TOGETHER AND MAKE A BODY.
THESE TWO ASPECTS HAS ITS OWN ENERGY AND IT REFLECTS DURING A PLAY.
BUT SOMETIME THESE TWO ASPECTS ENCOUNTER EACH OTHER DURING A PLAY.
WHEN THE DESIGN ENERGY DOMINATE THE ACTOR ENERGY THE ENCOUNTER HAPPEN BETWEENTHEM. AND IT IS ALSO A COMBINATION OF TWO DIFFERENT THINGS THAT IS ANIMATE AND INANIMATE. BEING AN ANIMATE ACTOR CHANGES EMOTION EVERY MOMENT.
FOR THIS DESIGN ALSO NEED TO BECOME ANIMATE.


PLAY
“CHANDA MAMA DOOR KE”

THE WHOLE PLAY IS NICE TO SEE.
THE DESIGN ALSO SAYS MANYTHING.
THE ENCOUNTER BEGUN WHEN THE SET AND LIGHT MAKE THEIR
OWN SPACE AND STARTED ENCOUNTERING WITH ACTOR.
IN THE PLAY THE STATIC VISIBLE OF ROPE AND LED LIGHT THROUGHOUT
THE PLAY MAKES THE ENERGY OF THE ACTOR STRUGGLE TO REACH THE ENERGY OF THE DESIGN.



PLAY
“THE SPIRIT PLAY”

THERE IS LOTS OF WHITE LEAFS COVER BOTH STAGE
AND AUDITORIUM IT IS NICE TO SEE.
BUT THE AMOUNT OF LEAF ABSORBS THE ENERGY OF THE ACTORS.
THE ACTORS WERE CONFINED ON ONE SPACE WHICH MAKE OTHER SPACE UNCHARGE WHICH STARTED ENCOUNTER.

PARI