Begum Akhtar, Vijaya Mehta, and the resident of Neelam Manzil, Grant Road
In her Marathi autobiography Zimma (2012), noted theatre director Vijaya Mehta shares a vivid memory. When Mehta was preparing to direct Anil Barve’s play...
Category: Theatre
The Howlround Marathon note
Hello. My name is Kaustubh Naik. I am a playwright and doctoral student from India, currently based in Philadelphia, USA. I would like to thank the Segal Centre...
Tiatr and the Goan Public Sphere
The emergence and evolution of the Goan public sphere has received very sparse attention, despite its potential to nuance the larger debate over public sphere, ...
Cantaram as political dissent
Earlier this month, Goa Government’s Department of Information and Publicity held a ‘Konkani Kantaram Utsav’, a cantaram singing competition in which the partic...
Theatre, Spectacle and Politics of “Indian” imagination
Attempts to rewrite, and often overwrite, historical narratives have to be always critically examined. This critical examination is especially important in time...
Countering hatred
Past few days have been really busy as our new Marathi play, Jatharaanal, enters final leg of rehearsals. A satirical critic of totalitarian state where the kin...
Notes on Draupadi – a performance by Kalakshetra (Manipur)
It has been a while since I’ve been wanting to watch Draupadi by Kalakshetra Manipur and glad that finally could manage to watch it at India Habitat Centre. Bas...
Ghashiram Kotwal never dies
This whole elevation of Amit Shah reminds me of Ghashiram Kotwal all over again. When Modi became PM, I had tweeted that Modi is RSS’ Ghashiram. Now the way Ami...
जब आदमी मर जाता है
जब आदमी मर जाता है तब उसका क्या रह जाता है? बस एक यादगारी…. काही पुस्तकं वाचून संपली तरी हातावेगळी करता येत नाही. “रारंग ढांग” हि अशीच एक कादं...