TEDA DARPAN

• SOMETIMES THE TEXT DEMANDS A SPECIFIC VOICE WHICH CAN STRENGTHEN THE STORYLINE. ITS NOT NECESSARY THAT THE VOICE BE HEAVY OR SERIOUS, BUT IT MUST BE COMMANDING AND CONVINCING.
• WHEN PEOPLE WATCH A PLAY, THEY TRY TO IMAGINE AND BELIEVE IN WHATEVER THE ACTOR IS SAYING OR DOING. THEY JOURNEY WITH THE ACTOR, SO WHEN THERE ARE THREE DIFFERENT LINES OF ACTION RUNNING PARALLEL TO EACH OTHER, IT IS NOT ALWAYS EASY FOR THE AUDIENCE TO KEEP THEM SIMULTANEOUSLY IN MIND. AT SUCH A TIME, WHEN THE ACTOR FORCEFULLY INTERACTS WITH THE AUDIENCE, IT BREAKS THE CONCENTRATION AND FOCUS. IT CAN BE IRRITATING AS WELL; AND DOES IT REALLY MEAN ANYTHING?

SU

medea

In this play using of the voice & music is created different atmospheres on the space which were really helping to the actors & design. As well as design also motivating the actors do certain things in acting, movements, as well as in their speech. The ship made in symbolically in this play which always changes the locals of this play, it has 3 labels of height of vertically when actor speaks from those labels it’s really creating different atmosphere.
@sunita

shraman

In this play what I observed is that, music is not going with the ply because costumes &kind of acting style is not matching with the music. Because the music looks like very contemporary and the performance style looks like old so they are not merging each other.
@sunita

TUMI DAAK DIYECHO KON SAKAALE

• BENGALI CULTURE, BENGALI THEATRE, BENGALI LITERATURE AND THE BENGALI LANGUAGE ARE VERY RICH FIELDS WITH RICH TRADITIONS, AND THESE ARE ALL BROUGHT TO BEAR ON THE PRODUCTIONS OF THE BENGALI STAGE. IN SOME PLACES AND UP TO A CERTAIN POINT THIS IS ALL VERY FINE, BUT WHEN THE CONTENT AND THE CONTEXT IS MORE CONTEMPORARY, THEN THEY CAN BE OUT OF PLACE IN SUCH PRODUCTIONS. IN THIS PLAY FOR INSTANCE, WHAT WAS THE NEED TO TURN REGULAR, DAILY LIFE SPEECH INTO A SOPHISTICATED, LITERARY LANGUAGE? WHEN COLLEGE STUDENTS SPEAK, ITS OBVIOUS THAT THEY WILL USE THE LANGUAGE OF EVERYDAY GIVE AND TAKE. WHERE THE LANGUAGE OF THE ACTOR AND THE LANGUAGE OF THE PLAY ARE THE SAME, WHERE THE ACTOR SPEAKS MORE AS HIMSELF THAN THE CHARACTER, THEN ONLY THE LITERATURE IS VISIBLE, NOT THE PERFORMANCE.

SU