Latest news with #NatyaShastra
Time of India
6 days ago
- Entertainment
- Time of India
Ratan Thiyam: A Visionary Who Revolutionized Indian Theatre
Guwahati: Born on Jan 20, 1948, at Nabadwip in West Bengal's Nadia district, Ratan Thiyam, recognised as one of India's greatest theatre innovators, grew up in Imphal, surrounded by art and art-making, which profoundly influenced his life and work. His father, Thiyam Tarunkumar, was one of the most respected gurus of classical Manipuri dance, while his mother, Bilasini Devi, was a renowned dancer. Thiyam passed away at 77 at the Regional Institute of Medical Sciences (RIMS) in Imphal at approximately 1:30am Wednesday. Along with KN Panikkar, BV Karanth, Habib Tanvir, Bansi Koul, and Jabar Patel, Thiyam, affectionately known as 'Oja' (teacher in Meiteilon), was a major pioneer of the "theatre of roots" movement, developed during the 1960s-1970s. This movement sought to reclaim and integrate Indian classical, folk, and indigenous performance traditions with modern sensibilities, a powerful strategy for redefining Indian cultural identity. 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. Both Urubhangam and Chakravyuha reflect Thiyam's belief in the timeless relevance of epics, recontextualised to comment on modern dilemmas. One of his most internationally acclaimed works is Uttar Priyadarshi, an adaptation of a Hindi verse play by celebrated poet and writer Agyeya, where Thiyam retells the story of Emperor Ashoka's spiritual transformation. These works exemplify Thiyam's ability to blend ancient texts and diverse performing traditions into cohesive contemporary theatre, addressing social, political, and philosophical questions with a rooted yet innovative dramatic language. A towering figure in contemporary Indian theatre, celebrated for combining classical, indigenous, and modern elements in his plays, Thiyam's death marks the departure of one of India's greatest theatre innovators, whose lifelong dedication elevated Manipuri traditions to the global stage and enriched the country's artistic heritage.
The Print
30-05-2025
- Business
- The Print
IICT landmark step for institutionalising India's cultural, creative strengths: I&B secretary
Sanjay Jaju, Secretary, Ministry of Information and Broadcasting, was speaking at the CII Summit here at a session — 'India's Soft Power: Catalysing Global Ascendancy'. The IICT has been envisioned as the 'creative counterpart' to the IITs and IIMs. New Delhi, May 30 (PTI) The recent establishment of the Indian Institute of Creative Technology (IICT) in Mumbai is a landmark initiative for institutionalising the country's cultural and creative strengths, a top official of the Ministry of Information and Broadcasting said here on Friday. Jaju underscored India's unique civilisational journey and diverse cultural expressions as the foundation of the country's growing global soft power, according to a statement issued by the organisers. Drawing on classical references like 'drishti', 'shruti' and 'kriti' — representing India's visual, oral and written traditions — the Union secretary emphasised how ancient legacies like the Natya Shastra and the Vedas, along with storytelling epics, music and mudras, continue to shape the country's vibrant creative economy. He highlighted the establishment of the IICT as a landmark initiative for institutionalising India's cultural and creative strengths, the statement said. Jaju emphasised that India is a 'storytelling superpower', with many untapped narratives waiting to be transformed into immersive global experiences. He reaffirmed the country's 'potential to become a creative superpower', urging the industry to harness this opportunity through unity, innovation and a shared cultural vision. Union Culture and Tourism Minister Gajendra Singh Shekhawat, in his address, highlighted that India's rising stature on the global stage is a result of a renewed national pride and a transformed self-image. He noted a paradigm shift in tourism post-COVID-19, with travellers increasingly seeking immersive and experiential journeys. India's tourism sector, supported by robust infrastructure development, airports, roads and railways, is witnessing significant growth, particularly in spiritual and domestic tourism, the minister said. Destinations like Ujjain's Mahakal Lok corridor have attracted more than 10 lakh visitors in a month, illustrating the sector's resurgence, he added. With domestic tourism showing greater potential than international travel, India is aiming to align its tourism GDP contribution to global benchmarks, targeting 10 per cent of the national GDP by 2030, Shekhawat was quoted as saying in the statement. Puneet Chhatwal, Chairman, CII National Committee on Tourism and Hospitality, emphasised that India's soft power is deeply rooted in its rich culture, heritage and hospitality, which serve as powerful tools for global engagement and trust-building. He noted that every USD 1 million invested in tourism can generate nearly 100 direct and 250 indirect jobs and significantly increase foreign-tourist arrivals and foreign-exchange earnings. PTI KND RC This report is auto-generated from PTI news service. ThePrint holds no responsibility for its content.
The Hindu
21-05-2025
- Entertainment
- The Hindu
Bharatanatyam exponent Priyadarsini Govind to launch an online abhinaya course
It's a warm summer morning. Priyadarsini Govind is at her performance space and black box theatre, KG1 studios in Royapettah, Chennai. She is sitting alone — on the floor — dressed comfortably in a pair of tracks and a T-shirt, absorbed in her thoughts with a notepad and a pencil in hand. For the last few weeks, this renowned Bharatanatyam artiste has been busy giving the finishing touches to the four-part certificate course on abhinaya, which will be launched online in July. It is an extension of Learning Ladder, an abhinaya pedagogy she developed two years ago. 'Any art form is a work-in-progress,' says Priyadarsini. Learning Ladder found its genesis in the years of the pandemic when she conducted a series of immersive abhinaya sessions online — on the Ashtanayikas and Navarasas — for dance students from across the globe. 'After every session, where I would teach abhinaya for a composition,' says Priyadarsini, ' I would spend hours thinking about how students need to experience the rigour of a structured learning (of abhinaya) that could allow them to ease their way into a composition. The more I thought about it, the more I was convinced why I should come up with a system that could help learners to look beyond lyrics to understand abhinaya.' After several days of contemplation and many rounds of discussions with senior students, Learning Ladder began to take shape. It's built on the premise of teaching abhinaya to anyone in the field of performing arts — dancers, theatre practitioners, and storytellers. Learning Ladder envisages learning as a process of training the mind and understanding how to communicate what one intends to in a way that is effective and evocative. 'Abhinaya is all about imagination,' explains Priyadarsini. 'But to explore the honesty of an emotion and to convey it meaningfully require training, practice, curiosity and questioning. The uniqueness of Learning Ladder is that it looks at abhinaya both as a personal expression of emotions and a collective consciousness as far as the impact of the emotions are concerned. Hence, a great deal of thought has gone into designing a system of learning that does not at any point intend to create clones because every emotion is different.' Since its inception in 2022, Learning Ladder has unfolded as a series of modules (in the form of 24 videos) where Priyadarsini and her students develop and put into practice ideas and exercises. These are built on a learning framework that draws from the Natya Shastra and Abhinaya Darpana. The focus, however, ison imagination and the training needed to translate it into visual expression. For the past two years, Priyadarsini has also been travelling extensively to conduct Learning Ladder workshops. 'As far as abhinaya is concerned what gets across to the audience sometimes may be quite different from what the artiste has in mind. Abhinaya is not merely instinctive, a structured training can go a long way in helping to communicate the emotions better.' Priyadarsini feels Learning Ladder can fill the gap. 'In today's world learning, in general, is not in-depth, and often lacks a broader perspective. Look at the pace of life now,' says the dancer as she goes back in time to recall her abhinaya sessions with the legendary Kalanidhi Narayanan. 'I went to her as a nine-year-old and my understanding of abhinaya grew with each session. Kalanidhi mami would delve deep into a character, which made the expressions deep and layered. We'd spend days to unravel a poetry. The experience was phenomenal. Learning Ladder draws from this experience and my own discovery as a performer and teacher,' says Priyadarsini.
