Issue 2 | Year 1 | www.mytheatrecafe.

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director of the work-space

We have seen so many personalities who dedicate their life for one cause. Actor-Director Atul Kumar is one of them, who is living with a dream to set up an ambitious work-space for theatre. Kumar has set up creative center at Uksan, Maval- a workspace that has been his dream and now his dream is coming in to reality. Kumar shares his struggle and efforts that he undertook to realise this dream.

INSIDE
Page- 2 Rendezvous

Maneesha Sathe is known for her experiments in performances. Having set an example to be the first to create the fusion of Kathak with oriental music and Taiko Drums, she shares her ideas.

Page 3 CentRe stage

Choiti Ghosh, an Object Theatre practitioner, actor and puppeteer, takes us through the journey of Object Theatre, a form of drama that presents objects in interaction with the human body

Page 5 CRitique

Gates to India Song is being performed in India, first time by Indian artists. It journeys through two works of great 20th century French writer Marguerite Duras, The Vice-consul and India Song.

director of the Work-space

Nitin Brahme
Atul Kumars Piya Behrupiya is heating the stage these days. Not only in Mumbai, but the play has been acclaimed in Pune and Kerala. But more interesting is the story of the place where the rehearsals of this play have been done. All the rehearsals are conducted at a remote village Uksan, situated in Kamshet. All wondered why he set this play at Uksan? And here is the story of Kumars dream and his efforts to make theatre village called workspace, which will be termed as an International residency for theatre research and performance. Atul Kumar and his The Company Theatre (TCT) is setting up the project of work space, flaunts all the facilities for theatre. It allows anyone interested in theatre to set their play in this green and hilly scenic beauty. I have seen so many such places. First I had seen this special place when I met to Veena Pani Chawla, when I was kid. Then I saw the theatre projects at Mallika Sarabhai and Protima Bedis place. Once I visited Ratan Thiyyam and saw his center and I have seen the same thing in Paris also. So it was in my mind and I grew up with this dream. I wanted to make a place, where creative for exhibition and sale. In 2005, we held a big painting exhibition in Mumbai and collected funds. Since 2007 we are doing shows of plays to collect funds and we have appealed to people that they can donate any amount above Rs. 100, Kumar narrated. He added that currently they have built only one 2000 sq ft structure, including one hall for rehearsal and some rooms for stay. He added, We want to build cottages, staff quarters, dining area, library, research center and more places for to set plays. This place will be available to everyone, those who want to make serious plays, who want to work for theatre. Piya Behrupiya is the first play, which has set at work Space.

2 Rendezvous Caf e

How to donate for work space project

You can donate in cash for this project or you can donate in kind also such as trees, fertilizer etc for plantation. If you want to be a part of this project then you can donate tiles, steel, cement, sand, windows, doors, glass, mirrors, water tanks and purification system, electric generator, Invertors, computers, interiors and furniture of all kinds, vehicles- car, motorcycle, bicycles and solar panels. For donation contact: Phone: 022-26301294, atul.tct@gmail.com or
thecompanytheatre@gmail.com

The building of Work-Space coming up at Uksan. people can meet, discuss, make their research. A place where artists can think, practice in a peaceful mind with natures support. Originally from Delhi, Kumar came to Mumbai for his friend Sanjay Lila Bhansalis film Hum Dil De Chuke Sanam. Bhansali and Kumars friend Sanjana Kapoor insisted him to stay back for theatr. Gradually, he indulged in the work of theatre in Maharashtra. Kumar founded TCT 20 years ago and continued to work in Mumbai. I was seeing that people were tired, when they go for rehearsal. After their daily job, how can they rehearse in peace? So again I started thinking on the project and I decided to make this worksapce here, in Maharashtra, explained Kumar. I have been living with this dream since 20 years. I came to Mumbai with this dream 17 years ago and Mumbai became my Karmabhoomi. But I didnt have a single rupee in my pocket then. In 2004 I appealed to painters for donation and 200 painters gave me their paintings

The Work Space

an enthralling experience
Neelambari Bhoge
dramas on the life of Lord Buddha with Yasuhito Takimoto, a renowned composer, key board player and percussionist from Japan. These dramas were more like thematic and technical presentations that were based on Kathak dance form. In the meantime, Takimoto also started learning Taal patterns from me. We decided that every year we will have one production and that is how we performed in Pune, Mumbai, Patna and Japan. Talking about the inspiration of this fusion, Takimoto was connected with a shrine where he came across a sacred taiko played only during any special occasion or celebrations. He realised this has varied taal pattern that should be learned. He designed a presentation using Korean drums with his group. During one of his trips to India especially for our Silver Jubilee function of the Maneesha Nrityala, he showed that presentation with Korean drums. He found me very graceful and confident when I danced along. He then decided that I should carry out this fusion. I learnt it myself first as I love to take up challenges and then taught my 6 students. What were obstacles and challenges faced in performing this fusion? To set up the first performance, we chose a taal of 9 beats called Basant Taal. I designed few compositions which were traditional and learned to play taiko from them. I was also one of the participants amongst my 6 students. While playing, we tried various innovations along with ghungroos, percussions and hand movements and then designed compositions. Designing these compositions was a very difficult task as we had to play and dance simultaneously. There were times, when I started practicing in the morning 7:30 am and continued till night 10 pm. I wanted that composition to be up to Takimotos mark as they too had fixed stances and places. It was the first time

I was seeing that people were tired, when they go for rehearsal. After their daily job, how can they rehearse in peace? So again I started thinking on the project and I decided to make this worksapce here. I have been living with this dream since 20 years.

Work Space is situated in the village Uksan, Taluk Maval in Pune district, 45 minutes away from Kamshet. The place is of 5 acres and on the bank of Vadivale Dams backwater. In 2005 TCT raised funds through art exhibition and acquired 5 Acres land in Vadivale near to Kamshet in 2007. Currently, the construction of second phase is going on and the final phase is expected to take place at the end of 2014. Currently landscaping, plantation have been done

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and a large living space has been constructed. In the second phase 2 small cottages, staff cottages, semiopen work-space, 8 artist cottages, common kitchen and dining hall, pathways will be constructed. Enclosed theatre, 2 more permanent large cottages, office space, fabrication workshop have proposed in the third phase. The cost of Rs. 1 crore and 9 lakh is expected for second phase. l

A Kathak performer gifted with technical perfection, aesthetic approach, sensitivity and imagination, Maneesha Sathe is known for her experiments in traditional, modern, abstract and contemporary performances. Having set an example to be the first to create the fusion of Kathak with oriental music and Taiko Drums, she shares her ideas.
What inspired you to create the fusion of Kathak on Taiko drums? Since 1991, I am working with oriental music that is especially played in Japan and Korea. Gradually, I started producing dance

in the world, maybe, that we performed Kathak along with taiko drums. The name of the event was Save the Earth wherein almost more than 100 performers from China, Japan and India had participated. As an artist, which audience do you find more inspiring-National or International? When it comes to Indian

audience- in some parts of the country, audiences are not anxious as they have seen the performers whereas in remote places the performance is a divine one. At times, my audiences cry when they see me dance at this age. Talking about international audience, they do not get an opportunity to see performances like these. They are spellbound and it is up to the artists luck what audience they get. l

WHAT IS OBJECT THEATRE? For the last 2 years, this uestion has been my primary preoccupation. Whenever Im trying to articulate an answer for someone else (and I get asked this a lot!), I find myself struggling to capture everything that Ive been seeing, hearing, reading, learning and teaching myself since 2010 in an allencompassing sentence that clearly communicates what exactly Object Theatre is. And I find myself failing.

objectifying theatre
eventually led to our lives being filled with more and more objects, creating a hitherto un-experienced relationship between material and human society. Today we live with a strange dynamic between us and the millions of things we use. Do we own our objects or does the market own us? More and more objects often, but not always, improve the quality of our lives. How do millions of identically manufactured objects influence our sense of aesthetics, hence arts; our sense of individualism and identity; how do they permeate our media subculture thus building associations, meanings and symbols? Etc. etc.. These couldve been questions that we the people subconsciously lived with, and artists, objecteurs, puppeteers, dancer, designers, architects, manufacturers tried to analyse. Now having said all this,

Caf e CenteR -stage

So let me take the easy way here. Let me start with a little history. Or what I presume might be the history. Sometime in the early 20th century, really ordinary objects from our day-to-day use started making their way into many forms of art. The most famous example of this being the famous artist Marcel Duchamps The

say from The Nederland and Spain, have evolved other techniques. They animate the objects, give them voice and walk, sometimes giving them a costume, along with using them in their regular uses. For example, the Spanish company Tabola Rassas famous performance of Molieres The Miser with taps and waterworks. Dried up taps become the central cast of characters they walk, talk, and complain about the despotic miser. The resource that the miser hoards is water. After much struggle and deliberation, when in the end water gushes from the shower handle and taps, the audience, especially if theyre from a place of limited water supply, automatically moves the play beyond Moliere into their own lives. There are very many more styles and techniques being evolved and practiced around the world. There might be much debate between different techniques about what remains within and what crosses the realm of Theatre dObjet. Now to us, in India. It seems (and no one would be more relieved than me if I was wrong) that were the only formal practitioners of the Theatre of Objects. Tram Theatre was formed only in 2011 after I returned the previous year from my very, very short training stint at the Institut International de la Marionnette in France. The training, though intense, and under one of Europes best known Object Theatre artistes Agnes Limbos (and one of the best teachers Ive ever known) was only a month long. So what it managed to do was raise some questions and open some doors, while

A scene from Trams play Nostos. (Photo : Sandipa Rakshit). giving the sense that there are many more. So since then, its really been a journey of trying different things and self-learning. One cant really say that Indian Object Theatre now has its own distinct methodology and form. Yet! But one can say that its not alien to us. Not under this name (Theatre dobjet or Theatre of Objects) that was given by French artiste Katy Deville in 1980, Indians have been playing with objects in and out of the theatre for years. Not just as props, but as protagonists. In the theatre - not regularly and not often - but in bits and spurts. Whether these were puppet theatre or actors theatre is another, deeper debate that we will not go into right now. But the fact of the matter is, the concept is not alien. And as far as our lives go, which child has not used leaves and stones to play kitchen-kitchen? Who has not made a tent out of their blankets and pretend they are rats hiding in their holes? Some imaginative people may have continued to do this even into adulthood. Were used to transforming one object to mean another and look for symbols in objects - to create landscapes or accessories to support our characters, to create a world of make belief. Now all we have to do is give them space beside us, not beneath us and let them work their magic in their own silent, unobvious way. l

Choiti Ghosh, an Object Theatre

practitioner, actor and puppeteer, takes us through the journey of Object Theatre, a form of drama that presents objects in interaction with the human body.
lets move on to the main question at hand What is Object Theatre? The standard French, Belgian, German methodology seems to be using the objects as they are, making them do what they naturally do, and drawing parallels from them to larger issues. For example, in a play about torture (!!!), the main cast of characters could be an actor/objecteur, a bunch of potatoes, a peeler and a bowl. The objecteur, with a benign expression on her face takes out a bunch of potatoes. She makes different voices for the potatoes and they appear to be a group of children playing. Suddenly she stops the performance of the potatoes, with a stern expression on her face she brings out a peeler. She selects a big, plump, healthy potato and picks it up. Slowly and deliberately she starts peeling it and the audience watches as the rinds fall to the floor. One by one she peels all the potatoes except one. She brings out a big cooking bowl and places the peeled potatoes in it. She puts on an apron and leaves. The lone unpeeled potato lies there surrounded by the rinds of its comrades. Gruesome! But palatable. Other famous companies,

Fountain wherein Duchamp exhibited a urinal signed R.Mutt in an art exhibition. It was so deliberately antiaesthetic that it initially met with strong rejections. Later of course it came to be known as one of the biggest influences in path-breaking modern art. In the theatre too, the puppetry community (as a community that naturally uses materials as modes of expression), too started veering towards this. Putting down especially created beautiful puppets, they started experimenting with material & objects of everyday use - like paper, plastic, fabric, body parts, jars, cans, bottles, kitchen utensils to see what these could do and say. In dance and movement theatre too we see large uses of objects today objects in interaction with the human body. Although I cannot be certain when the trend started in dance, but I wouldnt be surprised if the threads of thought all didnt start at the same time. Why is the question? My feeling is that it was deeply connected to the Industrial Revolution, followed by the Plastic Age and growth of consumer society, which

A scene from Tram Theatres play A Birds Eye View (Photo : Joyoti Roy)

4 PeRsPeCtIves Cafe
As I wound up my theatre class for the day, a student who was shortly to graduate, after three years of theatre training, came up to me and asked, Sir, what next? I was a bit taken aback as I had never pondered over it seriously, but he was serious. However I refrained from replying the obvious, Well, what you mean by what next? We have done our work, now you embark on a period of struggle and find your destination. But what did this struggle really mean? It didnt seem to have a cut-off and definitely no guarantee, that it would bear fruit. I appreciate that this phase comes in everyones life, but then can it be capped? Can it be an assurance for brighter days ahead? Is it justified? My concerns writ large on my face, a colleague retorted, Dont romanticise this concern. Leave them from here on and let them struggle and seek their careers. We cant be nursing every student. It was partly convincing, but then.! On my theatre sojourns, I came across three distinct categories of such Strugglers. One category comprised of artistes who had graduated from so

the strugglers dilemma

times. With no guaranteed flow of money, they have to rely on doing theatre alone or then dabble in it till the going gets tough and then let go. I often wonder if something could be done to smoothen this buffer period. Start repertories, create jobs for the youngsters, encourage them to look beyond only wanting to be actors- maybe take up training children in schools, research, workshops, etc, sensitising them and helping them to see reality even as they train in academic institutes, persuading them to go back to their native places and continue their work? This would ensure some backup till they find the right space to fly! Though arising out of compassion for these hundreds of Strugglers, these musings are not romanticised. In each of the suggested alternatives, there have been numerous experiments, which are testimony to their success. The need is only for these Strugglers to get out of their comfort zones, in being labelled so and face life with a punch. Its all there, which has to be seen with open eyes and a commitment to l overcome.

Dr. Ajay Joshi

Dr. Ajay Joshi is a practicing dentist, with a PhD in theatre criticism and an MA in Journalism and Mass Communication. He has freelanced as a theatre journalist for publications like Times of India, Indian Express, Saakal, PtNotes, Himal etc. He is involved in theatre as a media person, organiser, coordinator, judge and teacher.

called premier institutes and some from not so well known training centres. At the end of their training, they all stand in one line, for the start of the race. NSD, FTII, Flame School of Performing Arts, Lalit Kala Kendra, they come from all over. Trained in various disciplines of theatre, exposed to the best of talent, fortunate to having seen all kinds of theatre, travelled widely. The second lot didnt have any academic degrees to decorate their resumes, but had climbed the ladder, through personal interest, doing workshops, gelling in to form small theatre groups, performing in economically viable spaces. Literally a hand to mouth existence! From here they could be spotted and their transition into the industry seemed a logically crossing. The third bunch

were the ones who had only a dream to make it big in tinsel town, with an occasional tryst with theatre or the camera, or then just that they looked good. Each one of them jumped onto the bandwagon, eyes set from bigger cities, seeking breaks in cinema and a few in theatre. It is fine till this point. My joy is for the few who make it and find their space. But what happens to the endless, for whom the struggle never ends and they lie in wait, in artistic ghettos, like the ones lining Bandra, Mulund, Mandi house etc. Rooms after rooms are crammed with talent, untapped. As Noted playwright Satish Alekar expressed in a recent programme, It was fine in our days, when there were jobs to support out creative urges in theatre. But todays generation is in tougher

Off late we see many drama competitions and theatre festivals being organised at the State and National level. Numerous theatre groups are being formed in larger metrosand even smaller towns and surprisingly, they perform many shows to their credit. Even in colleges & schools drama activities are being encouraged.

understanding theatre
psychology and sociology. risks and experimenting. At the amateur theatre very few groups dare to do an experiment or take on a new kind of play. On the flip side the ones doing experiments do not bother totake cognizance oftheatre history. They are satisfied that what they are indulging in is Experimental. Ironically the notion behind the word Experimental is misconstrued. Some theatre groups call themselves as an experimental theatre group. Actually in theatre jargon the word experimentis used to relate with the play and not the group. Personally I am of the opinion that one needs to know about theatre from its beginning to the current times. Theatre is now a subject widely studied in schools & universities and provides a model for thought in education, philosophy, To understand theatre we have to understand the basic elements which form its structure like acting, text to perform, theatre space & architecture, and various design aspects, interpretation of the play, audience and criticism as well. To do an experiment in theatre we have to be fully aware of theatre and all its nuances, which will help us to position ourselves better in the context of todays social surroundings. Theatre is a vital & organic part of the society. The form it takes and style it adapts relates to the changing historical and social conditions, which is why one can say that theatre always reflects the scenario of that period. Theorising theatre, one has to encompass a wide range of history- from understanding Prakrit (Folk & traditional) theatre and Sanskrit theatre to modern and post-modern Indian theatre. In world theatre there is a range of western theatre from ancient Greek, Roman, Italian, Elizabethan, Spanish, French theatre to

20th century Russian theatre to modern and post- modern European & the American theatre era. There is also the need to study the Oriental theatre, ancient Japanese & Chinese theatre to postmodern Korean theatre. Another lament I have is the common belief that theatre is a launch pad for moving on to television and films. To my mind it has its own existence, which has been proven beyond doubts the world over. It issaddening to see successful playwrights, actors, directorsmoving away from theatre to television and films. But there are a few exceptions who strive to hang on, in order to produce play performances on stage, for the live audiences. At such times, the study of theatre may inculcate a better understanding of its present state, its problems and the likelihood of promising opportunities in this field. Lastly I feel that it is better to do theatre with an enhanced and definitive understanding of its lineage and history. This will provide more substance to a meaningful theatre l.

Against this scenario I observed that very few theatre enthusiasts care to study drama and its theoretic inputs, along with practicing theatre. Earlier there was a myth that one is born an actor and that acting cannot be learnt. Taking this cue, the youngsters dont feel the need to study drama in all its intricacies and seriousness; instead believe that it just happens like any other form of entertainment. I think this attitude towards theatre is problematic. In main stream professional theatre, because of monetary trappings, there are fixed patterns of forms & styles of drama used, which makes it very repetitive. They refrain from taking

Aniruddha Khutwad
Aniruddha Khutwad is well known lecturer and director in theatre field. He is currently teaching acting with Film and Television Institute of India (FTII). He is National School of Drama (NSD) student and he takes theatre workshop at various places for NSD. He work for theatre and film as freelancer and he is researcher of theatre.

gates to india song: a Melodious act

Maya Deshpande
Gates to India Song is being performed in India, first time by Indian theatre artists. It journeys through two works of great 20th century French writer Marguerite Duras, The Viceconsul and India Song. The novel Vice-Consul was published in 1966 and the film India Song, adapted from this novel, was made in 1973 by Duras herself. Eric Winger, a great admirer of Duras, has directed this play Gates to India Song. For his commitment to Durases works he was awarded the honour of Chevaliar dans in 1998. Here he takes us through The Vice-Cosul and India Song. Both these works are in narrative format. The Viceconsul contains a story of a young, unmarried, pregnant beggar, Peter Morgan, who is writing her biography and Anne-Marie Stretter, wife of a French Ambassador in India. A fickle woman, she nourishes herself by all male desires around her. Among them is the Vice-Consul, who is in love with Anne-Marie Stretter, waiting for a new assignment as he is called back from Lahor. In the film India Song the beggar woman herself is a narrator. Duras imagined India for the film and through this play Eric Winger made it possible to meet real India with that imaginary India. The play Gates to India Song is a combination of both, the novel and the film. The play is only for those who are familiar with Marguerite Durass works. Nandita Das is convincing in roles, the beggar woman and Anne-Marie; still at the same time we do not get involved in the story. No character in the play has positivity towards life though they speak about the eternal feeling of love. But this negativity is not depressing. Neeraj Kabi (Peter Morgan) and Subodh Maskara (French ambassador) lent a good support, but Jim Sarbh (Charles Rossett) was impressive. A special mention of costume designers Maximiliano Modesti and Rajesh Pratap Singh is a must. They have done a fantastic job. When the Durasian heroine travels from book to book, film to film and play to play, we wait to know about her in the next play. l

Cafe CRItIQue

Gates to India Song

(Based on India Song and The Vice-Consul) Adaptation, Direction & Set Design Eric Winger Cast : Nandita Das, Suhaas Ahuja, Subodh Maskara, Neeraj Kabi, Jim Sarbh

Dr Sameer Mone

a Complete theatrical experience

A scene from Gates To India Song.

Kiran Yadnopavit, through his theatrical work till today, has proved that he is an artist with maturity and social sensibilities. It can be said without a doubt that Yadnopavit is one of the most important personalities in the experimental theatre today. His performance in the plays such as Te Pudhe Gele and the musical play written by him such as Chandan Chori had won applause few years ago. He has now joined hands with Natak Company to give a complete theatrical experience through Aparadhi Sugandha. Apradhi Sungandha literally means criminal aroma. This aroma is of sandal wood tree in the garden of a bungalow of a wellestablished family. Aparadhi Sugandha can be called as the elaborate version of Chandan Chori. Hence, the consortia of Kiran Yadnopavit and Natak Company raises the bar of expectation in the minds of audience when they are about to see the play. So, the sandal wood tree in the verandah of this bungalow is ancient and precious. Meanwhile, Khan Saheb- a singer, is living as a contingent in this family and his girl student is to be married to the son of the family. They marry in the presence of this sandal wood tree and express their love

feels towards the end of this play is that the use of parody and satire becomes a little overboard. Even small things such as the attitude of neighbours or the singing practice of Khan saheb is well portrayed but the question remains that where do the emotions suddenly vanish that were explored in the beginning of the play through songs and dialogues. It feels as if the emotions lose their way in the middle of the play due to the efforts of highlighting the commentary on the political issues. So does this mean that the purpose behind this play is to make people introspect rather than entertain? Some of these questions remain unanswered yet one can easily say that Aparadhi Sugandha is a complete theatrical experience. l

The team behind the play Aparadhi Sugandha. for each besides it. The entire family has formed a deep emotional bond with the tree. This relationship also has been expressed beautifully in the play. But once the thieves fall for the trees worth and plan a robbery the string of inevitable events starts which gives the play a real twist. The credit goes to the writer as he has engaged several elements befitting the play. The first highlight of the play is that it enfolds like a proper story and the second is the entire story is anchored by two characters Aburao-Baburao and the small episodes which feel as ingrained part of the play. In
its narration audience gets to enjoy parody, metaphors and comments on the political and social issues and the play has a perfect blend of emotional yet agitative flavors that keeps it engaged throughout the play.

has made sure that the focus will remain on the original story. But here it must be said that the director has been supported by talented actors such as Ameya Wag and Om Bhutkar.
A drawback that one

Aparadhi Sugandh
Writer: Kiran Yadnopavit Director: Nipun Dharmadhikari Cast: Amey Wag, Om Bhutkar, Siddharth Menon, Rama Kulkarni, Akshay Tanksale

Director Nipun Dharmadhikari has precisely designed this play and the way he has used the pair of Aburao and Baburao is remarkable. Even though there are various flavours and elements the director

A scene from Aparadhi Sugandha.

i Have to Keep Myself on edge: Mohit

Nitin Brahme
I have been doing different things in the theatre continuously but still I feel that I have to keep myself on the edge, shared young play director Mohit Takalkar, on the backdrop of his new play Uney Pure Shahar Ek. Although Takalkar is just 35-yearold, he is well-experienced and a distinguished theatre personality. He never intended to do theatre, because as he recollects, he was scared when I tried to talk in front of the audience in the sixth grade. Narrating his small yet intense disappointments, he says, I tried to make a play when I was in the 4th grade but not a single person showed up to watch it. In 1999, I tried to make a play Tap Them in the Aradhana Karandak, which turned out to be a disaster. Actors failed to recollect their dialogues, lights were gone and we did our play in the dark. In 2004 we did Chandralok Complex, which fetched me so many hate mails. I didnt meet a single person who liked the plays and I shut down it. In 2011, I presented play in London starring a famous English heroine, which failed to attract a single audience. After pursuing hotel management, in 2011 Takalkar was awarded British Councils scholarship for MA in theatre practice at Exeter University, London. After 12th grade, unexpectedly I joined Progressive Dramatic Association (PDA)s workshop, which changed my life. I joined PDA and without any experience Dilip Vengurlekar assigned me play Yayati, which got State award(Rajya Natya), after that we did Nanefek which was not liked be writer C P Deshpande himself but again we got the State award and I realised that I am enjoying theatre. Soon Takalkar formed Aasakta- a

6 MY theatRe Caf e

theatre group, along with his friends while still struggling financially, to make plays. He did Chotyasha Sutit, a play by Sachin Kundalkar, for Maharashtra Cultural Center and since then he is been doing plays like Tu, Matra Ratra, Purna Viram, Charshe Koti Visarbhole etc. He did at least 25 shows to 50 shows of every plays in the remote place throughout the country. I acted in Manomilan and Charu Aro Etyadi but I was not comfortable in acting. In 2009, I took break from the rehearsal of Garbo and assisted director Tim Supple for his British Council commissioned Indo-UK theatre production- A Midsummer Nights Dream. I travelled in the world and watched plays, saw Picasso, Van Gouge and learnt how the structure of play happens, adds Takalkar. He soon created a post-modern play- Tichi Satra Prakarne, which was directed by four different directors. And he did minimalistic presentation of Necropolice of Mahesh Elkunchwar for Lalit Kala Kendra. In the meantime he did various activities like editing, sound designs and direction for various films. He got Aditya Birla Kalakiran Award, Sahitya Rangbhumi Fellowship, Amrish Puri Award and Zee Gaurav Awards etc. And now he has come up with a film The Bright Day.

Mohits famous plays

Comrade Kumbhakarna -(Ramu Ramanathan) 2011 Gajab Kahani (Pradeep Vaiddya) 2011 Necropolis (Mahesh Elkunchwar) 2010 Kashmir Kashmir (Ramu Ramanathan) 2009 Anandbhog Mall (Ashutosh Potdar) 2009 Garbo (Mahesh Elkunchwar) 2009 Bedke Neeche Rehnewali (Sagar Deshmukh / Jitendra Joshi) 2008 Charshe Koti Visarbhole (Makarand Sathe) 2007 Matra Ratra (Sagar Deshmukh) 2007 Tu -(Satee Bhave) 2006 Fridge Madhye Thevlela Prem -(Sachin Kundalkar) 2005 Chotyashya Sutteet (Sachin Kundalkar) 2004

In the last 13 years, I did 27 plays and in this journey I got much love from Amol Palekar, Sumitra Bhave, Sunil Sukhthankar, Satish Alekar, Mahesh Elkunchwar and Vijay Tendulkar. I am very fortunate that I got contributing colleagues, who have skill set and who ask me questions. I have been trying to get new cast every time, experimenting new things but you know I feel disappointed due to absence of different experiments surrounding to me, concludes Takalkar. l

PRevIew
MuMBaI
NCPA Marathi Vishesh Marathi Play Thursday, March 7, 2013 Experimental Theatre | 6.30 pm Fresh Pix Series: Kashmiri Special - Play Friday, March 8, 2013 Experimental Theatre | 7 pm Tuesdays With Morrie English Play Sunday, March 10, 2013 7pm Experimental Theatre | 7 pm Where Did I Leave my Purdah English Play Saturday, March 16, 2013 & Sunday, March 17, 2013 Experimental Theatre | 7 pm Zest! |Ladi Najaria Youth Theatre Tuesday, March 19, 2013 Experimental Theatre | 6.30 pm Im Bawa and I Know It Parsi Gujarati Play Thursday, March 21, 2013 Tata Theatre | 7.30 pm Vasant Gujarati Natya Utsav | Marx In Kalbadevi Festival of Gujarati Plays Friday, March 22, 2013 Experimental Theatre | 6.30 pm Between the Lines English Play March 23, 2013 Tata Theatre | 7 pm Broadway & Beyond Theatre Performance Sunday, March 24, 2013 Tata Theatre | 7.30 pm

Cafe

Pune
Proposal Marathi Bharat Natya Mandir March 2, 01:00 PM Atmiyacha Prayas Marathi Bharat Natya Mandir March 2, 05:00 Stories In A Song Prithvi Theatre: Juhu March 1, 2013 09:00 PM Naav Prithvi Theatre: Juhu Mumbai March 5, 2013, 06:00 PM My Goad Pune Prithvi Theatre, Juhu Mar 6, 2013 09:00 PM Class of 84 Prithvi Theatre: Juhu March 10, 2013 05:00 PM Mantra Sukhacha Marathi Bharat Natya Mandir March 3, 01:00 PM Kalpak Sangit Sadhana Marathi Hindi/ Marathi songs Bharat Natya Mandir March 9 05:00PM Nava Gadi Nava Rajya Marathi Bharat Natya Mandir March 10 05:00 PM Dhyas Pune Marathi Bharat Natya Mandir March 16 05:00 PM

Class of 84 English Play Sunday, March 31, 2013 Tata Theatre | 7 pm Massage Hindi Play Saturday, March 30 - Sunday, March 31, 2013 Dance Theatre Godrej | 7 pm The Bureaucrat English Play (90 mins) Saturday, March 30 & Sunday, March 31, 2013 Experimental Theatre | 7 pm

Young steinway artist - utsav Lal

Neha Ghatpande

Cafe CuRtaIn RaIseR

With a performing career spanning over a decade at a tender age of 20, pianist Utsav Lal is officially recognised as a Young Steinway Artist and named on the worldwide artist roster of leading piano makers, Steinway & Sons. Featured in the Limca Book of Records at 14 yrs of age, he is the youngest award winner of Irelands Metro ireann Media & Multicultural MAMA Awards 2008 for championing Multiculturalism and has several laurels and awards to his credit. Lal shares his musical journey.
What is Music for you? Also tell us about your relationship with Piano. My life is totally immersed in music and life without music is unimaginable. Recently Ive started thinking of music largely to do with creating a sound and colour with what you play. Every note, scale, or chord sequence has its own feel and emotions and these change. They are also affected by what is played/ comes before, after or during it. When improvising the best music is made when you are having a conversation or musical dialogue. The tonal quality, the sheer size of the piano, along with the fact that every time you press a note, over 10,000 working parts spring to life. all of these factors enthralled me since I was a child and I learnt to play the piano both by ear and formally from the age of 7. The piano offers innumerable possibilities to explore soundscapes. It is one of the most expressive, versatile instruments and has what I call-regal grandeur. I absolutely love the Piano. How did you discover the art of playing Indian classical ragas on the piano? My fascination for the piano came very early and way before my foray into Indian Classical music.In the initial years while I played both Western Classical and Indian film music on the piano, it was strong classical based Indian film compositions, e.g by Naushad , ShankarJaikishen that first introduced me to the challenge of playing Indian classical music on the piano. As I got deeper into it, the power and challenge of the music completely overwhelmed me. This coupled with the fact that there were loads of Western Classical Piano

records available, but nothing for Indian Classical Piano made me determined to explore this new path. I believe Indian Classical Music is the most evolved form of musical expression and its the genre that gives me the most satisfaction. It is the music of my roots and one that I am most inspired by and closest to. Till date you have performed at many prestigious venues abroad and almost in all important cities of India but according to you what is the milestone in your musical career? Playing at the Hariballabh Sangeet Samelan in Dec 2012 was one of the most amazing experiences. Its the oldest Hindustani classical festival and all of the greatest musicians have performed there at some point. It was the first time a piano would be featured at the festival and I felt a huge excitement but also a great responsibility to be the one to introduce the instrument. The audience was a very highly educated one and they were incredibly patient, sitting there from 4 in the afternoon till very late at night. It was a great experience to play for such an audience and it is definitely a memory to treasure. Similarly, when I was invited to perform solo at the Maximum India Festival , Washington DC by The John F Kennedy Centre of Performing Arts , it was a big milestone and a moment of great joy. l

theatrewala

Neelambari Bhoge
Rohit Tiwari (37) started doing theatre at the age of 30, an age when people settle down in a career. Born in the year of emergency, in the heart of Madhya Pradesh, he comes from a typical Indian middle class family where career meant working for a bank or other Government jobs. Till I finished my graduation in statistics, the only acting I did was imitating my professors and I thank them all for being such varied characters as it helped me to master all genres of acting in my life, laughs Tiwari. After graduation he worked as a teacher and then a Radio Jockey. The idea of theatre as a career struck him after he joined a theatre workshop on a friends insistence. Gradually, he started enjoying theatre as it gave him an opportunity to live many lives as different characters. According to Tiwari, acting is inherent in every human being. Yet, standing in front of so many people, being somebody that you are not and yet make the audiences believe in that imaginary character, is something that can only be felt and not told, he cites. Till date, Tiwari has acted in almost 25 plays with more than 200 shows in almost all genres be it musical, comedy, experimental,

nautanki, historical or mythological. He has a group called Theatrewalas wherein the apostrophe after S is deliberate, as the group is open to everyone and anyone who wants to join. The group is a team of young and dedicated theatre enthusiasts and was started in Indore but now there are members from many cities of India and is based in Mumbai as well. Rohits latest play is Recharge@99 that revolves around mobile that every person is obsessed with. He is planning to start a childrens musical and a play on the lives of cops along with a dream to explore the Parsi theatre style and also atypical commercial dance and song play. I see myself on stage acting for an audience, writing and directing for them and I see myself doing the same for the rest of my life, adds Rohit. When asked about personalities he idolises, Rohit quickly answers, my personal belief is that for an actor to idolise another actor is suicidal, because you start to imitate your idol. Rohit suggests that every person should do theatre once in their lives. Insisting that his life has changed for good since theatre happened, he concludes, theatre is not just a performing art but its a way of life. l

8 sPotlIght Cafe

shaniwarwada dance Festival

Neelambari Bhoge
The historical premises of Shaniwarwada came alive with the spirit of cultural celebration with Shaniwarwada Dance Festival that was held on February 17, 2013. In its 12th colourful year, the festival mesmerised Punekars with melodious notes and the tinkle of ghungroos filled the air. The event turned out to be a magnificent event with the performances of renowned Kathak danseuse Anjali Patil, internationally renowned classical vocalist Vatsala Mehra and internationally renowned Kathak danseuse Aditi Mangaldas. The inauguration started with prayers to Lord Ganesh with a Ganesh Vandana. The Ganesh Vandana was conceptualised, choreographed and performed by Anjali Patil along with 8 Kathak dancers from Pune. Anjali who has been trained under renowned gurus Padmabhushan Kumudini Lakhia and Late Pandita Rohini Bhate enthralled the audiences with the exhilarating performance. The festival concluded with a performance of internationally renowned classical vocalist Vatsala Mehra. Vatsala who had her formal training from Ustad Momin Khan of Lucknow gharana performed a half an hour programme Thumri Dadra. Her breathtaking voice, with its perfect bass notes and astonishing range, broke all barriers with its purity. On the other hand, internationally renowned Kathak danseuse Aditi Mangaldas who is a former student of both Padmabhushan Kumudini Lakhia and Padma Vibhushan Pandit Birju Maharaj with her troupe showcased 1 hour 15 minutes programme named Uncharted Seas. The Kathak performance by Aditi Mangaldas and her group was like a chimera in light and shade that conducted a search- physical, emotional, psychological into the realms of the unknown. Uncharted Seas was conceptualised, choreographed by Aditi. She also designed the costumes and was also staged by Aditi. The vocal compositions were done by Shubha Mudgal and Aneesh Pradhan and lights were designed by Sander Loonen. l

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