1) Sinhagad Architecture - Tuzse Naraj Nahi Jindagi
Subject : Communal Violence in Uganda
Story : Sam and Peter are childhood friends. Sam belongs to Tutsi Community and Peter belongs to Hutu Community in Uganda. Hutus are in Majority while Tutsis are in Minority. One day Sam and Peter meet in a bar. They are troubled by a stranger who belongs to Tutsi community and whose wife had been killed by Hutu men during the riots. The stranger asks Sam to leave Peter because Hutus have devastated their lives in their country. But being so close both refuse to do that. After this small incident both talk about their past. Sam tells Peter how his family was killed during the violence. He blames Hutus for that and becomes angry on Peter. Peter tells him his part of the story. He tells him how many of the Hutus were compulsorily brought into the violence. He tells Sam how his wife ( who belongs to Tutsi community ) was kept hostage and how he was forced to kill a Tutsi man. Coincidentally this man who gets killed by Peter happens to be Sam's father. The audience can see the whole emotional turmoil of these two characters on the stage. We can see that - both have been victims of the brutal - horrendous massacre in Uganda. Finally Sam offers Peter a drink and they both hug each other.
Script : This was Sinhagad Architecture's first ever attempt at Purushottam. The writer did a good job with her pen. I talked to her - and asked her how she thought of performing this particular story on the stage. She told me that they have a student from Uganda in their class from whom she heard all this. Kudos to all of the students who thought to perform this play based on the real story. Congratulations !
A little advise - she could have avoided the predictability of the story with very minor changes in it. That could have created bigger impact in receiving the play for the first time.
Direction : Decent. Genuine ! Having story telling in left hand section and its actual happening or execution in right hand section was a good decision. But sometimes - they could have switched off all the lights in left hand section so that only sounds would reach from left and actual execution would continue on right. The use of stack of human dead bodies was excellent - it served the purpose.
Drapery - Excellent. Well thought. The dresses, hair style , the skin color suited the characters. Good to see that in spite of being first timers - they have thought so much.
Acting : Loud - Average. Could be improved a lot. The gestures of the characters were very loud and artificial.
Music : Good. Decent.
Lights : Could be improved a lot.
Set changes - Need to be improved a lot.
Overall Rating : 6 - 6.5
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2) Rajarshi Shahu Mahavidyalay - Andharache Bet
Subject - The brooding of experimental theatre artists. The play dealt with the meaning of existence of the experimental theatre artists and their lost lives.
Story : Rakhya is ( supposed to be a ) a very good actor in experimental theatre. His play Vartulacha Madhya Mi - is a huge success. But the play has one bold scene in it - because of which his parents are very much angry. His father slaps him in front of many theatre lovers on his opening performance. This hurts Rakhya a lot. Rather than leaving the experimental theatre, he chooses to leave his family and goes to an island ( symbolically - the unclear - dark region called Experimental theatre. ) He is guided there by an old fellow who used to be like Rakhya - and who has suffered a lot like Rakhya in his past life. This is the middle story of the play. The play begins with a new chap entering this 'Bet' where he wants to identify his real passion - whether he belongs to a cult of Experimental theatre or the professional theatre - or Houshi Rangabhumi. He is ( once again so called - very bright engineering student who leaves everything after his third year -and he is topper in his engineering career till third year ) an engineering student. When he enters this Bet - he gets very frightened with Rakhys's appearance but later gets used to it. Meanwhile a girl ( form the same experimental theatre group ) gives him a lecture ( actually a monologue ) on what the experimental theatre actually is. Then again Rakhy's story continues with his very loud acting. Finally because of problems with Rakhya - his director replaces him in Vartulacha Madhya Mi - and gives this new chap his role. The play ends with - an announcement from his mouth.
Script : Very vague. The story takes unnecessary turns and jerks.
Direction : Again according to me - it was very vague.
Acting : Above average.
Music : Good. Use of sounds was good.
Set : Good. Use of levels - pandharya odhanya - looked good. It contributed to enhance the height logic of the stage.
मला ह्या नाटकातली सर्वात आवडलेली गोष्ट म्हणजे - आपल्या स्वतःच्या नाटक मांडण्याच्या अभिव्यक्तीमधील अनवट मार्गांचा घेतलेला शोध. प्रायोगिक रंगभूमीवरील कलाकारांची व्यथा मांडण्यासाठी ज्या प्रतिमांचा वापर केला होता - तो परिणामकारक होता. पण ह्या अनवट मार्गांच्या प्रवासात एकसंधता नसल्याने त्याचा अपेक्षित परिणाम साधता आला नाही. नाटकाच्या निर्मिती प्रक्रियेत दृश्य परिणामांचा विचार केलेला जाणवत होता - परंतु पात्रनिर्मीती आणि कथासुत्राच्या मांडणी मधल्या प्रवासाशी त्या एकरूप होत नसल्याने - पात्रांच्या भाव-भावनांशी , त्यांच्या सुख दुख्खांशी प्रेक्षक जोडला जात नव्हता.
Overall Rating : 5.5 - 6.0
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3) AISSMS - Anamik
मला ह्या नाटकातले पात्राचे द्वंद्व नक्की काय होते हेच कळले नाहीये. त्यामुळे ह्या नाटकावर कोणतेही भाष्य करण्यास मी असमर्थ आहे. मी नाटकाच्या लेखकाला विनंती करतो की त्याने स्वतःच्या नाटकावर प्रकाश टाकावा.
धन्यवाद !
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Subject : Communal Violence in Uganda
Story : Sam and Peter are childhood friends. Sam belongs to Tutsi Community and Peter belongs to Hutu Community in Uganda. Hutus are in Majority while Tutsis are in Minority. One day Sam and Peter meet in a bar. They are troubled by a stranger who belongs to Tutsi community and whose wife had been killed by Hutu men during the riots. The stranger asks Sam to leave Peter because Hutus have devastated their lives in their country. But being so close both refuse to do that. After this small incident both talk about their past. Sam tells Peter how his family was killed during the violence. He blames Hutus for that and becomes angry on Peter. Peter tells him his part of the story. He tells him how many of the Hutus were compulsorily brought into the violence. He tells Sam how his wife ( who belongs to Tutsi community ) was kept hostage and how he was forced to kill a Tutsi man. Coincidentally this man who gets killed by Peter happens to be Sam's father. The audience can see the whole emotional turmoil of these two characters on the stage. We can see that - both have been victims of the brutal - horrendous massacre in Uganda. Finally Sam offers Peter a drink and they both hug each other.
Script : This was Sinhagad Architecture's first ever attempt at Purushottam. The writer did a good job with her pen. I talked to her - and asked her how she thought of performing this particular story on the stage. She told me that they have a student from Uganda in their class from whom she heard all this. Kudos to all of the students who thought to perform this play based on the real story. Congratulations !
A little advise - she could have avoided the predictability of the story with very minor changes in it. That could have created bigger impact in receiving the play for the first time.
Direction : Decent. Genuine ! Having story telling in left hand section and its actual happening or execution in right hand section was a good decision. But sometimes - they could have switched off all the lights in left hand section so that only sounds would reach from left and actual execution would continue on right. The use of stack of human dead bodies was excellent - it served the purpose.
Drapery - Excellent. Well thought. The dresses, hair style , the skin color suited the characters. Good to see that in spite of being first timers - they have thought so much.
Acting : Loud - Average. Could be improved a lot. The gestures of the characters were very loud and artificial.
Music : Good. Decent.
Lights : Could be improved a lot.
Set changes - Need to be improved a lot.
Overall Rating : 6 - 6.5
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2) Rajarshi Shahu Mahavidyalay - Andharache Bet
Subject - The brooding of experimental theatre artists. The play dealt with the meaning of existence of the experimental theatre artists and their lost lives.
Story : Rakhya is ( supposed to be a ) a very good actor in experimental theatre. His play Vartulacha Madhya Mi - is a huge success. But the play has one bold scene in it - because of which his parents are very much angry. His father slaps him in front of many theatre lovers on his opening performance. This hurts Rakhya a lot. Rather than leaving the experimental theatre, he chooses to leave his family and goes to an island ( symbolically - the unclear - dark region called Experimental theatre. ) He is guided there by an old fellow who used to be like Rakhya - and who has suffered a lot like Rakhya in his past life. This is the middle story of the play. The play begins with a new chap entering this 'Bet' where he wants to identify his real passion - whether he belongs to a cult of Experimental theatre or the professional theatre - or Houshi Rangabhumi. He is ( once again so called - very bright engineering student who leaves everything after his third year -and he is topper in his engineering career till third year ) an engineering student. When he enters this Bet - he gets very frightened with Rakhys's appearance but later gets used to it. Meanwhile a girl ( form the same experimental theatre group ) gives him a lecture ( actually a monologue ) on what the experimental theatre actually is. Then again Rakhy's story continues with his very loud acting. Finally because of problems with Rakhya - his director replaces him in Vartulacha Madhya Mi - and gives this new chap his role. The play ends with - an announcement from his mouth.
Script : Very vague. The story takes unnecessary turns and jerks.
Direction : Again according to me - it was very vague.
Acting : Above average.
Music : Good. Use of sounds was good.
Set : Good. Use of levels - pandharya odhanya - looked good. It contributed to enhance the height logic of the stage.
मला ह्या नाटकातली सर्वात आवडलेली गोष्ट म्हणजे - आपल्या स्वतःच्या नाटक मांडण्याच्या अभिव्यक्तीमधील अनवट मार्गांचा घेतलेला शोध. प्रायोगिक रंगभूमीवरील कलाकारांची व्यथा मांडण्यासाठी ज्या प्रतिमांचा वापर केला होता - तो परिणामकारक होता. पण ह्या अनवट मार्गांच्या प्रवासात एकसंधता नसल्याने त्याचा अपेक्षित परिणाम साधता आला नाही. नाटकाच्या निर्मिती प्रक्रियेत दृश्य परिणामांचा विचार केलेला जाणवत होता - परंतु पात्रनिर्मीती आणि कथासुत्राच्या मांडणी मधल्या प्रवासाशी त्या एकरूप होत नसल्याने - पात्रांच्या भाव-भावनांशी , त्यांच्या सुख दुख्खांशी प्रेक्षक जोडला जात नव्हता.
Overall Rating : 5.5 - 6.0
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3) AISSMS - Anamik
मला ह्या नाटकातले पात्राचे द्वंद्व नक्की काय होते हेच कळले नाहीये. त्यामुळे ह्या नाटकावर कोणतेही भाष्य करण्यास मी असमर्थ आहे. मी नाटकाच्या लेखकाला विनंती करतो की त्याने स्वतःच्या नाटकावर प्रकाश टाकावा.
धन्यवाद !
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Hi Girish,
ReplyDeleteCan i get tickets for Saturday or Sunday? My email id is sumedh.inamdar@gmail.com
purushottam madhe lok vinakaran dokyachi madai karnari natak ka kartat hech kalat nahi. Natak he sahaj ani saral asel tar prekshkana hi tyat maja yete.
ReplyDeleteMy humble request to all...
ReplyDeleteJar tumhala kahi "vishesh tippani" karayachi asel tar anonymous comments naka taku..
mhanaje hya Anonymous la nahi mhanate in generalach sangatoye..
माझ्या अनामिक मित्रा..पुरुषोत्तम मध्ये डोक्याची मंडई करणारी नाटक होतात असे तुला म्हणायचे आहे ..कि तुझ्या डोक्याची मंडई करणारी नाटक होतात असे म्हणायचे आहे? डोक्याची मंडई होते ती नेमकी कशामुळे होते? डोक्याची मंडई होते म्हणून नुसता नाटकाला दोष देउन तुझा प्रश्न सुटणार आहे का? शिवाय कोणी काय कराव आणि कस कराव ह्याचे धडे कोणी कोणाला द्यावेत? ते द्यावेत का? नाटक ही खाजगी गोष्ट नसते हे नाटक करणा-या संघाने जसे लक्षात घेतले पाहिजे तसेच प्रेक्षकाने ही समजून घ्यायला नको का? विशिष्ट नाटकाला जावे कि न जावे हा निर्णय किंवा उठून जावे हा पर्याय प्रेक्षकाला असतो की नसतो? .. अशी नाटके हि (बहुदा) करून पाहिलेला प्रयत्न(करून पाहिलेला प्रयोग अशा ढोबळ अर्थी प्रायोगिक) असतील तर तुझ्या मते असे प्रयत्न रंगभूमीवर करण्यास बंदी आणावी का? नाटक केवळ सहज आणि सरळ असेल तर प्रेक्षकानांही त्यात मजा येईल असे तुझे जे म्हणणे आहे ते नेमक कोणत्या प्रेक्षकां विषयी आहे? तू सगळे प्रेक्षक तुझ्यासारखेच असतात असे ठामपणे सांगू शकतोस काय? नाटक फक्त मजा येण्यासाठी असावे काय? क्लिष्ट, गुंतागुंतीच्या, व्यामिश्र नाटकाचा तिरस्कार किंवा त्यावर नाराजी ही फक्त आपली बौद्धिक पातळी कमी पडते किंवा त्या रसग्रहणासाठी आवश्यक प्रवृत्ती,धारणा,बैठक,एकाग्रता, संवेदनशीलता याचा आभाव असतो एवढे कारण तुला खरच पुरेसे वाटते का? ज्या काज्यूअली तू नाटक बघतोस तितक्याच काज्यूअली लोकांनी नाटक करावे असा तुझा आग्रह् का ते समजू शकेल का? लोकाना बघायला जे आवाडेल(जे खपेल)ते नाटक करण्यासाठी पुरुषोत्तम आहे का? शेवटचा प्रश्न 'विनाकारण' असा एक शब्द तू वापरलास तो (१)उगाच वापरायचा म्हणून वापरलास (२) बोलीभाषेच्या सहजता, स्वाभाविकतेनुसार वापरलास (३)शब्दाच्या भावर्थ,लक्षार्थ,मतितार्थ,गुढार्थ(असल्यास), लौकिकार्थाने वापरलास... मला तुझ्याकडून उत्तरं अपेक्षित नाहीत, तुझ्या डोक्याची (पुन्हा एकदा):-) मंडई करायची नाही. पर्सनली घेउ नकोस कारण माझा खरच तसा कुजका हेतूही नाही.. पण खरच अशी नाटक मनापासून करणारी लोक असतात ते जर नाउमेद झाले तर तुझ प्रेक्षक म्हणून ते फार मोठ नुकसान असणारा आहे हे मात्र मी तुला आवर्जून सांगेन..
ReplyDeleteवरील माझी (देवनागरी लिपीतील, प्रश्नांची लांबलचक यादी असलेली) कमेंट मुद्दामून अनामिक राहूनच केली आहे..अगदीच हवे असल्यास नाव लिहितो..पण ते इतक्यात महत्त्वाचे नाही असे निदान आत्ता तरी वाटते आहे..असो..
ReplyDeleteSir,
ReplyDeleteA minor correction, the place was not Uganda, it was Rwanda... the play was based on real conditions in Rwanda and not the story ..
thank you.
purshottam ha manchach vidyarthyana vegla platform denyasathi ahe.jyala jase hawe tasa to vyakta hou shakto.Dokyachi mansai hot asalelyani yeu naye
ReplyDelete