Latest news with #SangeetNatakAkademi
India.com
20 hours ago
- Entertainment
- India.com
Renowned Manipuri Theatre Exponent Ratan Thiyam Dies At 77: Condolences Pour, List Of His Plays, Awards & Honours
New Delhi: Famous theatre exponent from Manipur, Ratan Thiyam breathed his last on Wednesday, July 23, 2025 in Imphal. According to reports, the legendary Indian theatre maestro was suffering from prolonged illness and admitted at Regional Institute of Medical Science in Imphal. He was 77. Sahitya Academy in their official X handle (formerly called Twitter) wrote, "Sad to know that a very distinguished playwright, director, writer, scholar, leading personality of "Theatre of Roots" and founder of Chorus Repertory Theatre, Sri Ratan Thiyam has passed away. He was one of the few directors who popularized ancient Indian traditions & touched millions of hearts through his works. His plays have been staged as well as adapted across the world. He will be missed in the Indian performance and literary circles." Sad to know that a very distinguished playwright, director, writer, scholar, leading personality of "Theatre of Roots" and founder of Chorus Repertory Theatre, Sri Ratan Thiyam has passed away. He was one of the few directors who popularized ancient Indian traditions & touched… — Sahitya Akademi (@sahityaakademi) July 23, 2025 All India Radio (AIR) too extended condolences on X: Globally acclaimed Theatre personality Ratan Thiyam has passes away. Ratan Thiyam is known for his direction in the internally acclaimed dramas like "Chakrabvyuha", "Uttar Priyadarshi", "Hey Nungshibi Prithivi", "Chinglon Mapan Tampak ama". He was honoured with Fringe First Award in the Edinburg International Festival 1987 for his play "Chakrabvyuha". Globally acclaimed Theatre personality Ratan Thiyam has passes away. Ratan Thiyam is known for his direction in the internally acclaimed dramas like "Chakrabvyuha", "Uttar Priyadarshi", "Hey Nungshibi Prithivi", "Chinglon Mapan Tampak ama". He was honoured with Fringe First… — All India Radio News (@airnewsalerts) July 23, 2025 Who Was Ratan Thiyam The iconic Indian playwright and theatre director, and the winner of Sangeet Natak Akademi Award in 1987, was one of the prominent names behind 'theatre of roots' movement in Indian theatre, which started in the 1970s. Thiyam Nemai, as he was called used ancient Indian theatre traditions and forms in a contemporary context in his writings. He was also a painter and into direction, writing and music. Ratan Thiyam's Prolific Position He worked as chairperson of the prestigious National School of Drama from 2013 to 2017. He had also worked as vice-chairman of Sangeet Natak Akademi before joining NSD. He was also the founder-director of Chorus Repertory Theatre, formed on the outskirts of Imphal, Manipur in 1976. He was awarded the Sangeet Natak Akademi Award in Direction in 1987, given by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama, and the Padma Shri given by Government of India in 1989. He was awarded the 2012 Sangeet Natak Akademi Fellowship. In 2013, Ratan Thiyam received honorary from Assam University, Silchar. Ratan Thiyam's List Of Plays Ratan Tahiyam's plays were strongly influenced by Natya Sastra, an Indian theatre style propounded by Bharata during the second century B.C., as also ancient Greek drama, and the Noh theatre of Japan, as per Wikipedia information. Karanabharam (1979) Imphal Imphal (1982) Chakravyuha (1984) Lengshonnei (1986) (An adaptation of Jean Anouilh's Antigone) Uttar Priyadarshi (The Final Beatitude, by Hindi playwright Agyeya) (1996) Chinglon Mapan Tampak Ama (Nine Hills One Valley) Ritusamharam (Ritusamharam by Sanskrit playwright Kalidasa) Andha Yug (The Blind Age, by Hindi playwright Dharamvir Bharati) Wahoudok (Prologue) Ashibagee Eshei (based on When We Dead Awaken, by Norwegian playwright Henrik Ibsen) (2008, Lairembigee Eshei (Song of the Nymphs) The King of Dark Chamber (Raja, 2012), based on a play Raja (1910) by Rabindranath Tagore Ratan Thiyam's Honours Here are the list of awards which the legendary theatre personality received in his lifetime: 1984: Indo-Greek Friendship Award, 1984 (Greece) 1987: Sangeet Natak Akademi Award 1987: Fringe Firsts Award, from Edinburgh International Festival 1989: Padma Shri 1990: Diploma of Cervantino International Festival, (Mexico) 2005: Kalidas Samman 2008: John D. Rockefeller Award 2011: Bharat Muni Samman 2012: Sangeet Natak Akademi Fellowship (Akademi Ratna) 2013: Bhupen Hazarika Foundation Award His pathbreaking contribution in the world of Indian theatre is immense and the void will never be filled again.
New Indian Express
20 hours ago
- Entertainment
- New Indian Express
Theatre legend Ratan Thiyam, doyen of ‘theatre of roots' movement, passes away at 77
GUWAHATI: Ratan Thiyam, a luminary of Indian theatre and winner of Sangeet Natak Akademi Award, passed away early Wednesday morning. The 77-year-old from Manipur was one of the leading figures of the 'theatre of roots' movement in Indian theatre that started in the 1970s. He wrote and staged plays that used ancient Indian theatre traditions and forms in a contemporary context. Thiyam, considered one of the leading contemporary theatre gurus, had worked as the vice chairman of Sangeet Natak Akademi before he served the National School of Drama as chairperson. Former Manipur Chief Minister N Biren Singh was among leaders who mourned the death. 'It is with deep sorrow that I express my heartfelt condolences on the passing of Shri Ratan Thiyam, a true luminary of Indian theatre and an esteemed son of Manipur. His unwavering dedication to his craft, his vision, and his love for Manipuri culture enriched not only the world of theatre but also our very identity,' Singh posted on X. He said the work of Thiyam carried the soul of Manipur, echoing its stories, its struggles, and its beauty.
The Hindu
21 hours ago
- Entertainment
- The Hindu
Manipur theatre personality Ratan Thiyam passes away
Manipur's noted theatre personality Ratan Thiyam, one of the pioneers of the Theatre of Roots movement in India, passed away in Imphal on early Wednesday (July 23, 2025) morning. He was 77. The late Thiyam was known globally for writing and staging plays that used ancient Indian theatrical traditions with modern themes. The infusion of Manipuri art forms gave his plays such as Chakravyuha and Ritusamharam a distinctive flavour. Also Read | Drama in the time of bigotry: theatre director and poet Ratan Thiyam Awarded the Padma Shri in 1989, he served as the vice-chairman of Sangeet Natak Akademi before a five-year stint as the chairperson of the National School of Drama. Former Manipur Chief Minister Nongthombam Biren Singh was among several leaders who mourned the passing of one of the country's leading contemporary theatre gurus. 'It is with deep sorrow that I express my heartfelt condolences on the passing of Shri Ratan Thiyam, a true luminary of Indian theatre and an esteemed son of Manipur. His unwavering dedication to his craft, his vision, and his love for Manipuri culture enriched not only the world of theatre but also our very identity,' Mr Singh posted on X. Also Read | Bringing Adivasi's art to centrestage He said the work of Thiyam carried the soul of Manipur, echoing its stories, its struggles, and its beauty. Manipur Bharatiya Janata Party president Adhikarimayum Sharda Devi also mourned the demise. 'A towering figure in the world of theatre, he was the only individual from the region to have held the prestigious position of Director at the National School of Drama. Recipient of numerous accolades... Thiyam's contribution to art, culture, and literature will forever be remembered,' she wrote on X, conveying her condolences to the bereaved family, friends, and the artistic fraternity on behalf of her party. Nagaland BJP leader Mmhonlumo Kikon said the late Thiyam was the Eugène Ionesco of India, and he left behind a 'legacy which is difficult to fill.'
The Hindu
08-07-2025
- Entertainment
- The Hindu
Meet Jyoti Hegde, the only woman rudra veena artiste
As Jyoti Hegde sat on the stage at a recent event organised by the Sangeet Natak Akademi to celebrate World Music and International Yoga Day in Delhi, what caught the eye was the beautifully crafted instrument in her hands. It looked like the veena, but not totally. It was the rudra veena, and Jyoti Hegde is the only woman rudra veena artiste. She was an apt choice for the event because the rudra veena is the only string instrument that also requires the artiste to practise breath control. Underlining the need to do yoga for the same, Jyoti says since the instrument is based on dhrupad, which lays importance on breath control, it is applicable to the rudra veena too. 'It impacts the way the instrument is played and the sound produced.' The 'khandar vani' was the original style of 'beenkars' or rudra veena exponents. This was the style practised by Tansen's beenkar son-in-law, Raja Misri Chand, known as Nababat Khan in the Mughal court of Akbar. Later, Ustad Asad Ali Khan rose to be one of the finest rudra veena artistes, hailing from a family dedicated to this instrument. Jyoti is his foremost disciple. Associated with lord Shiva, and the rudra veena is only string instrument that also requires the artiste to practise breath control. Jyoti was The rudra veena has always had a mysticism attached to it, being taught only to a chosen few and said to be unlucky for those who did not follow the tradition when playing it. In fact, the instrument sursingar was invented in the 18th Century, to teach this style of rudra veena playing (baaj) to other string instrumentalists such as rabab or sarod. At the concert, Jyoti presented raag Bairagi Bhairav. A relatively obscure raga, she learnt it not from the ustad, but from Bindu Madhav Pathak, a sitar and rudra veena exponent from Kirana gharana, under whom Jyoti initially trained. The raag was re-introduced by Pt. Ravi Shankar and is similar to Carnatic raga Revathi. Jyoti had composed a chautaal (12 beat) 'gat' (composition) in the raag. Serene, and meditative, Jyoti's music never fails to soothe. During a post-performance conversation, Jyoti revealed she did not hail from a family of musicians. When she began learning, she could not identify the difference between dhrupad and khayal, and used to play bandish on the veena. Though the ustad dissuaded her from pursuing the rudra veena, Jyoti was insistent. 'When I heard the sound of instrument, I found my calling. The note resonated deep within me and I knew I had to learn it.' Marriage and motherhood did not deter Jyoti from expanding her musical horizons. More so, since she was in Dharwad, home to many music stalwarts. She attended lec-dems by Pt. Indudhar Nirody of the Agra gharana, who helped hone her skills. He also made her understand that the rudra veena lent itself only to dhrupad. She was 35 then, and was all set to forge ahead in her musical journey. Jyoti approached Ustad Asad Ali Khan, he refused to teach her, saying the rudra veena was not meant for women. She persisted for a year, travelling across the country to meet him at every concert of his. He finally agreed, but said she had to learn breath control, and enunciate the sound of 'aum' from the 'nabhi' (navel). ''Only then 'will you be able to handle the instrument' he had said,' shares Jyoti, who took six months to achieve this. Then came the next challenge, to sit in vajrasana to play the instrument. Jyoti struggled, when the pakhawaj maestro Pt. Dal Chand Sharma, a friend of the ustad intervened and finally, the ustad agreed to teach her. Jyoti shares how she would travel by train for two days to reach Bombay to meet the ustad. 'It was not at all easy to connect with him. In spite of all the challenges, learning from the ustad was a memorable experience. Meals were forgotten during the class and later, the ustad would ensure a vegetarian meal was served to me. Once, he even missed his flight as he was so engrossed in teaching, when I reminded him of the time, he chided me saying, 'focus on the music'.' The learning lasted six years, till the demise of Ustad Asad Ali Khan in 2011. She owes it to him. for not just teaching to play the instrument but also to understand its heritage. Today, she is the torchbearer of the tradition that the Ustad represented. Jyoti now wants to pass on the tradition by teaching young enthusiasts. realises the only way she can repay the debt to him is by teaching others. Though Jyoti lives in a remote village in Sirsi district of Karnataka, she still manages to teach students from across the globe. Some of them visit her for one-on-one training, which also includes working on the farm. 'After all art is about training both the mind and the body,' says Jyoti.
The Hindu
06-07-2025
- Entertainment
- The Hindu
From The Hindu, July 7, 1975: Folk dance ensemble disbanded
New Delhi, July 8: The national folk dance ensemble, intended to be a show-window of India's rich folk dance tradition, has been disbanded. The ensemble had lived a precarious life for some months and was twice close to disaster. But protests from cultural circles prolonged its life. The Prime Minister's Secretariat, which had sponsored and fostered the ensemble, finally decided to close it a few days ago. A spokesman of the Secretariat, however, said the idea of an ensemble had not been finally buried. Discussions were under way to find out if it could be 'refashioned.' The ensemble was started with two objectives: to preserve folk dance tradition in its pristine purity and to present to audiences in India and abroad an image of the rich variety of Indian folk dance and music through suitable shows. What went wrong with the ensemble, the performances of which drew good reviews and unstinted praise from critics, music directors and choreographers alike? 'It was nobody's baby,' was the general complaint of the artistes who constituted it. Two ministries also wanted to have a finger in the pie. 'It took 27 years to bring folk dance to the active dance theatre. All this has been undone now because of bureaucratic apathy,' said Mr. Narendra Sharma, who was an ensemble instructor. Many artistes blamed the Sangeet Natak Akademi, which administered the affairs of the ensemble. It had failed to provide the ensemble with suitable premises even nine months after its inception, said Director Zohra Sehgal.
