Connect with us

Entertainment

Why ex-NSD director Anuradha Kapur says actors are not abandoning theatre for films

Published

on

New Delhi, May 25 (IANS) “People have to earn a living, even actors. And what is wrong if National School of Drama (NSD) pass-outs go to Mumbai looking for work? In a country that has very few theatre repertories, what choice do they have?” she asked.

The Sangeet Natak Akademi Award-winning director Anuradha Kapur, who taught at NSD, Delhi for over three decades and was its Director for six years (2007–2013) stresses that this “exodus” started in the 70s when Naseeruddin Shah and Om Puri went to Film & Television Institute of India (FTII) in Pune after finishing drama school. “In a way, it is not showing disrespect to either theatre or cinema. A trained actor can easily adapt to different mediums over time,” asserted this Phd holder in Theatre from Leeds University, England.

Even while most digital platforms have started following an algorithm where crime thrillers rule, Kapur sees a silver lining in terms of stories and their treatment. “Directors are willing to experiment and many are giving enough space to trained actors to showcase their potential. And this is very exciting for theatre school pass-outs. No wonder you see many of them doing phenomenal in different series being streamed,” she told IANS.

The theatre director completely disagreed with those who feel that drama school pass-outs are abandoning theatre for films and OTTs. “Several of them are working in both mediums, and not just the established ones but fresh pass-outs too. It is a tradition that started in England, where actors trained in theatre would not completely abandon the stage.”

ALSO READ:  Nargis Fakhri loves how Sandeep Reddy Vanga drafted female characters in ‘Animal’

A major thrust area during her term as the Director was to ensure that students from across the country, even those whose mother language was not Hindi, should enroll. “I am content that when I was heading it, several students from the northeast including Assam, Manipur, Arunachal Pradesh, Meghalaya and Nagaland joined the School. What was important for me was the fact that across languages and cultures, students were getting together and acquainting each other about their respective cultures, and also learning from one another,” smiled Kapur who has taught at several institutions in India and abroad, and was a Fellow at the Freie Universitat, Berlin in 2016–2017.

Kapur also executed the Extension Programme, the brainchild of former NSD Director (late) B. V. Karanth. “He always wanted the School to go to the student who cannot reach NSD. I focussed on the northeast, which also led to the starting of the second chapter of the NSD.”

While the NSD at Bangalore had taken shape during former Director Kirti Jain’s tenure, it was Kapur who started it along with those at Tripura and Sikkim, not to mention the Theatre in Education (TIE) initiative.

ALSO READ:  Kriti Kharbanda tears off Pulkit Samrat's kurta in haldi pics from wedding

Adding that there is an urgent need to have more theatre repertories in the country, attached with drama schools like NSD in Delhi and Sikkim, she observed: “Even a year or two of work at the repertory helps the students a lot.”

Asserting that governments need to come forward to set up repertories in different parts of the country, this former NSD Director opined: “We have an extremely rich tradition of diverse theatre forms — while there has been commercial theatre in several languages — Assamese (Assam Mobile Theatre), Maharashtra, Jatra in Bengal, or, let us say, what’s called Company and Commercial Theatre in Malayalam. It is important that they carry on, and for that financial help is indispensable.”

Adding that the opportunity of doing theatre which may not necessarily be a commercial success has been supported by the state in various countries, she elaborated that Germany is a great example. “One witnesses some of the greatest work in theatre there, owing to state support. But sadly, in India, we have been noticing that successive governments have been increasingly pulling back on grants for arts and culture,” she lamented.

In fact, Kapur has worked extensively in collaboration with visual and video artists and filmmakers including Arpita Singh, Bhupen Khakhar, Madhusree Dutta, Nalini Malani, Nilima Sheikh and Vivan Sundaram. She is one of the founding members of ‘Vivadi’, a working group of painters, musicians, writers and theatre practitioners.

ALSO READ:  Priyanka Chopra is back in LA, says ‘being home is feeding my soul’

Even as there is much talk about corporate sponsorship through CSR for theatre, it seldom reaches people doing serious work. “There are exceptions, of course, but majorly corporate houses also want “their money’s worth.” However, they need to realise that their brand value is bound to go up if they associate with serious work,” said the director who is presently a visiting Professor at the School of Culture and Creative Expressions, Ambedkar University Delhi.

Currently meeting several writing deadlines, there are many projects she has in mind including one on the role of the prompter in theatre. Also, a Trustee of the Sher-Gil Sundaram Arts Foundation, she wants to make the Ivy Lodge in Kasauli a place alive for performance, not just for finished ones, but to have it work as a residency.

“I want it to be a space for doing a kind of pedagogy programme where young people come and spend two-three weeks. It could be theatre or some liberal arts initiatives. The aim is to make it a future-looking space,” she concluded.

–IANS

sukant/kvd

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Entertainment

Britney Spears needs to 'slow down', says she had 'false confidence’ post-divorce

Published

on

By

Los Angeles, July 14 (IANS) Popstar Britney Spears revealed that she may have had “false confidence” following her divorce from actor-model Sam Asghari and apologised for not being “perfect.”

The 42-year-old took to Instagram and posted a throwback dance video from September 2023, stating that she needs to “slow down.”

“I guess I need to brace myself and slow down and recap the past year because I think I had false confidence after my divorce,” Spears wrote in the caption.

Spears, who split from Asghari after almost a year of marriage, added Madonna’s track ‘I’m Addicted’ to her dancing video, reports People.com.

“Although I did post some of my best work with ‘Ray of Light’ and ‘I’m Addicted’ by Madonna!!! There was a lot of WTF moments!!! Trust me, I know we’re all human and make mistakes!!!”

Spears then shared in the post that she apologises “for not being perfect.”

“I literally need to go back and adjust and possibly do a couple more therapy sessions. I apologise for not being perfect, and I will try to get confidence and consistency back like I used to have!!!”

ALSO READ:  Chunky Panday reveals film industry is highly resilient, knows how to reinvent itself

Spears, who released her best-selling memoir ‘The Woman in Me’, had her divorce from Asghari finalised in May when a judge with the Superior Court of California in Los Angeles County signed off on it.

The pair separated due to “irreconcilable differences that have led to the irremediable breakdown of the marriage, making it impossible for the parties to live together as husband and wife,” according to documents previously obtained by People.com.

–IANS

dc/prw

Continue Reading

Entertainment

Chrissy Teigen shares side-by-side photos of John Legend as a baby and their son Wren

Published

on

By

Los Angeles, July 14 (IANS) Chrissy Teigen, wife of Grammy-winning musician John Legend, feels that their youngest child bears a striking resemblance to his father.

The model and author, 38, shared a photo on Instagram of their one-year-old son, Wren, smiling as he sat in his high chair munching on strawberries, alongside a vintage snapshot of Legend as a baby, reports ‘People’ magazine.

“I mean this is the same baby no!?!?” Teigen wrote in the caption of the post, tagging her husband.

Legend, 45, added his own joke in the comments, writing, “I think it’s safe to say I am the father.”

According to People, internet users quickly chimed in to agree with Teigen about Wren and Legend’s similar looks.

One wrote, “Wow, those are some strong genes!” alongside a twin emoji.

Another called Wren “John’s mini-me!” and yet another remarked that the two were “twinning.”

This isn’t the first time the Sports Illustrated swimsuit alum has shared photos of Wren, where he looks exactly like the ‘All of Me’ singer.

ALSO READ:  Nargis Fakhri loves how Sandeep Reddy Vanga drafted female characters in ‘Animal’

In October 2023, when Wren was three months old, she posted adorable videos of him taking a bath in the sink.

In the first clip, Teigen held her son over the basin as his full head of hair got shampooed.

“It’s time for the cutest part of the day!” Teigen could be heard saying.

Another clip showed Wren sitting in a plastic carrier in the sink, smiling and giggling as Teigen asked him why he took a bath with his socks on.

In the videos, Wren looked almost identical to his famous dad.

–IANS

aa/prw

Continue Reading

Entertainment

Roshan: Maestro of the filmi qawwali and the literary classical song

Published

on

By

New Delhi, July 14 (IANS) He may have ended up as a mere footnote in the annals of Hindi cinema with music for just one flop film to his account, had his indulgent mentor been a more money-minded man. In the process, connoisseurs would have been deprived of scores of exquisite qawwalis, elegant love songs, and aesthetic compositions showcasing the immortal words of Tulsidas and Meera.

And for 21st-century Bollywood fans, would Hrithik Roshan have emerged, had his grandfather, drawn to films after hearing a K.L. Saigal bhajan, abandoned his ambitions?

Roshan (1917-67), born Roshan Lal Nagrath on this day (July 14) in Gujranwala (undivided Punjab), spent just a third of his tragically short life in the film industry, but, in this span, he spun pure gold with his trademark classical music-based melodies. A leading music director, who also played a key role in his life, likened his music to honey dripping from a honeycomb.

Roshan deservedly was deemed to be the foremost exponent of the filmi qawwali, but his oeuvre was not limited to this form – it appears in just half-a-dozen of his 67 films.

On the other hand, there is “Khayalon mein kisi ke” (“Bawre Nain”, 1951), “Bade armanon se” (“Malhar”, 1951), “Main dil hoon ek armaan bhara” (“Anhonee”, 1952), “Salaam-e-hasrat qabool kar lo” (“Babar”, 1960), “Zindagi bhar nahi bhoolegi woh barsaat ki raat” (“Barsaat Ki Raat”, 1960). “Ab kya misaal doon main tumhare shabaab ki” (“Aarti”, 1962), “Laga chunri mein daag” (“Dil Hi To Hai”, 1963), “Jo vada kiya vo nibhana padega” (“Taj Mahal”, 1963), “Dil jo na keh saka” (“Bheegi Raat”, 1965), “Rahen na rahen ham” (“Mamta”, 1966) and “Hum intezar karenge” (“Bahu Begum”, 1967).

ALSO READ:  Arbaaz Khan hopes 'Patna Shuklla' will lead to chatter about education scams

Above all, there is the Meera bhajan “Ae ri main to prem diwani” (“Naubahar”, 1952) and “Man re tu kaahe na dheer dhare” (“Chitralekha”, 1964), skillfully adapted by Sahir Ludhianvi from Tulsidas’ “Mana tu kahe na dheer dharat ab…” and rendered sublimely by Mohammad Rafi.

Then, gauge how Roshan imbued a spiritual feel to “Chhupa lo yun dil mein” from “Mamta”, aided by the dulcet tones of Hemant Kumar and Lata Mangeshkar, and Majrooh Sultanpuri’s poetry, while recalling his AIR days with the studio-based “Saari saari raat” (“Aji Bas Shukriya”, 1957).

But, as mentioned, all this would have never come to pass without the trust shown by legendary director, producer, lyricist and screenwriter KIdar Nath Sharma, who had spotted Roshan, then working with AIR Delhi as an esraj player, way back in 1945 and offered him a career in the film industry.

Roshan had refused then, but approached Sharma in 1949 when he moved to Bombay. Sharma offered him a chance to compose for his “Neki Aur Badi” (1949), convincing his own regular composer Snehal Bhatkar to sit it out and the latter obliged.

ALSO READ:  Chunky Panday reveals film industry is highly resilient, knows how to reinvent itself

The film flopped and a distraught and disheartened Roshan told Sharma that he was no good and wanted to commit suicide. The filmmaker heard him patiently and asked him which Bombay beach he would prefer to do away with himself.

Then, on a serious note, he went on to say that if Roshan would defer his plans, he would offer him another chance in his forthcoming film.

This was not the end of the story.

During the film’s making, an influential distributor came to meet Sharma and in Roshan’s presence, promised him a large amount if only he would drop the music composer. Roshan went to another room and began sobbing, telling Sharma, who followed him, to accept the offer. Sharma, however, went back to his office and said no.

“Bawre Nain” (1951), with songs like “Teri duniya mein dil lagta nahi” and “Khayalon mein”, was a hit and started Roshan on his sparkling musical journey.

ALSO READ:  Shilpa Shetty: Not my characters, but my songs are what people remember

Sharma was more patient than Anil Biswas, who took direct action when Roshan began crying at his song recording, saying he would never be able to create such music. Biswas sought to calm him down, but when Roshan would not stop sobbing, he gave him a slap, wondering how he would succeed this way. It was Biswas only who likened his music to dripping honey.

Roshan, whose music reflected his classical training, also had a penchant for knowing when to let his tune yield to the lyrics or the singer. His — and Hindi cinema’s most famous qawwali — “Na to karvan ki talash hai” (“Barsaat ki Raat”) is a prime example and so is the same film’s “Maine shayad tumhe pehle bhi” where it just fills the gaps.

On the other hand, “Tum agar mujh ko na chaho” (“Dil Hi To Hai”) has a steady beat accompanying the singer.

There was much more music left in Roshan when he succumbed to a heart attack in 1967.

(Vikas Datta can be contacted at vikas.d@ians.in)

–IANS

vd/

Continue Reading

Entertainment

Ammy Virk recalls how he gave his own car for two action sequence shoots in ‘Bad Newz’

Published

on

By

Mumbai, July 13 (IANS) Actor-singer Ammy Virk, who predominantly works in the Punjabi industry, and is now currently gearing up for the release of his upcoming film ‘Bad Newz’, has shared that his own car was used during an action sequence of the film.

Ammy Virk recently appeared on the latest episode of Bombay Journey with Bollywood star Vicky Kaushal, and said, “They needed a car to shoot a sequence in the film. They wanted to shoot an action sequence in Mussoorie. The unit wasn’t able to find an SUV at a reasonable rate.”

He further mentioned, “I asked them to take my car. The action team of the film looked at me and said, ‘are you sure we could take it’.”

Ammy then told them in jest, “You will only drive it, and not roll down the mountain, right?” At this point, Vicky and show host Siddharth Alambayan were in splits.

ALSO READ:  Shilpa Shetty: Not my characters, but my songs are what people remember

Ammy then said, “I spoke with Taapsee Pannu, and she told me, ‘Are you crazy? I would have never given them my car’.”

Meanwhile, ‘Bad Newz’ which also stars ‘Animal’ star Triptii Dimri, is set to release in theatres on July 19.

–IANS

aa/dan

Continue Reading

Entertainment

'Panchayat’ actor Ashok Pathak speaks up about how problem of migration has always plagued Bihar

Published

on

By

Mumbai, July 13 (IANS) Actor Ashok Pathak, who essays the role of Binod in the fan-favourite streaming series ‘Panchayat’, has shared his opinion on the biggest problem plaguing the state of Bihar.

Ashok, who is originally from Darweshpure, Siwan in Bihar, migrated to Hissar in Haryana for work along with his family. The actor said that this phenomenon of migration is the biggest problem that Bihar faces.

The actor told ‘Digital Commentary’, “Bihar’s biggest problem has always been migration. Who would want to leave their home and go to a different place with a culture different from theirs! Nobody wants to live away from their parents and come back home once every 6 months or 1 year.”

He further mentioned: “Can you imagine the kind of pain and heartbreak that such people undergo? Living all alone away from the people who they love the most. I feel that a person should never be judged for where they come from and which state they belong to.”

ALSO READ:  Oprah Winfrey recalls how Joan Rivers made comments about her weight on TV

Meanwhile, Ashok’s film ‘Sister Midnight’, which also stars Radhika Apte, was screened under Directors Fortnight at the Cannes Film Festival. After the screening, the film received a 10-minute standing ovation.

–IANS

aa/dan

Continue Reading

Trending