The concept of a performance like Clean Page, directed by Sunil Shanbhag, came out of the Tamasha Theatre troupe’s physical activities in which poetry is employed to understand the multiplicity of meaning. Poetry is perhaps the maximum complex and ununderstood literary style: it does not track; it’s not tale; it’s no longer fiction; it’s now not fact; it’s not a biography; it’s no longer politics; it’s not anthem; it’s now not prayer (or its solution); it’s now not a discourse on rationality; it’s not a cry of discomfort; it’s now not a shout of pleasure – however it could be all or any of those. Poetry inhabits a paradoxical space that is greatly left undefined. But while felt subjective, it has the electricity to open up entire worlds of feelings – of know-how.
Blank Web page, a theatrical performance using Tamasha Theatre of Mumbai, directed using Sunil Shanbhag, that played in Bangalore at distinct places all of the remaining weeks, harnessed this strength of poetry to create a memorable revel in for every member of the target audience in its personal special manner.
The display consisted of 17 present-day Indian poems in English, Hindi, Marathi, and Kashmiri, woven together with movement, song, and communicate right into a rich tapestry of meanings and feelings. Clean Page, the name of the performance, based totally on the first poem that turned into finished, Sada Panna, using Kedarnath Sinha, proven the irony and paradox of poetry itself – the opportunity to convey much through little or no words no.
The four overarching themes for the poems selected have been:
1) Writing (Sada Panna via Kedarnath Sinha, Poet, Lover, Birdwatcher by using Nissim Ezekiel, Poem by way of Pratibha Nandakumar and many others.),
2) Women’s sexual/moral subjectivity (Sheer Excellent Good fortune and Brat by way of Mamta Kalia, A Foxy Stunt through Meena Kandasamy, Bra using Sapan Sarath, and so on.)
3) Politics (Battle-line by Imtiaz Dharkar, whilst the Illusion Shattered by Masarrat and so on.)
4) Relationships (Love through Adil Jussawala, The % by P.S. Rege, and many others.) After which, poems were consisting of Man sane via Namdeo Dassel and Dukanwale Dada with the aid of Raman Dada Kardak, which can be immediately jacketed by teachers as ‘Dalit literature,’ that within the performance, both explored and transcended these subject matters, Planet Amend.
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Shanbhag says this idea got here out of the troupe’s sporting events where the artists employ poetry notably to recognize the standards of interpretations and multiplicity of meaning (that possibly results in self-discovery). They dependent those explorations right into a waft bringing unconnected works collectively that at instances dovetailed into each different, at times punctuated the continuity, developing a rhythm – and a whole that became more than the sum of its elements.
A poem approximately warring nations, as an example, changed into sandwiched between one about quarrelling enthusiasts. It made one marvel if a lover’s combat is the metaphor for warfare – whose adjectives may be vindictive, needy, vengeful, and self-destructive – or is the battle the metaphor for what transpires between humans while love falls quickly: or whether these suppositions are the two ends of an entire spectrum of interpretations!
The poem Percent had human beings switching sympathies among the characters in its two iterations, starting up a different way of seeing it. Dhasal’s anger and frustration at the arena that rose like a volcanic burst from Golpitha After which subsided like cooling magma with a pitiful, humble cry for people to end up ‘human,’ turned into conveyed with much rage – later humility – giving the audience an entire tour of the path from oppression, to revolution, to love.
The group selected smaller areas for their performances, consisting of classrooms and lecture halls, over conventional auditoriums, to maintain the intimacy with its target market that becomes essential for its verbal exchange. There had been no props or sets besides some chairs for the performers to sit down on, now and again. There had been no special lights at the level – nor were the lighting over the target audience dimmed. There was no attention or layering of interest: anyone, the target audience, was the same aircraft, residing and loving phrases.
The crew, together with Divya Jagdale, Hridaynath Jadhav, Maithili Bhupatkar, Natasha Singh, Nikhil Murali, Nisha Dhar, Priyanka Setia, Sapan Saran, Sonal Khale, Sukant Goel, Sunil Shanbag, Trishla Patel, Umesh Japtap, Priyanka Setia, and musician Rohit Das, did now not act. What it did become, pass and shake. What it did change into, touch. Key phrases: Sunil Shanbhag, Tamasha Theatre of Mumbai, Blank Page