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Copenhagen rally to commemorate shooting victims
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Denmark, some 30,000 people attended a rally in
Copenhagen yesterday evening to pay tribute to the two victims killed in
twin shootings in the Danish capital at the weekend.
Danish Prime Minister Helle Thorning-Schmidt told the crowd that an
attack on the country’s Jews was an attack on all of Denmark. The
gathering took place near the scene of the first of the two shootings.Shiv Ratri_Spritual Significance
17 02 2015
भगवान शिव की उपासना की विशेषताएं
सनातन निर्मित गभवान शिव का सात्त्विक चित्र
शिवभक्त महाशिवरात्र के दिन शिवजी की श्रद्धापूर्वक उपासना करते हैं । इसका अध्यात्मशास्त्रीय आधार समझकर शिवोपासना करने से उपासक में भक्तिभाव बढता है । परिणामस्वरूप, उसे उपासना से अधिक से अधिक लाभ मिलता है । शिवभक्तों को महाशिवरात्र व्रत का पूरा फल मिले, इस हेतु प्रस्तुत है शिवोपासना की विशेषताएं एवं उनका अध्यात्मशास्त्रीय आधार –
महाशिवरात्र व्रत का अध्यात्मशास्त्रीय आधार
राfत्र के एक प्रहर शिवजी शयन करते हैं, जिसे ‘महाशिवरात्र’ कहते है । इस काल में शिवजी का सगुणात्मक कार्य रुक जाता है, अर्थात शिवजी ध्यानावस्था से समाधि-अवस्थामें प्रवेश करते हैं । इस अवस्था में शिवजी विश्व के तमोगुण को अस्वीकार करते हैं, अतः विश्व में तमोगुण बढ जाता है । हमपर इसका कुप्रभाव न हो, इस हेतु महाशिवरात्र व्रत करते हैं ।
शिवजी का आशीर्वाद : शिवजी ने भक्तों को आशीर्वाद दिया है – जो महाशिवरात्र पर मेरा व्रत करेंगे, उनपर मेरी आगे दिए अनुसार कृपादृष्टि होगी – १. पुरुषों की सर्व इच्छाएं पूर्णहोंगी । २. कुमारियों को मनानुरूप वर मिलेगा । ३. विवाहित स्त्रियां सौभाग्यवती रहेंगी ।’
भस्म एवं रुद्राक्ष का भावार्थ
भस्म : शरीर की नश्वरता का सतत स्मरण रहे, इसका सूचक है भस्म ।
रुद्राक्ष : रुद्राक्ष बीज है । यह कभी क्षीण नहीं होता । आत्मा भी ऐसी है । रुद्राक्ष आत्मा का प्रतीक है ।
शृंगदर्शन कैसे करें ? (नंदी के सींगों के मध्यसे शिवलिंग के दर्र्शन)
शृंगदर्शन के समय नंदी के दार्इं ओर उसके पिछले पैरों के निकट बैठकर अथवा खडे रहकर बायां हाथ नंदी के वृषण पर (अंडकोश पर) रखें । दाएं हाथ की तर्जनी एवं अंगूठे को नंदी के दोनों सींगों पर रखें । दोनों सींगों तथा उनपर रखी दो उंगलियों के मध्य से शिवलिंग के दर्शन करें ।
शिवजी को बिल्वपत्र क्यों एवं कैसे चढाएं ?
बिल्वपत्र में शिवतत्त्व अधिकाधिक आकर्षित करने की क्षमता होती है, इसलिए शिवजी को बिल्वपत्र चढाते हैं । शिवपिंडी पर त्रिदलीय बिल्वपत्र औंधे रखें एवं उसका डंठल देवता कीओर तथा अग्रभाग अपनी ओर कर चढाएं । शिवपिंडी पर बिल्वपत्र औंधा चढाने से उससे निर्गुण स्तर के स्पंदनअधिक मात्रा में प्रक्षेपित होते हैं तथा श्रद्धालुओं को इससे अधिक लाभ होता है ।
शिवपूजा में कुछ विधिनिषेध
श्वेत अक्षत (धुले हुए अखंड चावल) एवं पुष्प चढाएं ! : अक्षत की ओर निर्गुण ईश्वरीय तत्त्व से संबंधित उच्च देवताओं की तरंगें आकर्षित होती हैं; इसलिए अधिकाधिक निर्गुणसे संबंधित शिवजी को उनके श्वेत रंग से समानता दर्शानेवाले श्वेत अक्षत चढाएं । साथही, अरघेपर निशिगंध, जाही, जूही, मोगरासमान श्वेत पुष्प, उनका डंठल पिंडी की ओरकर १० अथवा १० के गुणज में चढाएं ।
अगरबत्ती एवं इतर (इत्र) का प्रयोग करें ! : अगरबत्ती एवं इतर से प्रक्षेपित गंधतरंगों की ओर देवताओं की तरंगें शीघ्र आकर्षित होती हैं; इसलिए शिवपूजा में विहित केवडा, चमेली अथवा मेंहदी की सुगंधवाली अगरबत्तियों एवं केवडे के इतर का प्रयोग करें ।
हलदी एवं कुमकुम न चढाएं ! : हलदी एवं कुमकुम उत्पत्ति के प्रतीक हैं; इसलिए लय के देवता शिवजी को ये वस्तुएं न चढाएं ।
महाशिवरात्र के दिन शिवजी का नामजप क्यों करें ?
महाशिवरात्र पर अन्य दिनों की तुलना में १००० गुना कार्यरत शिवतत्त्व का अधिक से अधिक लाभ पाने के लिए ‘ॐ नम: शिवाय ।’ जप अधिकाधिक तथा भावपूर्ण करें ।
(सुनिए : सनातन संस्था की ऑडियो सीडी ‘शिवजी का नामजप एवं उपासनाशास्त्र’)
‘नम: शिवाय ।’ मंत्र का आध्यात्मिक अर्थ
न – समस्त लोकों के आदिदेव
म: – परम ज्ञान देनेवाले तथा महापातकों का नाश करनेवाले
शि – कल्याणकारी, शांत एवं शिवानुग्रह का मूल कारण
वा – वृषभवाहन, वासुकी तथा वामांगी शक्ति का सूचक
य – परमानंदरूप तथा शिवजी का शुभ निवासस्थान
(अधिक जानकारी हेतु पढें : शिवजी की विशेषताएं, कार्य, उपासना इत्यादि के विषय में मार्गदर्शन करनेवाले सनातन संस्था भगवान शिव से संबंधित २ ग्रंथ एवं २ लघुग्रंथ !)
हिन्दुओ, देवताओं का निरादर रोकें; धर्मपालन करें !
१. देवताओं के चित्र अथवा उनके नाम छपे कपडे न पहनें !
२. देवताओं की वेशभूषा धारण कर भिक्षा मांगनेवालों को रोकें !
३. देवताओं का अनादर करने वाले उत्पाद, पत्रिका, नाटक, चलचित्र इ.का बहिष्कार करें !
४. देवताओं के चित्रों को विकृत बनाने एवं बिक्री करने वालों का वैधानिक मार्ग से विरोध करें !
अधिक जानकारी हेतु अवश्य देखें : http://www.sanatan.org
आपका विनम्र,
हिंदू जनजागृति समितिके लिए
सुरेश मुंजाल
संपर्क क्र. :9811414247
सनातन निर्मित गभवान शिव का सात्त्विक चित्र
शिवभक्त महाशिवरात्र के दिन शिवजी की श्रद्धापूर्वक उपासना करते हैं । इसका अध्यात्मशास्त्रीय आधार समझकर शिवोपासना करने से उपासक में भक्तिभाव बढता है । परिणामस्वरूप, उसे उपासना से अधिक से अधिक लाभ मिलता है । शिवभक्तों को महाशिवरात्र व्रत का पूरा फल मिले, इस हेतु प्रस्तुत है शिवोपासना की विशेषताएं एवं उनका अध्यात्मशास्त्रीय आधार –
महाशिवरात्र व्रत का अध्यात्मशास्त्रीय आधार
राfत्र के एक प्रहर शिवजी शयन करते हैं, जिसे ‘महाशिवरात्र’ कहते है । इस काल में शिवजी का सगुणात्मक कार्य रुक जाता है, अर्थात शिवजी ध्यानावस्था से समाधि-अवस्थामें प्रवेश करते हैं । इस अवस्था में शिवजी विश्व के तमोगुण को अस्वीकार करते हैं, अतः विश्व में तमोगुण बढ जाता है । हमपर इसका कुप्रभाव न हो, इस हेतु महाशिवरात्र व्रत करते हैं ।
शिवजी का आशीर्वाद : शिवजी ने भक्तों को आशीर्वाद दिया है – जो महाशिवरात्र पर मेरा व्रत करेंगे, उनपर मेरी आगे दिए अनुसार कृपादृष्टि होगी – १. पुरुषों की सर्व इच्छाएं पूर्णहोंगी । २. कुमारियों को मनानुरूप वर मिलेगा । ३. विवाहित स्त्रियां सौभाग्यवती रहेंगी ।’
भस्म एवं रुद्राक्ष का भावार्थ
भस्म : शरीर की नश्वरता का सतत स्मरण रहे, इसका सूचक है भस्म ।
रुद्राक्ष : रुद्राक्ष बीज है । यह कभी क्षीण नहीं होता । आत्मा भी ऐसी है । रुद्राक्ष आत्मा का प्रतीक है ।
शृंगदर्शन कैसे करें ? (नंदी के सींगों के मध्यसे शिवलिंग के दर्र्शन)
शृंगदर्शन के समय नंदी के दार्इं ओर उसके पिछले पैरों के निकट बैठकर अथवा खडे रहकर बायां हाथ नंदी के वृषण पर (अंडकोश पर) रखें । दाएं हाथ की तर्जनी एवं अंगूठे को नंदी के दोनों सींगों पर रखें । दोनों सींगों तथा उनपर रखी दो उंगलियों के मध्य से शिवलिंग के दर्शन करें ।
शिवजी को बिल्वपत्र क्यों एवं कैसे चढाएं ?
बिल्वपत्र में शिवतत्त्व अधिकाधिक आकर्षित करने की क्षमता होती है, इसलिए शिवजी को बिल्वपत्र चढाते हैं । शिवपिंडी पर त्रिदलीय बिल्वपत्र औंधे रखें एवं उसका डंठल देवता कीओर तथा अग्रभाग अपनी ओर कर चढाएं । शिवपिंडी पर बिल्वपत्र औंधा चढाने से उससे निर्गुण स्तर के स्पंदनअधिक मात्रा में प्रक्षेपित होते हैं तथा श्रद्धालुओं को इससे अधिक लाभ होता है ।
शिवपूजा में कुछ विधिनिषेध
श्वेत अक्षत (धुले हुए अखंड चावल) एवं पुष्प चढाएं ! : अक्षत की ओर निर्गुण ईश्वरीय तत्त्व से संबंधित उच्च देवताओं की तरंगें आकर्षित होती हैं; इसलिए अधिकाधिक निर्गुणसे संबंधित शिवजी को उनके श्वेत रंग से समानता दर्शानेवाले श्वेत अक्षत चढाएं । साथही, अरघेपर निशिगंध, जाही, जूही, मोगरासमान श्वेत पुष्प, उनका डंठल पिंडी की ओरकर १० अथवा १० के गुणज में चढाएं ।
अगरबत्ती एवं इतर (इत्र) का प्रयोग करें ! : अगरबत्ती एवं इतर से प्रक्षेपित गंधतरंगों की ओर देवताओं की तरंगें शीघ्र आकर्षित होती हैं; इसलिए शिवपूजा में विहित केवडा, चमेली अथवा मेंहदी की सुगंधवाली अगरबत्तियों एवं केवडे के इतर का प्रयोग करें ।
हलदी एवं कुमकुम न चढाएं ! : हलदी एवं कुमकुम उत्पत्ति के प्रतीक हैं; इसलिए लय के देवता शिवजी को ये वस्तुएं न चढाएं ।
महाशिवरात्र के दिन शिवजी का नामजप क्यों करें ?
महाशिवरात्र पर अन्य दिनों की तुलना में १००० गुना कार्यरत शिवतत्त्व का अधिक से अधिक लाभ पाने के लिए ‘ॐ नम: शिवाय ।’ जप अधिकाधिक तथा भावपूर्ण करें ।
(सुनिए : सनातन संस्था की ऑडियो सीडी ‘शिवजी का नामजप एवं उपासनाशास्त्र’)
‘नम: शिवाय ।’ मंत्र का आध्यात्मिक अर्थ
न – समस्त लोकों के आदिदेव
म: – परम ज्ञान देनेवाले तथा महापातकों का नाश करनेवाले
शि – कल्याणकारी, शांत एवं शिवानुग्रह का मूल कारण
वा – वृषभवाहन, वासुकी तथा वामांगी शक्ति का सूचक
य – परमानंदरूप तथा शिवजी का शुभ निवासस्थान
(अधिक जानकारी हेतु पढें : शिवजी की विशेषताएं, कार्य, उपासना इत्यादि के विषय में मार्गदर्शन करनेवाले सनातन संस्था भगवान शिव से संबंधित २ ग्रंथ एवं २ लघुग्रंथ !)
हिन्दुओ, देवताओं का निरादर रोकें; धर्मपालन करें !
१. देवताओं के चित्र अथवा उनके नाम छपे कपडे न पहनें !
२. देवताओं की वेशभूषा धारण कर भिक्षा मांगनेवालों को रोकें !
३. देवताओं का अनादर करने वाले उत्पाद, पत्रिका, नाटक, चलचित्र इ.का बहिष्कार करें !
४. देवताओं के चित्रों को विकृत बनाने एवं बिक्री करने वालों का वैधानिक मार्ग से विरोध करें !
अधिक जानकारी हेतु अवश्य देखें : http://www.sanatan.org
आपका विनम्र,
हिंदू जनजागृति समितिके लिए
सुरेश मुंजाल
संपर्क क्र. :9811414247
Edit : Edit
Comments : Leave a Comment »
Categories : CSR, culture
ED issues FEMA notice to BCCI, IPL
17 02 2015
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Feb 17
The Enforcement Directorate has slapped a 425 crore rupees show cause notice against BCCI, IPL, their officials and private multimedia firms for alleged contravention of Forex laws in awarding a cricketing media rights contract in 2009. The notices have been issued to close to ten individuals and entities which include former BCCI chairman N Srinivasan, the then IPL Chairman Lalit Modi, Chief Operating Officer Sunder Raman, and the officials of World Sports Group and Multi Screen Media for allegedly and fraudulently manipulating the contract and making illegal payments.
The deal dates back to 2008 when the BCCI awarded the 10-year media rights to World Sports Group on payment of 918 million dollar. In the same year, World Sports Group also entered into a deal with Multi Screen Media to make Sony the official broadcaster. The contract was replaced a year later with a nine-year deal where Multi Screen Media paid 1.63 billion dollar. The ED stepped in this case in 2009 and began a probe under the Foreign Exchange Management Act, FEMA to investigate allegations that payment of 425 crore rupees facilitation fee by Multi Screen Media to World Sports Group was made in an alleged unauthorised manner.
The Enforcement Directorate has slapped a 425 crore rupees show cause notice against BCCI, IPL, their officials and private multimedia firms for alleged contravention of Forex laws in awarding a cricketing media rights contract in 2009. The notices have been issued to close to ten individuals and entities which include former BCCI chairman N Srinivasan, the then IPL Chairman Lalit Modi, Chief Operating Officer Sunder Raman, and the officials of World Sports Group and Multi Screen Media for allegedly and fraudulently manipulating the contract and making illegal payments.
The deal dates back to 2008 when the BCCI awarded the 10-year media rights to World Sports Group on payment of 918 million dollar. In the same year, World Sports Group also entered into a deal with Multi Screen Media to make Sony the official broadcaster. The contract was replaced a year later with a nine-year deal where Multi Screen Media paid 1.63 billion dollar. The ED stepped in this case in 2009 and began a probe under the Foreign Exchange Management Act, FEMA to investigate allegations that payment of 425 crore rupees facilitation fee by Multi Screen Media to World Sports Group was made in an alleged unauthorised manner.
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17 Bharat Rang Mahotsav Plays Synopsis 16 Feb
17 02 2015
Play: PUNAR-JANI
Director: Sudhi Devayani
Group: Nireeksha Women’s Theatre, Thiruvananthapuram
Language: Malyalam
Duration: 1hr 30m
Date: 16th Feb 2015
Time: 3:30pm
Venue: LTG
The Play
Punar-Jani is a travelogue of a different order. Punar-Jani (re-born woman) travels in and out of the stories of three women who were killed at different places and time. The women were killed by burning (fire), drowning (water) and strangulation (air) after sexual violence, share their thoughts with the woman who is Punar-Jani as she travels through their stories taking their place in the narrative and trying to change the course of the narrative.
Punar-Jani of course is defeated in each case but comes out of these narratives with the knowledge of matters hidden by narratives. She is joined in the end by the men in the narratives.
Director’s Note
Punar-Jani came across as a very interesting script with possibilities for innovative visual design. The script written by Rajarajeswari was born out of discussions with a group of women that included artists, writers, social workers as well as gender activists. The woman protagonist is searching among the dead women, their thoughts, desires and hopes hidden within the narrative of a ‘victim’. Is she searching among the dead herself? Her self- a woman, trapped within the immense structure of power and patriarchy, herself structured for her, the living dead?
Every time she enters the story of the dead woman killed by greed, corruption and lust, searching for the inner thoughts of these women and trying to alter the ending of the story, she is defeated by the massive structure that consumes her will and turns her into the same woman who got killed by it.
I have tried out a central big structure in the set design as well as big sized properties to bring out the oppressive massiveness of the system. After each story the huge structure heaves up making it more difficult for the woman to enter the next story. Songs that elaborate on the thoughts and emotions of the dead women are used during the set change. This, as well as elements of the set items of the upcoming scene connect one story to the other.
The Director
Sudhi Devayani is an established actress and director who has been involved in theatre for the past 20 years. Presently the Artistic Director of Nireeksha, she has directed several plays for it. Her play, Pravaachaka was a part of the Kerala Sangeet Natak Akademi’s, Amateur Drama Competition in the year 2008, where she won the ‘Best Actress’ award,
Devayani also received the G. Sankara Pillai endowment award in 1993 and Vayala Vasudevan Pillai award in 2011.
The Playwright
Rajarajeshwari Easwaran is the founding member of Nireeksha. She started off as a script writer for several of the street plays by Nireeksha in its initial days. Her interest in theatre combined with her feminist identity motivated her to turn to playwriting and create strong women characters with their own subjectivity. Her major plays include Kudiyozhickal, Pravaachaka, Aanungal illatha Pennungal, Troll and Punar-Jani. She has also translated and adapted ‘A Secure Home’ by Elaina Garo under the name Oru Urappulla Vasadhi in Malayalam.
The Group
NIREEKSHA Women’s Theatre established in 1999 based at Aithikonam, Thiruvananthapuram, is the only women’s theatre active in Kerala. Nireeksha produces full-length plays that are scripted by women, directed by women and have women in central roles. The group strives for a new aesthetics for women’s theatre through play productions, workshops, seminars and street plays.
Nireeksha has so far produced six major plays scripted by Rajarajeswari Easwaran and directed by Sudhi Devayani. Plays like Pravaachaka and Aanungal Illatha Pennungalhave been a part of several National & International festivals.
2.) THE NUDE
Play: THE NUDE
Director: Baharul Islam
Group: Abastav Gosthi, Guwahati
Language: Assamese
Duration: 1hr 20m
Date: 16th Feb 2015
Time: 5:00 pm
Venue: Sri Ram Centre
The Play
A young and unclothed woman, Patachara, enters the place where The Buddha was temporarily staying with his entourage. The Buddha, at once understands her state of mind. He decides to bring her back to a condition where she can recollect the events which had brought her to this state of being. His most revered nun Gauthami too cooperates in this process – Buddha’s psycho-analytic system of treating an individual afflicted with deep mental trauma and the subsequent loss of memory. In the process the sounds transcend to be words; and the words get into be meaningful sentences.
Director’s Note
The story of Patachara-the Nude, comes to us as one of the most striking examples of Buddha’s way of using the system of psychotherapy to give relief to the people afflicted with mental trauma. Patachara, a young woman developed an acute stress reaction after she witnessed the death of her husband, two children, parents and the only brother. She came to The Buddha weeping in a state of utter delirium. After she became rational, The Buddha explained her true meaning of suffering and the nature of impermanence. The story of Patachara reveals an excellent case study of trauma counseling, using the skills of flashbacks, painful memories and anxiety. The Buddha used practically most of the above mentioned avenues to resolve the grief reaction of Patachara. I’ve tried to narrate the story of Patachara employing lucid dramaturgical idioms so that the audience can understand the complicated antecedents that drove Patachara into such a state of mind and Buddha’s way of giving relief to such individuals.
The Director
Born on 16th August 1964 in Assam, Baharul Islam graduated from National School of Drama, with specialization in Acting, in 1990. He has acted in almost eighty plays in different languages like Assamese, Hindi and English, and designed and directed almost thirty plays. After graduating from NSD, he along with Smt. Bhagirathi formed his own theatre group, Seagull in Guwahati. Mr. Islam is the recipient of many prestigious awards like: Sanskriti Samman from Eka Ebong Koekjon publication, Guwahati, Monohar Singh Smriti Puraskar from NSD, Natyaprobor Award from Sharadakanta Bordoloi Smriti Committee, Nowgaon and Bishnu Basu Smriti Samman by Bratyajon Theatre, Kolkata. He has produced and directed documentaries like, The Dhulia and Puppet Theatre in Assam (1998), Lokosanankriti (2005) and various fictions namely Nishant (2007), Beyond The Obvious (2009) and Meteka (2011). He has written and published four books namely, Akanto Monere, Simar Sipare, Beyond the Obvious and Khiriki Khuliyei. He is a regular columnist of Saatsori, an Assamese journal.
The Playwright
Mr. Karuna Deka, a renowned playwright, director, poet and novelist was born in a small village, Doukuchi, of Nalbari district, Assam on 27th December, 1947. An author of more than 100 books which include about ninety eight plays , four poems , three novels, two songs , three short stories and many more, Karuna Deka is the recipient if many prestigious awards like, The Literary Award from Government of Assam, The Playwright Award from All India Drama Competition, Cuttack , Allahabad Natya Sangh and Government of Assam. Recently, he was felicitated with Basanta Saikai Natya Bota. His plays have acclaimed appreciation in state festivals all over Assam and national festivals outside the state and have fetched numerous prizes. His published books include Suna Suna Sabhasada (2014) Mamore Dhora Tarowal (2012), Bondhu (2012), Mouchumi Ahichil etc.
The Group
Established in 1986, ‘Abastav Gosthi’ has emerged as one of the prominent theatre groups. The main objective of Abastav Gosthi is to improve the existing style and form of Assamese theatre with systematic practice and training. The group has been involved in many remarkable theatrical activities in the past years and has participated in various prestigious theatre festivals. Some of the major productions of Abastav Gosthi are: Upor Moholar Bandhjon,Metaka,Sabaho Asaro, Buddhu Ram, Moniram Dewan, Alankar ,Paruar Processionot Urohor Uuh etc.
Director: Sourav Poddar
Group: NSD Student Prod
Language: Multilingual
Duration: 1hr
Date: 16th Feb 2015
Time: 9:00 pm
Venue: Open Lawn
The Play & Director’s Note
Indian government has been at war with the people of Kashmir and the North East for decades. In the name of safeguarding ‘national security and integrity’ and ‘national interest’, Government has been trying to crush the democratic aspirations of oppressed nationalities with state terror. Operation Green Hunt has brought its war against people to the heart of India. The total number of government forces presently engaged in this operation, including paramilitary forces and state police, is close to a quarter of a million (2.5 lakh). This is more than double the US forces presently deployed in the occupation of Iraq.
The not-so-hidden objective behind this unprecedented military offensive is to pulverize all forms of people’s struggles and revolutionary movements so that giant multinational companies, with whom hundreds of MoUs have been signed by the Government, may make a clean sweep. Any movement, organisation or individual that fights for people’s demands is being branded a Naxalite or a Maoist. Only an unceasing wave of mass resistance can stop this assault on democratic struggles of the most oppressed and exploited millions.
The Director & Playwright
Sourav Poddar, a graduate of National School of Drama, is currently engaged with a collaborative platform of visual artistes named ‘Spelling Mistake’. As an initiating team member, digital part in live performances has been his area of exploration. He takes special interest in creating spatial elements and scenography through real, virtual, 2D images and video projection devices.
The Group
This play is being presented as part of the National School of Drama’s Graduate Showcase (Class of 2014), which aims to provide a platform for emerging theatre practitioners, while allowing them to share their work with a wide audience.
4.) GHAZAB TERI ADAA
Play: GHAZAB TERI ADAA
Director: Waman Kendre
Group: NSD Repertory Co., Delhi
Language: Hindi
Duration: 1hr 40m
Date: 16th Feb 2015
Time: 6:30 pm
Venue: Kamani
The Play
Ghazab Teri Adaa is inspired by Aristophanes’ Lysistrata. The action of the play takes place in an imaginary time and place. It revolves around the never ending aspiration for the expansion of kingdom and is a constant battle for the continuous fights in the battle field. The groups of performers make the king aware about the future of the war. The fearful king rejects to see and understand the situation. All the women, with fear and pain get together to stop the war under the leadership of Laya. They think of various alternatives to stop the war and finally decide that they will not allow their husbands to maintain any physical contact with them until the war stops. The violence-appreciating king and his war-loving soldiers break down in front of this unique, peaceful and non-violent protest by the women.
Director’s Note
While I was studying at NSD, I read Aristophanes’ Lysistrata in which the unusual idea of women in opposition of the war left a great impact on me. The thought of doing this play came across my mind many times in the last thirty years but it remained only an aspiration.
The recent change in the global scenario, especially in the last two decades, in the name of war saddened me. So, the thought of doing this play re-occurred. The central idea of the play i.e. the revolt of the women folk against the king’s ambition of ruling the world and emerging as a supreme power, led to the initiative of creating a new play. Gender equality is another important aspect of the play. Even after sixty five years of independence, the women reservation bill has not been passed in the Indian parliament.
The form of dialogue is poetic, as this play is stylized, not realistic. The language is guided by gender. In various rural dialects of the country, women often speak like men. There is no room for women in the language. Specially, in the plural construct the language remains masculine. While speaking the gender dignity shatters. Besides the narrative style, the audience will experience a varied audio-visual design.
Director & Playwright
Prof. Waman Kendre is the Director of National School of Drama. Earlier he served as Professor and Director, Academy of Theatre Arts, University of Mumbai. His plays have participated in innumerable national and international festivals, and he has written, adapted and directed many plays, has conducted workshops on varying aspects of theatre Known for doing theatre that is innovative and meaningful, and for his sensitivity towards social, cultural and political issues. Prof. Kendre has turned theatre into a potent platform for projecting his concern for the suffering of those sections of society that are often ignored and rarely talked about.
Much awarded Prof. Kendre received the Sangeet Natak Academi award in the year 2012 , the first Manohar Singh Smriti Puraskar in 2004 for outstanding multifaceted contribution to the field of theatre arts The Mumbai Marathi Granth Sangrahalaya award 1989, Natya Gaurav puraskar 1989, 1996, 1997, 1999, Sahyog foundation award 1999. Marathwada Gaurav Award 2002 and Padmshri Daya Pawar Smriti puraskar 2007, to mention just a few.
The Group
Established in 1964 with a membership of only four persons, the Repertory Company is the regular performing wing of the School. It was set up with the dual purposes of establishing professional theatre on one hand and continuing with regular experimental work on the other. Over the years it has produced a variety of plays ranging from stylized musicals to realistic contemporary Indian drama to translations and adaptations of foreign plays. In addition, several eminent persons of national and international repute have worked with the Company, and it has performed over one hundred and fifty-five plays by ninety-eight playwrights and has worked with seventy-five directors. Quite a few of its actors have emerged as celebrities in theatre, cinema and television. The Company has toured extensively in India and abroad. It celebrated forty years of its existence in May 2004, and continues to create new work and travel extensively.
5.) AGAMEMNON
Play: AGAMEMNON
Director: Chrysanthi Avloniti
Group: Monamas Theatre Company, UK
Language: English
Duration: 1hr 15m
Date: 16th Feb 2015
Time: 8:00 pm
Venue: Abhimanch
The Play
Agamemnon is the opening play of Oresteia, by Aeschylus, followed by The Libation Bearers (Choephoroi) and The Eumenides. Although the three tragedies are independent in their plot, the overall storyline is continuous and they all share a common theme.
In Agamemnon the action begins just after the fall of Troy and Agamemnon’s capture of Cassandra, whom he brings to Argos as his mistress. Before the day of his return is over, his wife, Clytemnestra, murders them both and she then establishes herself and Aegisthus, her lover, as rulers of Argos.
Director’s Note
Is it fate or free will primarily responsible for the suffering in the hero’s life? What distinguishes the hero from the crowd? Though fated, the hero makes his own choices that bring about his destruction. On the contrary, an individual, as member of a crowd often loses his sense of responsibility and remains passive. Most of us fall in that category. A hero acts against the shape of things that degrade him, and in the process of action, everything we -the crowd- have taken for granted, because of fear or impassivity or ignorance, is shaken before us and scrutinised.
This production aims to be a challenge and a trap, an endoscope to make us more aware of what takes place within us and a mirror that reflects what surrounds us. I want my audience to realise that by living a more conscious life, we allow ourselves more choices in creating or responding to everyday circumstances.
The Director
Chrysanthi trained at the Greek National Theatre Drama School and graduated with a BA in acting in 2005. She performed for the National Theatre of Greece and the Epidaurus Festival with the productions Medea, Prometheus Bound, The Persians, The Oresteia, Exodus and Hippolytus, and toured China, America, Germany, and Greece. Further credits include leading roles in public regional and commercial theatres, participation in Greek television series and short films. Along with her professional partnerships as an actress, she was the director of the student’s cultural society of the National University of Athens for two years. In 2011 she moved to London where she formed Monamas Theatre Company and studied devising theatre and performance at the London International School of Performing Arts (LISPA). Monamas signifies a fascinating new development for her as an emerging director and producer.
The Playwright
Aeschylus was born in Eleusis, a Greek town near Athens, in 525 B.C. He was the first of the great Greek tragedians, preceding both Sophocles and Euripides, and is credited by many as having invented tragic drama. Aeschylus wrote nearly 90 plays. However, only seven have survived to the modern era, including such famous works as Prometheus Bound and The Seven Against Thebes.He was bold and innovative, while his work has a strong moral and religious emphasis. No poet has ever presented evil in such stark and tragic terms yet he had an exalted view of Gods, and a faith in progress or the healing power of time.
The Group
‘Monamas’ is a London based theatre company founded by Chrysanthi Avloniti. The company is committed to finding new, experimental and exciting ways to make theatre by presenting innovative performance practices to the audience thus making theatre a unique experience. It is extremely interested in reconstructing the classics as well as exploring new writing. We place a strong emphasis on collective working process and we like to work with movement and music, particularly exploring how these elements derive from the text.
Director: Sudhi Devayani
Group: Nireeksha Women’s Theatre, Thiruvananthapuram
Language: Malyalam
Duration: 1hr 30m
Date: 16th Feb 2015
Time: 3:30pm
Venue: LTG
The Play
Punar-Jani is a travelogue of a different order. Punar-Jani (re-born woman) travels in and out of the stories of three women who were killed at different places and time. The women were killed by burning (fire), drowning (water) and strangulation (air) after sexual violence, share their thoughts with the woman who is Punar-Jani as she travels through their stories taking their place in the narrative and trying to change the course of the narrative.
Punar-Jani of course is defeated in each case but comes out of these narratives with the knowledge of matters hidden by narratives. She is joined in the end by the men in the narratives.
Director’s Note
Punar-Jani came across as a very interesting script with possibilities for innovative visual design. The script written by Rajarajeswari was born out of discussions with a group of women that included artists, writers, social workers as well as gender activists. The woman protagonist is searching among the dead women, their thoughts, desires and hopes hidden within the narrative of a ‘victim’. Is she searching among the dead herself? Her self- a woman, trapped within the immense structure of power and patriarchy, herself structured for her, the living dead?
Every time she enters the story of the dead woman killed by greed, corruption and lust, searching for the inner thoughts of these women and trying to alter the ending of the story, she is defeated by the massive structure that consumes her will and turns her into the same woman who got killed by it.
I have tried out a central big structure in the set design as well as big sized properties to bring out the oppressive massiveness of the system. After each story the huge structure heaves up making it more difficult for the woman to enter the next story. Songs that elaborate on the thoughts and emotions of the dead women are used during the set change. This, as well as elements of the set items of the upcoming scene connect one story to the other.
The Director
Sudhi Devayani is an established actress and director who has been involved in theatre for the past 20 years. Presently the Artistic Director of Nireeksha, she has directed several plays for it. Her play, Pravaachaka was a part of the Kerala Sangeet Natak Akademi’s, Amateur Drama Competition in the year 2008, where she won the ‘Best Actress’ award,
Devayani also received the G. Sankara Pillai endowment award in 1993 and Vayala Vasudevan Pillai award in 2011.
The Playwright
Rajarajeshwari Easwaran is the founding member of Nireeksha. She started off as a script writer for several of the street plays by Nireeksha in its initial days. Her interest in theatre combined with her feminist identity motivated her to turn to playwriting and create strong women characters with their own subjectivity. Her major plays include Kudiyozhickal, Pravaachaka, Aanungal illatha Pennungal, Troll and Punar-Jani. She has also translated and adapted ‘A Secure Home’ by Elaina Garo under the name Oru Urappulla Vasadhi in Malayalam.
The Group
NIREEKSHA Women’s Theatre established in 1999 based at Aithikonam, Thiruvananthapuram, is the only women’s theatre active in Kerala. Nireeksha produces full-length plays that are scripted by women, directed by women and have women in central roles. The group strives for a new aesthetics for women’s theatre through play productions, workshops, seminars and street plays.
Nireeksha has so far produced six major plays scripted by Rajarajeswari Easwaran and directed by Sudhi Devayani. Plays like Pravaachaka and Aanungal Illatha Pennungalhave been a part of several National & International festivals.
2.) THE NUDE
Play: THE NUDE
Director: Baharul Islam
Group: Abastav Gosthi, Guwahati
Language: Assamese
Duration: 1hr 20m
Date: 16th Feb 2015
Time: 5:00 pm
Venue: Sri Ram Centre
The Play
A young and unclothed woman, Patachara, enters the place where The Buddha was temporarily staying with his entourage. The Buddha, at once understands her state of mind. He decides to bring her back to a condition where she can recollect the events which had brought her to this state of being. His most revered nun Gauthami too cooperates in this process – Buddha’s psycho-analytic system of treating an individual afflicted with deep mental trauma and the subsequent loss of memory. In the process the sounds transcend to be words; and the words get into be meaningful sentences.
Director’s Note
The story of Patachara-the Nude, comes to us as one of the most striking examples of Buddha’s way of using the system of psychotherapy to give relief to the people afflicted with mental trauma. Patachara, a young woman developed an acute stress reaction after she witnessed the death of her husband, two children, parents and the only brother. She came to The Buddha weeping in a state of utter delirium. After she became rational, The Buddha explained her true meaning of suffering and the nature of impermanence. The story of Patachara reveals an excellent case study of trauma counseling, using the skills of flashbacks, painful memories and anxiety. The Buddha used practically most of the above mentioned avenues to resolve the grief reaction of Patachara. I’ve tried to narrate the story of Patachara employing lucid dramaturgical idioms so that the audience can understand the complicated antecedents that drove Patachara into such a state of mind and Buddha’s way of giving relief to such individuals.
The Director
Born on 16th August 1964 in Assam, Baharul Islam graduated from National School of Drama, with specialization in Acting, in 1990. He has acted in almost eighty plays in different languages like Assamese, Hindi and English, and designed and directed almost thirty plays. After graduating from NSD, he along with Smt. Bhagirathi formed his own theatre group, Seagull in Guwahati. Mr. Islam is the recipient of many prestigious awards like: Sanskriti Samman from Eka Ebong Koekjon publication, Guwahati, Monohar Singh Smriti Puraskar from NSD, Natyaprobor Award from Sharadakanta Bordoloi Smriti Committee, Nowgaon and Bishnu Basu Smriti Samman by Bratyajon Theatre, Kolkata. He has produced and directed documentaries like, The Dhulia and Puppet Theatre in Assam (1998), Lokosanankriti (2005) and various fictions namely Nishant (2007), Beyond The Obvious (2009) and Meteka (2011). He has written and published four books namely, Akanto Monere, Simar Sipare, Beyond the Obvious and Khiriki Khuliyei. He is a regular columnist of Saatsori, an Assamese journal.
The Playwright
Mr. Karuna Deka, a renowned playwright, director, poet and novelist was born in a small village, Doukuchi, of Nalbari district, Assam on 27th December, 1947. An author of more than 100 books which include about ninety eight plays , four poems , three novels, two songs , three short stories and many more, Karuna Deka is the recipient if many prestigious awards like, The Literary Award from Government of Assam, The Playwright Award from All India Drama Competition, Cuttack , Allahabad Natya Sangh and Government of Assam. Recently, he was felicitated with Basanta Saikai Natya Bota. His plays have acclaimed appreciation in state festivals all over Assam and national festivals outside the state and have fetched numerous prizes. His published books include Suna Suna Sabhasada (2014) Mamore Dhora Tarowal (2012), Bondhu (2012), Mouchumi Ahichil etc.
The Group
Established in 1986, ‘Abastav Gosthi’ has emerged as one of the prominent theatre groups. The main objective of Abastav Gosthi is to improve the existing style and form of Assamese theatre with systematic practice and training. The group has been involved in many remarkable theatrical activities in the past years and has participated in various prestigious theatre festivals. Some of the major productions of Abastav Gosthi are: Upor Moholar Bandhjon,Metaka,Sabaho Asaro, Buddhu Ram, Moniram Dewan, Alankar ,Paruar Processionot Urohor Uuh etc.
- GAM SERENG
Director: Sourav Poddar
Group: NSD Student Prod
Language: Multilingual
Duration: 1hr
Date: 16th Feb 2015
Time: 9:00 pm
Venue: Open Lawn
The Play & Director’s Note
Indian government has been at war with the people of Kashmir and the North East for decades. In the name of safeguarding ‘national security and integrity’ and ‘national interest’, Government has been trying to crush the democratic aspirations of oppressed nationalities with state terror. Operation Green Hunt has brought its war against people to the heart of India. The total number of government forces presently engaged in this operation, including paramilitary forces and state police, is close to a quarter of a million (2.5 lakh). This is more than double the US forces presently deployed in the occupation of Iraq.
The not-so-hidden objective behind this unprecedented military offensive is to pulverize all forms of people’s struggles and revolutionary movements so that giant multinational companies, with whom hundreds of MoUs have been signed by the Government, may make a clean sweep. Any movement, organisation or individual that fights for people’s demands is being branded a Naxalite or a Maoist. Only an unceasing wave of mass resistance can stop this assault on democratic struggles of the most oppressed and exploited millions.
The Director & Playwright
Sourav Poddar, a graduate of National School of Drama, is currently engaged with a collaborative platform of visual artistes named ‘Spelling Mistake’. As an initiating team member, digital part in live performances has been his area of exploration. He takes special interest in creating spatial elements and scenography through real, virtual, 2D images and video projection devices.
The Group
This play is being presented as part of the National School of Drama’s Graduate Showcase (Class of 2014), which aims to provide a platform for emerging theatre practitioners, while allowing them to share their work with a wide audience.
4.) GHAZAB TERI ADAA
Play: GHAZAB TERI ADAA
Director: Waman Kendre
Group: NSD Repertory Co., Delhi
Language: Hindi
Duration: 1hr 40m
Date: 16th Feb 2015
Time: 6:30 pm
Venue: Kamani
The Play
Ghazab Teri Adaa is inspired by Aristophanes’ Lysistrata. The action of the play takes place in an imaginary time and place. It revolves around the never ending aspiration for the expansion of kingdom and is a constant battle for the continuous fights in the battle field. The groups of performers make the king aware about the future of the war. The fearful king rejects to see and understand the situation. All the women, with fear and pain get together to stop the war under the leadership of Laya. They think of various alternatives to stop the war and finally decide that they will not allow their husbands to maintain any physical contact with them until the war stops. The violence-appreciating king and his war-loving soldiers break down in front of this unique, peaceful and non-violent protest by the women.
Director’s Note
While I was studying at NSD, I read Aristophanes’ Lysistrata in which the unusual idea of women in opposition of the war left a great impact on me. The thought of doing this play came across my mind many times in the last thirty years but it remained only an aspiration.
The recent change in the global scenario, especially in the last two decades, in the name of war saddened me. So, the thought of doing this play re-occurred. The central idea of the play i.e. the revolt of the women folk against the king’s ambition of ruling the world and emerging as a supreme power, led to the initiative of creating a new play. Gender equality is another important aspect of the play. Even after sixty five years of independence, the women reservation bill has not been passed in the Indian parliament.
The form of dialogue is poetic, as this play is stylized, not realistic. The language is guided by gender. In various rural dialects of the country, women often speak like men. There is no room for women in the language. Specially, in the plural construct the language remains masculine. While speaking the gender dignity shatters. Besides the narrative style, the audience will experience a varied audio-visual design.
Director & Playwright
Prof. Waman Kendre is the Director of National School of Drama. Earlier he served as Professor and Director, Academy of Theatre Arts, University of Mumbai. His plays have participated in innumerable national and international festivals, and he has written, adapted and directed many plays, has conducted workshops on varying aspects of theatre Known for doing theatre that is innovative and meaningful, and for his sensitivity towards social, cultural and political issues. Prof. Kendre has turned theatre into a potent platform for projecting his concern for the suffering of those sections of society that are often ignored and rarely talked about.
Much awarded Prof. Kendre received the Sangeet Natak Academi award in the year 2012 , the first Manohar Singh Smriti Puraskar in 2004 for outstanding multifaceted contribution to the field of theatre arts The Mumbai Marathi Granth Sangrahalaya award 1989, Natya Gaurav puraskar 1989, 1996, 1997, 1999, Sahyog foundation award 1999. Marathwada Gaurav Award 2002 and Padmshri Daya Pawar Smriti puraskar 2007, to mention just a few.
The Group
Established in 1964 with a membership of only four persons, the Repertory Company is the regular performing wing of the School. It was set up with the dual purposes of establishing professional theatre on one hand and continuing with regular experimental work on the other. Over the years it has produced a variety of plays ranging from stylized musicals to realistic contemporary Indian drama to translations and adaptations of foreign plays. In addition, several eminent persons of national and international repute have worked with the Company, and it has performed over one hundred and fifty-five plays by ninety-eight playwrights and has worked with seventy-five directors. Quite a few of its actors have emerged as celebrities in theatre, cinema and television. The Company has toured extensively in India and abroad. It celebrated forty years of its existence in May 2004, and continues to create new work and travel extensively.
5.) AGAMEMNON
Play: AGAMEMNON
Director: Chrysanthi Avloniti
Group: Monamas Theatre Company, UK
Language: English
Duration: 1hr 15m
Date: 16th Feb 2015
Time: 8:00 pm
Venue: Abhimanch
The Play
Agamemnon is the opening play of Oresteia, by Aeschylus, followed by The Libation Bearers (Choephoroi) and The Eumenides. Although the three tragedies are independent in their plot, the overall storyline is continuous and they all share a common theme.
In Agamemnon the action begins just after the fall of Troy and Agamemnon’s capture of Cassandra, whom he brings to Argos as his mistress. Before the day of his return is over, his wife, Clytemnestra, murders them both and she then establishes herself and Aegisthus, her lover, as rulers of Argos.
Director’s Note
Is it fate or free will primarily responsible for the suffering in the hero’s life? What distinguishes the hero from the crowd? Though fated, the hero makes his own choices that bring about his destruction. On the contrary, an individual, as member of a crowd often loses his sense of responsibility and remains passive. Most of us fall in that category. A hero acts against the shape of things that degrade him, and in the process of action, everything we -the crowd- have taken for granted, because of fear or impassivity or ignorance, is shaken before us and scrutinised.
This production aims to be a challenge and a trap, an endoscope to make us more aware of what takes place within us and a mirror that reflects what surrounds us. I want my audience to realise that by living a more conscious life, we allow ourselves more choices in creating or responding to everyday circumstances.
The Director
Chrysanthi trained at the Greek National Theatre Drama School and graduated with a BA in acting in 2005. She performed for the National Theatre of Greece and the Epidaurus Festival with the productions Medea, Prometheus Bound, The Persians, The Oresteia, Exodus and Hippolytus, and toured China, America, Germany, and Greece. Further credits include leading roles in public regional and commercial theatres, participation in Greek television series and short films. Along with her professional partnerships as an actress, she was the director of the student’s cultural society of the National University of Athens for two years. In 2011 she moved to London where she formed Monamas Theatre Company and studied devising theatre and performance at the London International School of Performing Arts (LISPA). Monamas signifies a fascinating new development for her as an emerging director and producer.
The Playwright
Aeschylus was born in Eleusis, a Greek town near Athens, in 525 B.C. He was the first of the great Greek tragedians, preceding both Sophocles and Euripides, and is credited by many as having invented tragic drama. Aeschylus wrote nearly 90 plays. However, only seven have survived to the modern era, including such famous works as Prometheus Bound and The Seven Against Thebes.He was bold and innovative, while his work has a strong moral and religious emphasis. No poet has ever presented evil in such stark and tragic terms yet he had an exalted view of Gods, and a faith in progress or the healing power of time.
The Group
‘Monamas’ is a London based theatre company founded by Chrysanthi Avloniti. The company is committed to finding new, experimental and exciting ways to make theatre by presenting innovative performance practices to the audience thus making theatre a unique experience. It is extremely interested in reconstructing the classics as well as exploring new writing. We place a strong emphasis on collective working process and we like to work with movement and music, particularly exploring how these elements derive from the text.
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Ahaana Deol Vohra: It takes my breath away!
17 02 2015| Hi Naresh,Delhi! My new home – it takes my breath away, literally! I am Ahaana Deol. An artist and a fellow earthling. But why am I writing to you?
Let me tell you why this is important to ALL of us. Delhi is known for its food, monuments and politics, but there’s something else it’s been in the news for recently toxic air.The pollution levels in the air are 14 times the safety limits prescribed by the World Health Organisation (WHO) and 3 times more toxic than Beijing. Satyender Jain, Health Minister of Delhi: issue a health advisory for schools to |
| Protect our children on highly polluted days! |
| Yes, Delhi has one of the worst air quality levels in the world!
Children are at the forefront of this problem. According to the WHO, air
pollution is one of the major causal factors behind premature deaths
worldwide.1 in 8 deaths occur every year due to air pollution alone.
Delhi loses 10,000 people annually as a result of breathing TOXIC air!Do we really want our children to live in a capital known for its toxicity? Satyender Jain, Health Minister of Delhi: issue a health advisory for schools to |
| Protect our children on highly polluted days! |
| Delhi has a new Govt in place now, and it’s a great opportunity for them to act on this serious issue!I am going to become a mother soon and I am concerned about the kind of city my child will be growing up in. You would not want your children to breathe in world’s most toxic air! Would you? The time is NOW, we cannot afford to wait. |
| In hope,Ahaana Deol Vohra A classical dancer, writer and a passionate environmentalist |
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