*नाटक के बारे में*
‘विठाबाई’ यानी तमाशा के मंच पर एक प्रतिष्ठित नाम, जो अपनी एक अनमिट छाप छोड़कर गई। तेरह साल की उम्र से ही घुंघरू बांधकर कलाकार के रूप में दर्शकों पर अपना प्रभाव छोड़ने वाली लावणी सम्राज्ञी…नृत्यांगना! भाऊ खुडे नारायणगावकर का पूरा परिवार लोकनाट्य तमाशा में काम करता था, जिससे उन्हें नृत्य की शुरुआत घर में ही मिली।
विठाबाई का सावला, लेकिन आकर्षक चेहरा, मीठी आवाज और अद्वितीय अभिनय, इस संयोजन से झिलमिलाती विठाबाई की जीवित कथा ने सामान्य जनता और दर्शकों को आकर्षित किया। आलोचनाओं की परवाह न करते हुए, उनके दर्शकों ने विठाबाई को ‘तमाशासम्राज्ञी’ की उपाधि दी।
इस नाटक में विठाबाई के जीवन के कुछ महत्वपूर्ण प्रसंग आपके सामने प्रस्तुत किए गए हैं।
विठाबाई का जीवन अत्यधिक संघर्षपूर्ण था, लेकिन मंच पर अपने नृत्य, अभिनय और गायन में उन्होंने कभी भी अपनी कठिनाइयों को दर्शकों को महसूस नहीं होने दिया। पुरुषों की दुनिया में आत्मविश्वास और साहस के साथ कदम रखती विठाबाई अपनी ज़िन्दगी में ही एक किंवदंती बन गई थीं।
कला की एक उपासिका का यह संघर्षपूर्ण सफर इस नाटक में दर्शाने का प्रयास किया गया है।
*निर्देशक के बारे में:*
प्रो. डॉ. मंगेश बनसोड ने 1991 में डॉ. बाबासाहेब आंबेडकर मराठवाड़ा विश्वविद्यालय, औरंगाबाद से नाट्यशास्त्र में बी.ए. करने के बाद, 1993 में मुंबई विश्वविद्यालय से मराठी (तौलनिक साहित्य अध्ययन) विषय में एम.ए. की उपाधि प्राप्त की। 1995 में उन्होंने शैक्षणिक विज्ञान में बी.एड. और 2004 में मुंबई विश्वविद्यालय से ‘मराठी लोकनाट्य तमाशा’ विषय पर पीएच.डी. प्राप्त की। उन्होंने डॉ. बाबासाहेब आंबेडकर मराठवाड़ा विश्वविद्यालय, औरंगाबाद से नाट्यशास्त्र में डिप्लोमा भी पूरा किया।
पिछले 30 वर्षों से उन्होंने कई मराठी और हिंदी नाटकों, धारावाहिकों और फिल्मों में काम किया है और कई प्रसिद्ध निर्देशकों के साथ अभिनय और निर्देशन का व्यापक अनुभव हासिल किया है।
उनकी प्रमुख प्रकाशित पुस्तकें हैं: ‘निशाणी डावा अंगठा’ (नाटक), ‘रंगविधा’(नाट्यविषयक), ‘मी येणाऱ्या पिढीची दिशा घेऊन फिरतोय’ (काव्य संग्रह), ‘तमाशा: रूप आणि परंपरा’ (शोध ग्रंथ), और ‘उष्टं’ (अनुवाद)।
डॉ. मंगेश बनसोड ने ‘विच्छा माझी पुरी करा’, ‘लोटन’, ‘निशाणी डावा अंगठा’, ‘मी लाडाची मैना तुमची’, ‘मैं लाडली मैना तेरी’ और ‘गांधी-आंबेडकर’ जैसे नाटकों का निर्देशन किया है। उन्होंने अकादमी के लिए 12 से अधिक नाटकों का निर्माण भी किया है। शिक्षा, परिवहन समस्याओं जैसे सामाजिक विषयों पर उन्होंने वृत्तचित्र (डॉक्यूमेंट्री) भी बनाए हैं।
उन्हें मुंबई विश्वविद्यालय का 2005 का कै.प्रा. अ.का.प्रियोळकर पुरस्कार, कवी अरुण काळे स्मृती सम्यक पुरस्कार, ‘उष्टं’ के अनुवाद के लिए सूर्यकांता बाई पोटे पुरस्कार, पद्मश्री दया पवार प्रतिष्ठान का ‘ग्रंथाली’ द्वारा पुरस्कृत ‘बलुतं’ पुरस्कार और महात्मा गांधी पुरस्कार से सम्मानित किया गया है।
प्रो. डॉ. मंगेश बनसोड 2006 से मुंबई विश्वविद्यालय के अकादमी ऑफ थिएटर आर्ट्स में अध्यापन कर रहे हैं और सितंबर 2015 से मार्च 2019 तक उन्होंने अकादमी के कार्यकारी निदेशक के रूप में कार्यभार संभाला। जुलाई 2022 में एथेंस (ग्रीस) में आयोजित 18वें ‘मेकिंग ऑफ थिएटर’ अंतरराष्ट्रीय नाट्य कार्यशाला में उन्होंने प्रशिक्षक के रूप में भाग लिया और 36 देशों के छात्रों को ‘तमाशा’ सिखाया। उन्होंने नाट्य कार्यशालाओं के लिए इटली, स्विट्जरलैंड, जर्मनी, फ्रांस और दुबई जैसे देशों का भी दौरा किया है। वर्तमान में वे अकादमी में एसोसिएट प्रोफेसर के रूप में कार्यरत हैं।
*निर्देशक का वक्तव्य*
‘विठाबाई’ यह नाटक मैंने अकादमी के पहले वर्ष के विद्यार्थियों के लिए बनाने का निर्णय लिया, जिसका शुद्ध और निखालस उद्देश्य एक ही था कि इस नाटक के माध्यम से छात्रों को तमाशा की अभिनय शैली और प्रस्तुतिकरण से परिचित कराया जा सके। तमाशा यह कला मूलतः बहुजन समाज के कलाकारों द्वारा विकसित की गई कला है, यह सबके सामने प्रमाणित है और शायद इसी कारण, महाराष्ट्र के सामान्य जनों में अत्यधिक लोकप्रिय होने वाली इस कला पर तथाकथित अभिजन वर्ग द्वारा ग्राम्यता… अश्लीलता… के कई आरोप लगाए गए हैं। भारतीय सामाजिक दृष्टिकोण से विचार करते हुए, शीलता और अश्लीलता जैसी संकल्पनाएँ अत्यंत सापेक्ष हैं।
तमाशा का असली रूप वह था और आज भी वही है, यह सबको स्वीकार करना होगा। इसे नकारा नहीं जा सकता। मूल रूप से, तमाशा की भाषा, उसमें आने वाले हास्य, भाषाई चुटकुले, समकालीन राजनीतिक और सामाजिक व्यंग्य, इन सबके माध्यम से तमाशा में हास्य रचनात्मक रूप से उत्पन्न किया जाता है। इस हास्य के माध्यम से सामाजिक और राजनीतिक परिस्थितियों पर समाज में घटित होने वाली अच्छी और बुरी घटनाओं पर कटाक्ष किया जाता है। इस संदर्भ में, पारंपरिक तमाशा प्रस्तुतिकरण को उसके असली रूप में छात्रों को दिखाने का प्रयास किया गया है, जिसमें गण, गवळण, बतावणी और लावणी जैसे पारंपरिक तत्व शामिल किए गए हैं। अंततः, तमाशा की पारंपरिक शैली को छात्रों तक पहुंचाना यहाँ का मुख्य उद्देश्य है ।
*लेखक के बारे में*
–संजय जीवने*
*संजय शांताबाई आनंदराव जीवने*
– *संस्थापक:* भारतीय दलित रंगभूमि, नागपुर (1990)
– *संस्थापक:* अंकुर मानव समाज उत्थान केंद्र, नागपुर (1992)
– *संस्थापक:* बुद्धिस्ट आर्ट अकादमी, नागपुर (1995)
– *संस्थापक:* अश्वघोष फिल्म एंड टेलीविजन इंस्टिट्यूट (2006)
– *संस्थापक:* सेलुलॉइड फिल्म्स, बा फिल्म्स (2009)
*पुरस्कार और सम्मान:*
– महाराष्ट्र शासन की राज्य नाट्य स्पर्धा में लेखन, निर्देशन और अभिनय के लिए पाँच बार रजत पदक से सम्मानित।
– ‘पैदागीर’ (निर्देशन, 1991)
– ‘नक्सलाइट’ (निर्देशन और अभिनय, 1999)
– ‘पाटा-वरवंटा’
*एकांकी (लघु नाटक) लेखन एवं निर्देशन:*
– ‘पैदागीर’, ‘युगांत’, ‘सिद्धार्थ गौतम’, ‘रेडक्रॉस’, ‘टोळी’, ‘टोली’, ‘सिंहनाद’, ‘नक्सलाइट’, ‘छुपा अजेंडा’, ‘कांतीज्योती’, ‘उलगुलान ब्लैक टाइगर’, ‘खैरलांजी’, ‘पटाचारा संघर्ष’, ‘टेररिस्ट’ आदि।
*एकल अभिनय प्रस्तुतियाँ:*
– ‘भूख’, ’15 अगस्त’, ‘मैं अभी जिंदा हूं’, ‘टेररिस्ट’, ‘फूलन’, ‘मजदूर’, ‘मैं रमाबाई आंबेडकर बोल रही हूं’, ‘मैं डॉ. आंबेडकर बोलता हूं’, ‘मैं ज्योतिराव फुले बोलता हूं’, ‘क्रांतिमाता’, ‘खैरलांजी का भूत भूतमांगे’, ‘कबीर’, ‘घोटाला’ आदि।
*तीन महानाट्य प्रस्तुतियाँ:*
– ‘धम्मपथ’ – लेखन, निर्देशन
– ‘युगयात्रा’ – लेखक: म.भी. चिटणीस, निर्देशन: संजय जीवने
– ‘सम्राट अशोक’ – लेखन, निर्देशन
*प्रकाशित नाट्यकृतियाँ:*
– ‘नक्सलाइट’, ‘पटाचारा’, ‘मैं संपूर्ण भारत बौद्धमय करूंगा’, ‘आरक्षण’ आदि।
*प्रमुख पुरस्कार:*
– *2001:* चौकट द्वारा ‘विदर्भ भूषण पुरस्कार’
– *2004:* अखिल भारतीय मराठी नाट्य परिषद द्वारा ‘श्रेष्ठ रंगकर्मी पुरस्कार’
– *2006:* ‘जीवक साहित्य पुरस्कार’
– *2006:* अखिल भारतीय मराठी नाट्य परिषद, नागपुर शाखा द्वारा ‘राम गणेश गडकरी स्मृति दिवस सर्वश्रेष्ठ निर्देशक पुरस्कार’
संजय जीवने एक प्रख्यात लेखक, अभिनेता, निर्माता और निर्देशक हैं, जिन्होंने भारतीय रंगमंच पर अपनी विशेष पहचान स्थापित की है।
लेखक की लिखित अनुमती :
*‘अकॅडमी ऑफ थिएटर आर्ट्स ’ के बारे में*
अकॅडमी ऑफ थिएटर आर्ट्स की स्थापना सन 2003 में हुई। मुंबई शहर देश के नाट्य क्रियाकलापों का मुख्य केंद्र होने के बावजूद, मुंबई में नाट्य प्रशिक्षण संस्थाओं की कमी को ध्यान में रखते हुए मुंबई विश्वविद्यालय ने यह अकॅडमी शुरू की है। अकॅडमी में नाट्यशास्त्र का दो साल का पूर्णकालिक सर्वसमावेशी स्नातकोत्तर डिग्री पाठ्यक्रम पढ़ाया जाता है। यह पाठ्यक्रम एकात्मिक पाठ्यक्रम है, जिसमें नाट्य साहित्य (पश्चिमी, पूर्वी और भारतीय), अभिनय, निर्देशन, शारीरिक अभिव्यक्ति और चाल, विभिन्न मार्शल आर्ट्स, योग, संगीत, आवाज और संवाद, पारंपरिक और आधुनिक नृत्य जैसे विविध सैद्धांतिक और व्यावहारिक अध्ययन शामिल हैं। प्ले एनालिसिस और प्ले राइटिंग, मेक-अप, लाइट डिज़ाइन, सेट डिज़ाइन, थिएटर आर्किटेक्चर, कॉस्च्युम डिज़ाइनिंग आदि पाठ्यक्रम भी अकॅडमी में पढ़ाए जाते हैं।
अकॅडमी ऑफ थिएटर आर्ट्स के विद्यार्थियों को विभिन्न शैलियों के नाटक देखने और अध्ययन करने के लिए तथा विभिन्न नाट्य महोत्सव, प्रस्तुतियाँ और चर्चासत्र आयोजित करने के अवसर प्रदान किए जाते हैं। राष्ट्रीय तथा अंतरराष्ट्रीय प्रसिद्ध विशेषज्ञों को आमंत्रित कर प्रमुख रंगकर्मियों के साथ संवाद करने के मौके भी विद्यार्थियों को दिए जाते हैं।
अकॅडमी ऑफ थिएटर आर्ट्स ने अब तक साठ से अधिक नाटकों का निर्माण किया है, जिनमें प्रमुख रूप से ‘मध्यम व्यायोग’ (निर्देशक प्रो. वामन केंद्रे), ‘जनशत्रू’ (दि. विजय केंकरे), ‘पोस्टर’ (दि. जयदेव हट्टंगडी), ‘मुखवटे’ (दि. चंद्रकांत कुलकर्णी), ‘वेधपश्य’ (दि. प्रो. वामन केंद्रे), ‘सूर्याची पिल्ले’ (दि. दामू केंकरे), ‘दि. मोमेंट्स’ (दि. रामचंद्र शेळके), ‘खेळ’ (दि. मिलिंद इनामदार), ‘मोहनदास’ (दि. वामन केंद्रे), ‘लोटन’ (दि. डॉ. मंगेश बनसोड), ‘अजिंठा’ (दि. मिलिंद इनामदार), ‘हृदय’ (दि. चंद्रकांत कुलकर्णी), ‘मी लाडाची मैना तुमची’ (दि. डॉ. मंगेश बनसोड), ‘अंधा युग’ (दि. मिलिंद इनामदार), ‘विरासत’ (दि. विजय केंकरे), ‘निशाणी डावा अंगठा’ (दि. डॉ. मंगेश बनसोड) इत्यादि प्रमुख हैं। इसके अलावा, अकॅडमी के विद्यार्थियों ने अब तक 100 से अधिक क्लासरूम प्रोडक्शन्स का निर्माण, निर्देशन और प्रस्तुतिकरण किया है।
कलाकारों कि सूची
विठाबाई – प्राची गोंगले
म्हातारी-अंकिता सावंत
लहान विठा- अर्चना शर्मा
भाऊ- असिफ कुरेशी
बापू-संकेत कटाळे
माने माउशी -रोहित ताराहर
अण्णा मर्चंड- सुनिल दळवी
शालन- प्रार्थना अशोक
केशर-उत्कर्षा साने
वहिनी-साक्षी मांजरेकर
नेता-दीपक मिश्रा
सैनिक-तपीक जयपुरिया
म्हातारा-कार्तिक डांगरोसा
प्रधान –सिद्धांत सोनावने
मेश्राम –नितीन पावरा
हुमणे- सुधांशू भांडारकर
कार्यकर्ता –प्रांजल उपाध्याय
तरुण –प्रांजल उपाध्याय
वादक –कार्तिक डांगरोसा
कलावंतीन –प्रियांका शर्मा ,आंचल रस्तोगी ,रिद्धी जोशी ,ऋतुजा ढिगे
बतावनी –पुष्कर कुलकर्णी ,सिद्धांत सोनावने ,संकेत कटाळे,रोहित ताराहर
गवळणी –प्राची ,ऋतुजा,साक्षी,अर्चना ,प्रार्थना ,उत्कर्षा
मंच पर
विठाबाई – प्राची गोंगले
म्हातारी-अंकिता सावंत
लहान विठा- अर्चना शर्मा
भाऊ- असिफ कुरेशी
बापू-संकेत कटाळे
माने माउशी -रोहित ताराहर
अण्णा मर्चंड- सुनिल दळवी
शालन- प्रार्थना अशोक
केशर-उत्कर्षा साने
वहिनी-साक्षी मांजरेकर
नेता-दीपक मिश्रा
सैनिक-तपीक जयपुरिया
म्हातारा-कार्तिक डांगरोसा
प्रधान –सिद्धांत सोनावने
मेश्राम –नितीन पावरा
हुमणे- सुधांशू भांडारकर
कार्यकर्ता –प्रांजल उपाध्याय
तरुण –प्रांजल उपाध्याय
वादक –कार्तिक डांगरोसा
बतावनी –पुष्कर कुलकर्णी ,सिद्धांत सोनावने ,संकेत कटाळे,रोहित ताराहर
कलावंतीन –प्रियांका शर्मा ,आंचल रस्तोगी ,रिद्धी जोशी ,ऋतुजा ढिगे
गवळणी –प्राची ,ऋतुजा ,साक्षी अर्चना ,प्रार्थना ,उत्कर्षा
मंच परे
लेखक – संजय जीवने
दिग्दर्शक- प्रो.डॉ. मंगेश बनसोड
सहाय्य-प्रियांका सितासावाद
नैपथ्य -जयंत देशमुख
नृत्य दिग्दर्शन- छायाताई खुटेगावकर
संगीत संयोजन -आशुतोष वाघमारे
वाद्य वृंद/साजिंदे-
हर्मोनियम- विशाल पारदे
बासुरी- हरीश कांबळे
ढोलकी- रत्नाकर शिंदे
गायिका – वृषाली घाणेकर,तेजस्विनी इंगळे
रंगभूषा-उलेश खंदारे
प्रकाशयोजना-रुणाल कोलकणकर
Titar Bitar
About the Play
This play tells a powerful story of loss and injustice, following lives shaped by migration and relentless hardship. It reveals courage shining through broken realities. In three chapters, it traces life’s journey—from childhood, adolescence dreams to the struggles of adulthood. The uprooted seek belonging, and workers endure endless challenges. Blending past and present, the story captures both joy and pain, with hope shining through the darkness.
Concept & Direction
Biplob Bokakoti
Born in 1980 in Assam, Biplob Borkakoti is an actor, director and pedagogue. He is an alumnus of the National School of Drama (NSD), graduated in 2006. Over the years, he has acted in more than 60 plays under renowned theatre directors from India and abroad and participated in numerous international and national theatre festivals, including the Biennale Bonn (Germany), International Shakespeare Seminar (Romania), Rafi Peer Festival (Pakistan), Ibsen Festival (Bangladesh), Arohan Theatre Festival (Nepal), Bharat Rang Mahotsav, and Poorvottar Natya Samaroh, among others. As a director, he has helmed over 20 plays and conducted more than 60 theatre workshops for children and adult theater enthusiasts. In academia, he has served as an assistant professor at Sonapur College and Bongaigaon B. Ed. College. He has also worked as a visiting faculty member at the Dr. Bhupen Hazarika Regional Government Film & Television Institute, NSD Sikkim Theatre Training Centre, Madhya Pradesh School of Drama, Punjab University, and Craft Film Institute. In addition to his work in theatre, Shri. Borkakoti has acted in feature films such as Maj Rati Keteki, Emuthi Puthi, Mamatar Sithi, and What’s Cooking Up Stela. He has also appeared in web series like Neul, Rudraneel, and Kuhar.
He has directed two documentary films—one on adolescent issues in Assam’s tea garden areas (in collaboration with UNICEF) and another on scenography, focusing on the mobile theatre of Assam.
A recipient of the Junior Fellowship from Ministry of Culture in 2008–10, Shri Borkakoti is currently the Centre Director at the National School of Drama (Theatre in Education Wing), Tripura.
Director’s Note
Migration is a complex and multifaceted subject, necessitating an in-depth analysis of its pre-migration conditions, the migration process, and the post-migration consequences. The students conducted extensive research, gathering data on various aspects such as socio-economic factors, cultural displacement, and emotional, psychological challenges faced by migrants. This research was transformed into a performance using exercises and improvisations and theatrical devises allowing the themes to take shape organically.
The creative process brought together inputs from both students and the creative team, resulting in a layered narrative collage. This collage highlights the unique experiences of adults grappling with identity and stability, children navigating cultural shifts, and adolescents balancing aspirations with the realities of migration.
As the director, my role was to step back and analyze the material from an objective, third-person perspective. By synthesizing these diverse inputs into a cohesive performance text, I aimed to present a holistic and nuanced portrayal of migration, capturing its profound impact on individuals and communities.
Script & Lighting Design
Himanshu B Joshi
A prolific writer, designer and director, Himanshu B Joshi has written, translated and adapted plays for the National School of Drama and other institutions. A well known name in the field, he has been designing lights for the last 26 years. A recipient of Junior and Senior research fellowships, Himanshu taught theatre, designed poster-brochure & prospectuses and visited widely across the country and cities like Tokyo, London, Belfast, Mauritius, Dubai, and Taiwan for performances. He has been awarded the Natsamrat Samman for his contribution to lighting design in 2019. Presently, he is the Guest Editor of Natarang, a prestigious theatre journal in Hindi.
Choreography
Moon Moon Singh
A graduate of the National School of Drama, New Delhi, Moon Moon Singh is an Actress, Dancer, Theatre Director and Choreographer. Currently managing her Art organization, Oorjaa Performing Arts Center in New Delhi and Noida, She is a guest faculty for Acting, Dance, Direction, and Movement in various Art Institutions including the National School of Drama, LIPA (England). She studied Indian Classical Dance, Jazz, Contemporary Dance, Ballet and Egyptian Belly dance. During her career, she worked with many eminent Artists and Directors from across the country and Japan, England, and Germany. She has also been involved in films and TV series. She has been awarded the prestigious Bismillah Khan Award by Sangeet Natak Academy for her contribution to Acting.
Music & Sound Design
Santosh Kumar Singh
Santosh Kumar Singh (Sandy) is a Delhi based well known sound design artist with expertise in designing sound for films, television, theatre and contemporary dance productions. His innovative approach towards bringing a symmetrical sound design without any break has been well appreciated. So far he has designed sound for more than 800 stage productions, 30 films, 45 web series and many more.
Assistant Director
Niranjan Nath
Niranjan Nath graduated from the National School of Drama, New Delhi in 2017 with a specialization in Acting. In 2020, he was honored with the Best Actor award at the Mahindra Excellence in Theatre Awards for his outstanding performance as the lead character in the play ‘The Old Man’. A disciple of SNA Award-winning Ojapali artist, the late Lalit Chandra Nath Oja, Niranjan is known for his innovative experiments in blending folk art forms with contemporary theatre. Niranjan is the writer and director of the popular Assamese web series Neul, streaming on Reeldrama. He has also showcased his acting talent in several feature-length films, including Bulu Film, Abhimanyu, Bokul Fulor Dore, and Black and White.
Video Projection
Manojit Debroy
Manojit Debroy is a theatre practitioner with over a decade and a half of experience in acting, directing, stage management, design, and teaching. An alumnus of the National School of Drama’s TIE Wing, Tripura (2012–2013), and a post-graduate in Creative Dramatics from Tripura University, he has led devised plays and workshops. He has mentored Theatre for Young Audiences, Children’s Theatre, and Teacher Training workshops, inspiring educators and actors across Tripura and the Northeast, significantly contributing to Theatre in Education.
Costumes
Pallabi Bhuyan
Ms Pallabi Bhuyan is currently working as an Assistant Professor of Performing Art, North Lakhimpur University, Lakhimpur. She did her postgraduate degree in Performing Arts (Theatre) from Dibrugarh University. She did another postgraduate degree in rural development besides completing PGDCA. Prior to it, she completed a certificate course in Applied Acting from Dr Bhupen Hazarika Regional Government Film & Television Institute in 2014. She also did a one year course in performing art from National School of Drama (Theatre-in-Education) Tripura (2018 ). She had got the rare privilege of acting in several national and international Drama Festivals and in two serials and a short movies. Participated in several seminars, she is working on Indian Knowledge system, a project, under ministry of Education, Govt of India. She is a member of advisory board of Jyotishman Art and Culture creative organization and also a member of the academic council of Surojit academy. As a drama facilitator she is often invited by several schools and colleges.
National School of Drama
Theatre-in-Education Wing, Tripura
The National School of Drama; New Delhi, opened its Camp Office, National School of Drama (Theatre in Education Wing) Tripura w. e. f. 17-11-2011 and conducted Teacher Training and Production Oriented Workshop in Tripura. The Camp Office, National School of Drama (T. I. E. Wing) Tripura started one year certificate course in Theatre-in-Education on 9th August 2012. It is unique as it is the first attempt to make Theatre-in-Education an independent Discipline that encompasses several other disciplines that relates to child education and creative expression it is hope that course will be of immense utility to theatre artists and teachers in furthering their future prospects. The Aim of the T. I. E. Course is to prepare Drama teacher and T.I.E. Resource person.
On Stage
Kartik Nakshtra Pant
Muskaan, Puppet Voice-Dolly Riya Panwar
Rajan, Puppet Voice-Rakesh Rajesh Vishnoi
Gopal Nauman
Swami, Clown Kavaskar
Noor Ishita Sachdeva
School Principal Rajalakshmi
Khushi Nisha Upadhyay
Kulfi Akshay Tiwari
Arjun Rakesh Nayak
Kamla Shreya Arora
Tulsiram, Mrig Superstar Mriganka Nath
Titli Kashmiri Bhuyan
Savita Ahana Ray
Factory Worker, Keshav, Sanju Santhosh
Pandu, Satya Simanto
Mukhiya, Puppeteer, Madhav, Ravindra Pushpak
Ravi, Factory worker Srudnya
Shamsher, Zile Singh Ajay Grover
Off Stage
Improvisations All Students
Script Himanshu B Joshi
Choreography Moon Moon Singh
Music & Sound Design Santosh Kumar Singh ‘Sandy’
Lyrics All Students
Singer Rimi Deb, Ananya Ghosh,
Ananya Sarkar & Students
Poster Image Nauman, Akshay, Nakshatra
Poster-Brochure & Lighting Design Himanshu B Joshi
Video Projection Manojit Debroy
Costumes Pallabi Bhuyan
Set In-charge Simanto, Pushpak,
Kavaskar, Rajesh
Props In-charge Ahana, Santosh, Shreya, Srudnya
Costume In-charge Nisha, Kashmiri, Riya
Mriganka, Ishita
Sound Operation Santosh Kumar Singh,
Manojit
Sound Execution Sisir Das
Lighting Execution Pradip Das
Stage Manager & Lighting Operator Jayanta Dey
Asst. Director Niranjan Nath
Concept & Direction Biplob Borkakoti
Acknowledgement
Maharani Tulsibati Girls’ Higher Secondary School
Shishu Bihar Higher Secondary School
Kshudiram Basu English Medium School
Umakanta Academy English Medium School
Dr. B. R. Ambedkar English Model School
Shri Chittaranjan Tripathy, Director, NSD
Shri P.K. Mohanty, Registrar, NSD and All Staff Members
Middle Class Dream of a Summer’s Night
Synopsis
“Middle Class Dream of a Summer’s Night” is an extraordinary adaptation of Shakespeare’s classic “A Midsummer Night’s Dream,” infused with a modern Indian twist. This unique English play features characters speaking English with accents from various Indian languages, adding a fresh and humorous flavour to the timeless tale. Set in the heart of middle-class India, the story weaves together love, magic, and comedy, capturing the essence of both Shakespearean drama and Indian cultural quirks. It’s a theatrical experience like no other, offering a playful exploration of identity, love, and the unexpected.
*About Mandali Talkies*
Mandali Talkies is a creative theatre group committed to presenting stories that resonate with modern Indian audiences while celebrating cultural roots. The group blends satire, music, and sharp social commentary to craft engaging and thought-provoking performances.
Their last production, Mahanagar ke Jugnu, explored the struggles and dreams of artists in Mumbai, shedding light on their journey to balance aspirations with the harsh realities of city life. The play, infused with humor and music, dealt with themes of censorship, survival, and artistic resilience.
Currently, Mandali Talkies is staging Middle Class Dream of a Summer’s Night, a vibrant reimagining of Shakespeare’s A Midsummer Night’s Dream. Set within India’s middle-class society, this production humorously explores the complexities of love, tradition, and identity, all while merging Shakespearean wit with Indian cultural sensibilities.
“MANAMANTHAN” OR “RIPUDALAN”
In Hindu theology, Sshadripu (Sanskrit: meaning the six enemies) are the six enemies of the mind, which are: Kama (Desire/Lust), Krodha (Anger), Lobha (Greed), Mada (Ego), Moha (Attachment), and Matsarya (Jealousy) . In Hinduism, these 6 traits are considered negative characteristics that prevent humans from attaining Moksha
According to Hindu scriptures-Veda, Bhagavad Gita these traits bind the soul to the cycle of birth and death and keep it confined in this material world (confines of Maya or relative existence). Especially, the first three are said to pave the way towards hell. The first two bring about difficult experiences we face in our lives.
The Mada or Ahankar, the false ego, all our actions in the world are for selfish ends. Hence there is no other factor causing the illusory duality of differentiation between ‘us’ and ‘them’ and the repeated pain and delusion it entails than the psychological ego-sense. When the materially identified ego has sided with the materialistic forces of creation (Maya), it is said to have the following faults: Kama, Krodha, Lobha, Moha, Mada and Matsarya. Also called evil passions, man’s spiritual heritage constantly gets looted by these internal thieves (and their numerous variations),
causing him to lose knowledge of his True Being, it’s also create hindrance to achieve Mokhsha.
If a person is virtually a prisoner of the six internal enemies, then his life is completely governed by destiny. As a person moves ahead on the path of Self-Realization, the grip of destiny over him loosens and he gets more and more leverage to change his destiny.
When a person identifies himself with the Self, then he becomes part of the power of destiny
According to Hindu belief, without experiencing these Shadripu at the fullest a person cannot understand the meaning of the soul. These enemies of mind pull the human from all the sides away from the soul and make the life of the human miserable. To overcome this misery every human needs to experience all these Shadripu’s and understand the consequences which later teach the person the importance of love and divinity. A human who controls all these Shadaripu even at some of the extent later enjoy the power of peace and is called as sag, true man or holly man.
List of Directors
1- Haripada Mohanta
2-Satyajit Tipiria
3 -Ajit Bindhani
4- Rajesh Bindhani
Note –
The Famous Chhau Guru of Nichuapada Uttar sahi Chhau Nrutya pratisthan Late Guru Sri Ramani Ranjan Mohanta first time bring “Sadaripu” in Chhau dance That time the Dance was only 15m. But this time , the above mentioned Gurus turn this dance iteam into a dance drama form.This is a very good attempt to aware people about the six
enemies of human being. Kama,Kradha,Labha,Maha, Mada and Mascharya are called Sadaripu or Six enimies of Mana . They are very corelated and one brings the other. They drugged to do all the evils and destruction .Mada ( ego or Garba) and Mascharya (jealousy or Ershad) are working like the two parts of a coin . Once one fall in ego all are came together . These Sadaripu drugged people far away from “Makhya”or goodness or Only aquaring of knowledge (Gyana ), keep meditation (Dhyana) and Love (Prema) one can defeat them. Here Love doesn’t mean ‘Kama”. Kama is the destruction but love is the solution.
SYNOPSIS:
Shakespeare’s Macbeth is a story of hubris and an untrammelled
lust for power.
Macbeth is a brave and honourable Lord in the Scottish court of Duncan.
A chance encounter with three witches, who prophesize that he will be King, sets him on a path of evil and violence, fuelled by his wife, who eggs him on to murder even when he has doubts. This sets off other killings and slowly Macbeth is driven to madness. Lady Macbeth too is tormented by the evil she has unleashed.
In a world where men in power unleash wars against innocent people, destroying entire nations to feed their lust for power and to feed their own egos, Macbeth lives on, several centuries after it was written.
Synopsis of the play
A beautiful expression, highly romantic narration of one’s inner feeling from the bottom of lonely heart – Dr.Dharamvir Bharti’s KANUPRIYA is one of the most sensitive and colourful bouquet of love poems which is both modern and traditional genre with a touch of metaphysical poetical trend of early Classical Sanskrit literature.
The unparallel leela of Radha and Krishna without any beginning and end is an example of infinity in love with a pang of separation syndrome. Each and every word carries a weight of every tragic moment experienced by Radha and that is where the tragedy enhances its emotional quality with spiritual depth.
A broken heart with a feeling of betrayal encompasses the deeply hurt world of Radha is being portrayed successfully by the poet and also denoting the idea of a never ending journey of love and attachment with a bond of unseperated charismatic larger than life picture.
The emptiness of a vessel without water and a flower without a fragnance is equal to a body without a soul. But the world of Kanu and Kanupriya sets an example of both Parimit and Aparimit existence wrapped in love and divine spirituality. A very important issue of understanding binary behaviour and philosophical interpretation behind the meaning of love.
Director’s Note
Kanupriya is a saga of creation and criticism of love, romance, finite and infinite, spirituality in the inner space of human journey.
It is very experimental in nature and the verse is always full of ironical ideas. The unexpected tragedy and loneliness is depicted in a very sensitive way without hurting the protagonist. But the pain remains quite, silently torturing the rest of days of Kanupriya.
The play involves quite a lot of musical compositions, dances, scenography, choreography and cast of trained actors and actress, designers etc. to be able to interprete the poems of love – a garland of both romance and tragic chapters.
The most interesting aspect of this production is to fulfil the demand of the thematic content. It is an exhibition of emotions, rasa and reflection of a mirror of Devine soul.
My style of presentation is an interaction of different tradition and performing attitude in contemporary Indian Theatre.
ABOUT THE DIRECTOR
Ratan Thiyam was born into a family of artistes in 1948 – his father, Guru Thiyam Tarunkumar was one of the most respected guru of Classical Manipuri Dance and his mother, Bilasini Devi was renowned dancer. He grew up surrounded by art and art-making but also amid the privations that went with the performative life.
A graduate of Dramatic Arts from National School of Drama, New Delhi Ratan Thiyam is a multifaceted artiste. He works as a designer, music composer, choreographer, lighting expert, costume designer, architect and also a playwright, painter and poet.
In 1976, he started Chorus Repertory Theatre Company at Imphal and close to a quarter of a century later, it still fascinates audiences with the grace and style of its spectacular canvas. All kind of experiments were taking place there and for years the process of artistic experiments went on. One cannot fully appreciate Thiyam’s theatre without understanding his relationship with his repertory company, and with actor training. He sees theatre as “collective expression”. Talking of the ideal actor, he says: ‘Theatre is a composite art, and the actor a vehicle for expression of the thematic content. So the actor must be a composite man……….. He need not master all forms of art but he must acquire the basics of aesthetics so that he can utilize the experience as a vehicle of expression in a space called the performance stage”.
Ratan Thiyam’s intense and holistic production style – all members are trained in dance, acting, martial arts, stagecraft and design – embraces traditional Manipuri forms as well as other methods, developed over time to support Chorus Repertory Theatre’s esthetic approach. Emphasis on vocal and breath techniques, and in physical stamina and control, provide the means to accomplish impressive aural and movement feats. Thiyam’s work are tightly choreographed; his actors must physically push the limits of character. “I have always found human expression more convincing when it is physically portrayed, when there is a body rhythm”.
In recognition to Ratan Thiyam’s contribution in the field of theatre he has been adorned with following prestigious awards and titles: National Academy Award (Sangeet Natak Akademi), 1987; Padmashree, 1989; Nandikar, 1992, La Grande Medaille, 1997 (France); International Man of the Year in the field of Theatre and Humanism, 1998-99; B.M. Shah Award, 2000; Ganakrishti Award, 2002; B.V. Karanth Smriti Puruskar, 2004, One India One People Award, 2006, Kalidas Samman 2006, NETV People’s Choice Award, 2006, SIU-KA-PHA National Award, 2006; John D. Rockefeller III Award(Asian Cultural Council, New York), 2007 and Alakazi Foundation Award, 2008.
Mr. Thiyam has received Fellow & Special invitations from Ford foundation (USA), Manipur State Kala Akademi (Imphal), Japan foundation (Japan), Korean Foundation (Seoul). And he has made his special study tour in USA, UK, Japan, Hong Kong, Greece, Philippines, Thailand, Burma, Indonesia, Yugoslavia, Spain, USSR, France, Australia, and Cambodia.
Known to be one of the most prominent theatre directors both in the National and International scene Ratan Thiyam is ranked among the best Directors of the world like Peter Brook, Tadashi Suzuki, Arianne Mnouchkine, Grotowsky, Eugino Berba and Robert Wilson.
Ratan Thiyam has directed more than 50-productions of original, adaptation and translated plays and produced world class productions including Chakravyuha (The Wheel of War), Urubhangam, Uttar-Priyadarshi (The Final Beatitude), Blind Age, Hey Nungshibi Prithivi (My Earth, My Love) and Chinglon Mapan Tampak Ama (Nine Hills One Valley) which are known as masterpieces in the world theatre movement.
And his productions achieved most prestigious awards including “Indo-Greek Friendship Award (Greece), 1984”; “Fringe Firsts, 1987 from Edinburgh International theatre Festival”; “Diploma of Cervantino International theatre Festival, 1990”.