THE ORPHAN OF ZHAO

This play showed the politics of life, politics of power, and the sour feelings towards each other when one is in power. This was played by the actors very well. In a very neat n I should not 4get to mention the word "SUBTLE" n "MINIMAL" for their way of performing. There was no extra or superfluous action done, every thing was very precise n so the same I would say 4 the music, which was also explicit. There were maximum 2 to 3 instruments used; the drum n another string instrument. They used a very novel way of showing war on stage; just one action tells the killing of the other, nothing was overdone.
The set design; the chains n half done wall of the Kingdome, though was very suggestive but worked, I mean if u just look at set u can have an idea of what’s on.
Their ending image was very attention-grabbing; there was a coffin n a man sitting still beside it, under the broken wall of the Kingdome and there was a spill of red light all over.

SaHiBa

THE ORPHAN OF ZHAO

I fell in love with the angles of lights used in the production, BRILLIANT LIGHT DESIGN.

Of All The Foreign Plays, I have seen so far, this Chinese play was different, it didn’t provide subtitles of each and every dialogue, but it gave subtitles of the theme of the whole scene so that we could concentrate on visuals n acting manner also very well .

rohit

Devise performance text

In "Tilt" performance there was a inner dialoge. Metal and body texture was very energitic. Incomplitedness,scilance make the admosoher and when came the cross light,
magic start from ther.
I lost her rethim sometime.

In "Strange Lines" give me sence of stability. Its a uncompromicable delling.
and next tecnology will control us.

Like from both, they create thought and invent new way.
Expression..................
Colour.......................
body......................

The Actor's Body in the Plays in 12th BRM

Anupam

The Doorway -A Visual Response

Anupam

text to performance text

TEXT------------------------------PERFORMANCE TEXT

ORIGINAL HINDI PLAYS-------------------------------

TRANSLATIONS------------------------------------------

ADDAPTIONS----------------------------------------------

STORIES-----------------------------------------------------

POEMS-------------------------------------------------------

DIARY-------------------------------------------------------

REPORTAJE------------------------------------------------

AUTOBIOGRAPHIES------------------------------------

BLOGS------------------------------------------------------

AND NOW

GRAPHIC NOVEL----------------------------------------

WOW!!!!!!!!!!! I M LOVING IT.

AND EAGER TO KNOW WHAT’S NEXT?????????????????????

BUT IS IT A POINT TO WORRY ABOUT, FOR THE PLAYWRITES??????

ROHIT

Spinal Cord

Anupam

MIRI ZEEYOREE

SHHHHHHH.............

• CAN I CALL THIS 'PERFORMANCE' OR 'ACTING'? OR SHOULD I NOT LABEL IT AT ALL? THERE IS SOMETHING BEYOND THESE LABELS FOR WHICH THERE IS NO TERMINOIOGY AS YET
• SO SCENELESS WAS THE PLAY. THAT NOT FOR A SECOND DID IT APPEAR THAT THERE WERE SCENE CHANGES TAKING PLACE. NOR WAS IT POSSIBLE TO SEGREGATE COMPONENTS LIKE THE ACTING, THE ENTRY AND EXITS, THE LIGHTING, SETS OR PROPERTIES
• A PIECE OF WORK, A PLAY, WHERE NOTHING WAS LACKING, EVERYTHING WAS COMPLETE IN ITSELF
• SOMETIMES, WHILE WATCHING A PLAY, WE FEEL THAT ITS PACE SLACKENED, OR IT BEGAN TO DRAG,OR THAT THE ENERGY WAS LOW. BUT WHAT DO YOU CALL A PLAY WHERE NOT ONCE DO SUCH THOUGHTS CROSS YOUR MIND? SIMPLY, A 'GOOD' PLAY??

SU

Tedha Darpan/Tilted Mirror

Anupam

THE DOORWAY

Jyoti Dhingra's efforts to reach the crux of one's being and her search for this bare naked truth was patiently watched by all .This congratulated her with her involvement inclusive of her task that is "I am searching". The prime requisites of Grotovsky of unmasking oneself formed the basics of her expression of a work in progress which was about cleansing, exploring . What was commendable about this expression was her daring and intense attempt of finding a new meaning wherein the methodology of searching our core inner being is out in the open (especially in Bahumukh, in an intimate arrangement between jyoti and audience). In that space , every molecule of the senses of the actor the spectator could gather which was also to a certain degree varied in the piece. The time when Jyoti was carried away by her exploration of her own sensuality and "so much love.." as she had put it was perhaps the apex point in her show and yet with her coming closer to the audience to interact was not so much successful perhaps her truth varied in a certain degree and thus what filtered through could not really touch the chords of the spectators.alhough the time and space were apt . Then is it the actor's own work in a performance space which is a matter of concern here when we analyse it. this remains to be answered. Nevertheless, the fervour with which she was working was inspiring and expanded the parameters of how deep and intensely with the power of his/ her concentration one can explore one's feelings , inner being. It was thus to an extent successful in bringing light to an actor's deep searching process. It should be encouraged as a new definition of an ACTOR'S SEARCH FOR TRUTH.
Moon Moon Singh

CHANDA MAMA DOOR KE

SUMMER RAIN

THE SMALLEST ACTION ON STAGE- BE IT SLEEPING,EATING,SPEAKING, OR MERELY DRINKING WATER- DEMANDS CONVICTION IN ACTING

THE EMERGENCY OF ACTION- IS IT IMPORTANT EVERYTIME FOR EVERY LITTLE THING?

SIMPLY SITTING AND TELLING A STORY IS ALSO A FORM OF ACTING

THE ACTOR KEPT CREATING ILLUSIONS AND IMAGES AND KEPT BREAKING THEM

MUSIC CAN BE USED TO BREAK THE MONOTONY, NOT ONLY FOR THE ACTOR BUT FOR THE AUDIENCE AS WELL
SU