Headingley Test: Yashasvi Jaiswal slams third ton vs England, continues dream run in red-ball cricket
Young India opener
Yashasvi Jaiswal
continued his prolific form in Test
cricket
, bringing up his fifth Test century on Day 1 of the first Test against England at Headingley on Friday.
Jaiswal reached the milestone in 144 balls, showcasing maturity and flair as he cracked 16 fours and a six in another commanding innings.
The 23-year-old southpaw's innings reinforced his growing reputation as one of India's most dependable red-ball batters in the post-Kohli-Rohit era.
This was Jaiswal's third century against England, having scored two tons in the home series last year, where he finished as the leading run-scorer. He has now firmly established himself as a thorn in England's plans, seamlessly adapting to conditions both at home and away.
On a sun-drenched day in Leeds, Jaiswal combined aggression with patience, capitalising on a solid start after KL Rahul's early dismissal. His partnership with captain
Shubman Gill
, who also scored a fluent half-century, set the tone for a promising Indian innings in what marks the beginning of a new era in Indian Test cricket.
Jaiswal's hundred was not just another milestone, but a statement of intent as Team India rebuilds its Test batting unit following the retirements of Virat Kohli and Rohit Sharma.
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Time of India
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A graduate of dramatic arts from the prestigious National School of Drama (NSD), Thiyam was not only a powerful stage director but also a complete theatre craftsman and creative visionary. He was a multifaceted genius — a designer, music composer, choreographer, lighting expert, costume designer, architect, playwright, painter, and poet, whose brilliance extended across nearly every element of the performing and creative arts. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 15 most beautiful women in the world Undo Thiyam took Manipur and Indian theatre onto the global stage, creating a new theatrical form by synthesising diverse performance traditions from his homeland. His works showcase the seamless blending of elements from the classical Natya Shastra (Indian theatre style during the second century BC) and Western realistic theatre with Manipuri's rich indigenous performing arts such as martial arts (thang-ta), dance, music, and ritualistic gestures. Through this artistic strategy, Thiyam asserted the socio-political and cultural uniqueness of Manipur, positioning it as separate from the mainland's dominant cultural narratives. This gained him national and international recognition as a playwright and director. His celebrated plays, such as Chakravyuha and Uttar Priyadarshi, brought global acclaim to Manipuri theatre and Indian drama at large. His main contributions to Indian theatre innovations are profound and transformative, significantly shaping the direction of contemporary Indian performance. His influence reverberates through his unique stylistic language, institutional leadership, and continued advocacy for indigenous forms and social consciousness. In 1976, Thiyam established the Chorus Repertory Theatre in Imphal, which became a national hub for experimental, visually rich, and socially responsible theatre. The theatre trained and inspired generations of artists and encouraged the fusion of rural and urban motifs, traditional and modern directing techniques, and innovative stagecraft. His work is celebrated for its striking visual design, choreography, and music, combining scenic minimalism and grand imagery. His plays featured stylised movements, ritualistic gestures, symbolic props, and a deep focus on atmosphere that set new standards for Indian stagecraft, creating a holistic theatre experience. Thiyam's plays often explore profound themes. His Leima Yenlingai Khuna Kaba (1980) addresses the motif of corruption in society transforming into an instrument of religious terror, while Urubhangam (1981), adapted from the Sanskrit play by Bhāsa, focuses on Duryodhana's tragic story from the Mahabharata. Lengshonnei (1986), his adaptation of Bertolt Brecht's version of Sophocles' Antigone, reinterprets the Greek tragedy through classical and traditional Indian forms interwoven with tribal rituals. Another masterwork, Chakravyuha (1984), rooted in the Mahabharata (Drona Parva), is considered one of Thiyam's finest productions, where he presents a powerful meditation on war, entrapment, and the heroism of the young warrior Abhimanyu. Another acclaimed production, Urubhangam (Broken Thigh, 1981), adapted from the Sanskrit play by Bhāsa, is based on an episode from the Mahabharata, focusing on the tragic downfall of Duryodhana. 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Time of India
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India.com
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