HT City Delhi Junction: Catch It Live on 5 June 2025
Where: Shri Ram Centre for Performing Arts, 4, Safdar Hashmi Marg, Mandi House
A post shared by Shri Ram Centre for Performing Arts (@shriramcentre)
When: June 5
Timing: 7pm
Entry: www.bookmyshow.com
Nearest Metro Station: Mandi House (Blue & Violet Lines)
What: 12th Edition of Dialogue to Develop a Vision for the Environment of Delhi – Bikram Singh Sajwan, Vivek Saxena, Prof Akshay Kaul, Yogita Shukla, Suhas Borker, and Justice Abhay S Oka
Where: Conference Room I, India International Centre, 40 Max Mueller Marg, Lodhi Road
When: June 5
Timing: 6pm
Entry: Free
Nearest Metro Station: Jor Bagh (Yellow Line)
What: Taekwondo, Facing the World
Where: Korean Cultural Centre India (KCCI), 25-A, Ring Road, Vikram Vihar, Lajpat Nagar IV
When: June 2 to August 1
Timing: 9am to 6pm
Entry: Free
Nearest Metro Station: Moolchand (Violet Line)
What: Bollywood Night ft Aakarshakh Band
Where: The Terrace, Plot-01, Sector-5, Vaishali, Ghaziabad
When: June 5
Timing: 8pm
Entry: www.bookmyshow.com
Nearest Metro Station: Vaishali (Blue Line)
What: Kal Ki Chinta Nahi Karta ft Ravi Gupta
Where: Studio XO Bar, Trillium Avenue, Sector 29, Gurugram
When: June 5
Timing: 8pm
Entry: www.bookmyshow.com
Nearest Metro Station: Millennium City Centre Gurugram (Yellow Line)
What: 2nd Dr BR Ambedkar Craft Mela
Where: Noida Haat, D-10, Sector 33A, Noida
When: June 5 to 9
Timing: 4pm to 10pm
Entry: Free
Nearest Metro Station: Noida City Centre (Blue Line)
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Indian Express
a day ago
- Indian Express
How an artist brings alive the unseen faces of daily labour through oil and charcoal
Written by Deepak Rajeev A young boy sitting against a backdrop dominated by fast-paced machinery, his contemplating, sombre eyes indicate an infinitude of thoughts; an old man with visible chest bones on a canvas of an oil painting, sleeping after the day ends, his bald head drooping onto his shoulder; a giant shovelling machine that represents the complex work and thoughts of daily-wage earners are all part of Shubhendu Sarkar's solo exhibition titled 'Tracing the Unseen' at the India International Centre (IIC) Annexe, New Delhi. The show, which closes on July 18, captures the unseen realities of hardworking people who often shape our lives. Our cities and the modern techno-industrial society, saturated with social media and advertisements, put on a facade of luxury and sophistication, showing only the best of what one can dream of. In this dynamic environment of hustle-culture, shopping frenzy and extravaganza, what often goes unrecognised and unappreciated are some of the simple souls and their physical labour that continues from dawn-till-dusk, often in a chaotic and dark environment. Shubhendu draws his subjects from the people he sees and interacts with daily —individuals who often fade into the background. Capturing fleeting moments from these familiar domestic spaces, he tries to plant a seed of emotional truth or awareness within the psyche of aesthetes. He says, 'Many of these paintings are born from my experiences of interacting with people when I visit in Delhi. Be it the young boy repairing a bicycle puncture or a man repairing a machine. For instance, some of the drawings are of my father. I first draw a rough sketch on paper with graphite or charcoal, then, after procuring a fair idea about the picture, I execute it with oil on canvas.' As an artist, Shubhendu's eyes fall on these seen-yet-unseen actualities of the world and through his paintings, he creates a deeper sense of empathy and perception of our surroundings. 'My surroundings are my inspiration. An artist doesn't look at things like everyone else. A simple, everyday situation can be put onto a canvas. When a connoisseur sees the image, as it is deeply connected to humanity, inside his heart he will feel 'wow', have that sense of wonder. That's all I want,' he says. In the IIC Annexe Art Gallery Shubhendu has placed two oil paintings together, titled 'The Carpenter's Code' and 'Where the Silence Paints'. These artworks without a human subject, speak volumes about the artist and the hours spent in solitary labour. 'The Carpenter's Code' is filled with wooden logs, equipment placed disorderly on the table and slivers of wood spilled on the ground. Similarly, 'Where Silence Paints', is of Shubhendu studio, which contains a canvas at the centre, an empty chair on the left and tables on the right with almost all his painting equipment splattered on it. These paintings depict the spaces of two artists working in different mediums, subtly representing the inner landscapes of creative individuals. Shubhendu who believes that every medium has its own advantages, finds his deepest joy in working with graphite and charcoal on paper and oil painting. In his other paintings, one sees boys engaged in hard physical labour; cycle workshops where wheels, chains and steel splinters create a chaotic mess; a common man sitting in the middle of machines and welding, in the afternoon. Shubhendu's craft attains excellence by converting these mundane moments and people into artistic truths that invite a spectator to pause and contemplate. 'The job of the artist or his highest hope should be what he can contribute to the art world. Not only painters, if you look at singers like Nusrat Fateh Ali Khan or Mohammed Rafi, they have died but their songs live on. The job of a true artist is to produce such works that can surpass the passage of time,' says Shubhendu, who graduated from College of Art, New Delhi in 2020. Shubhendu has received numerous awards, including the Himachal State Museum Award in Painting and has been part of multiple exhibitions throughout India. 'The art of drawing is no longer separate from who I am. It's how I process and understand the world around me, how I communicate what remains unspoken. My art is not decorative, it's lived, it's the solitude of practice. It's how I build empathy for those whose realities I translate on paper,' he says. Deepak Rajeev is an intern with The Indian Express
Time of India
4 days ago
- Time of India
Years after curtain call, India's first English theatre group returns
1 2 Mumbai: It all began on three terraces of a Colaba building. A group of young, enthusiastic, idealistic youngsters would occupy them and pore over scripts and stories, including those by the Bard. They honed their acting skills as they performed 'Othello', 'Hamlet' and 'Tughlaq'. Long before the world became their stage, it was here that they discussed theatre endlessly. In the tumultuous times of WWII, Kulsum Terrace, the Colaba residence of wealthy businessman Jafferseth and wife Kulsumbai, became a lab for theatre enthusiasts. Here began Theatre Group Bombay, India's first English theatre group, which nurtured many talents and produced playwrights, plays and actors. Years after remaining dormant, Theatre Group Bombay was revived on Saturday. Oxford-returned Bobby Sultan Padamsee, son of Jafferseth and Kulsumbai, planted the seed in 1941 at Kulsum Terrace. Later, Bobby's brother, Alyque Padamsee, and his wife Pearl nurtured it. Long before Alyque's prodigal brother-in-law and immensely talented Ebrahim Alkazi formed his own group, Theatre Unit, and later moved to Delhi to establish National School of Drama, he had joined Theatre Group Bombay in 1952 on returning from England. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like The Most Beautiful Women In The World Undo Since he was also part of Progressive Artists' Group, Alkazi roped in the likes of M F Husain and S H Raza to design stages for some of his plays. You Can Also Check: Mumbai AQI | Weather in Mumbai | Bank Holidays in Mumbai | Public Holidays in Mumbai Bobby was hugely influenced by two things: the English language and New York's theatre collective Group Theatre. He wanted to create a vibrant English theatre scene in India. His baby, Theatre Group Bombay, attracted many young enthusiasts who cut their teeth here before leapfrogging to national and international fame. Before playwright John Murrell's 'Taj Mahal: An Eternal Love Story' took Kabir Bedi, as Shah Jahan, to a global stage, he acted in this theatre group's 'Othello' and 'Tughlaq'. Before Bollywood beckoned actor Dalip Tahil, he trained under Alyque and Pearl and played Jesus in 'Godspell'. Etiquette trainer-actor Sabira Merchant groomed the likes of Priyanka Chopra and Lara Dutta for beauty pageants only years after she cut her teeth in the theatre group. After Alyque's death in 2018, the curtains came down on the group. His daughter, theatre personality Raell Padamsee, who heads the group now, recalls: "It was a cottage industry where my uncle and later my parents joined to create and stage plays. Meals came from my grandmother's kitchen, while ideas and thoughts flowed freely. Love and passion for English theatre drove these idealists." Bobby died young, but his dream to create a vibrant English theatre movement in India survived. It continued as Alyque and Pearl kept the flag flying. Alyque, who reached dizzying heights both in advertising and theatre, penned, produced and directed prolifically. He is best known for playing Mohammed Ali Jinnah in the iconic film 'Gandhi' (1982). The group produced many good actors, including Gerson da Cunha, Deryck Jeffereyis, Farokkh Mehta, Roger Pereira and Merchant. "Nothing has brought me more fame than the Alyque-directed play 'A Streetcar Named Desire'. We had numerous shows of it and it even won me the All India Critics Award," recalled Merchant, whose uncle Yasin Vazirali introduced her to theatre in the 1960s. She has never looked back since. Farid Currim was at Campion School in the 1960s. Alyque and Pearl were roped in to prepare the school team to participate in an interschool dramatic competition. "I would climb on a window and see the team rehearse and prepare. One day Pearl saw me watching and called to check if I wanted a role. She offered a minor role in a play. And I became part of this group, featuring in several plays and travelling extensively with the troupe," says Currim, who divides his time between acting and advertising. With its relaunch, the group is reviving a rich theatre legacy.
New Indian Express
08-07-2025
- New Indian Express
The great Indian wedding: Girish Karnad's 'Wedding Album' to be performed
Even as the mythologically inspired, dramatic worlds of playwright and actor Girish Karnad's Nagamandala, Hayavadana, Yayati, and Tughlaq continue to capture the attention and imaginations of playgoers and practitioners alike, with regular performances in the city, a staging of Wedding Album is, perhaps, a rare sight. One of the last plays he penned before his demise in 2019, Wedding Album will be performed at Bangalore International Centre on July 9 and Ranga Shankara on July 30. 'While Karnad was known for his mythological plays, he wrote urban stories in contemporary settings towards the end of his life. In this one, he takes on the institution of weddings and how the whole thing, with cultural sanction, has become absurd and nobody's questioning it,' explains play director Kishore Acharya. Wedding Album gives a glimpse into the house of a middle-class family in the 2000s, looking for a perfect match for their 21-year-old daughter. Their only condition: he must be in the US (United States). Through the ridiculous scenarios arising from the set-up and as the relationships between members of the family are unravelled, Karnad satirises arranged marriage, and the institution at the centre of all the chaos: caste. 'You're talking about an educated, upper-middle-class, 'upper caste' home. It's absurd that in the pursuit of getting their daughter married to someone in the US, they are willing to let go of a lot of things. The whole thing is hinging on the fact that the girl will pack up her life here and go live with someone she's met 24 hours ago. The only tick mark is that he's from the same caste and class,' says Acharya, adding that the play delves into the inter-generational relationships within the family. 'There are no heroes or moments of rebellion by younger characters. In the end, he shows that there is no difference and that we haven't evolved further. A lot of people can interpret it as hopeless, but it is showing a mirror to society.'
