Spacing Theatre/ Chandradasan: SNA Honours Ratan Thiyam, Arjun deo Charan, Tripurari Sharma, and Waman Kendre.

The Sangeet Natak Akademi announced this year’s fellowship to the veteran theatre director, Ratan Thiyam. The award for playwriting has been given to Arjun Deo Charan whiles the awards for direction to Tripurari Sharma and Waman Kendre.

RATAN THIYAM

The leading contemporary theatre gurus who is leading the "theatre of roots" movement rooted in performance traditions of the country in a contemporary context is awarded this year’s fellowship by Sangeet Natak Akademi. He was awarded the Sangeet Natak Akademi Award in Direction in 1987, and the Padma Shri given by Government of India in 1989, La Grande Medaille, 1997 (France); International Man of the year in the field of Theatre and Humanism, 1998-99; John D Rockefeller Award, 2008. (He returned his Padmashree to the government in 2001, in protest against the Centre’s announcement of an extension of Manipur’s ceasefire with the Nationalist Socialist Council of Nagaland.)

Ratan Thiyam was born into a family of artistes in January 20, 1948 at Nabadwip West Bengal, Nadia District - his father, Guru Thiyam Tarunkumar was one of the most respected gurus of Classical Manipuri Dance and his mother, Bilasini Devi was renowned dancer. A graduate of Dramatic Arts from National School of Drama, New Delhi he works as a designer, music composer, choreographer, lighting expert, costume designer, architect and also a playwright, painter and poet.

He is the founder-director of 'Chorus Repertory Theatre', Imphal, Manipur in 1976. Using ingenious theatrical stagecraft, his plays are tinged with literary beauty and meaning, and are profound plays with universal appeal. Thiyam is known for his use of traditional martial arts, of Thang-Ta traditional Manipuri music, dance, and visual culture in his plays.

His major works include such as Uru-Bhanga (Broken Thigh), Chakravyuh (Army Formation), and Ritusamharam: In 1986, he adapted Bertolt Brecht's Antigone as Lengshonnei, a comment on the personal behaviour of politicians, failing to handle political situation in the state. Uttar Priyadarshi (The Final Beatitude), an adaptation of Hindi verse play by playwright and poet Agyeya in 1996, based on a story of redemption of King Asoka, a man's struggle against his own inner dark side and a plea for peace, knowing its impact on future generation. Other works include Karanabharam (1979) (Karna-bhara: Karna's burden by Sanskrit playwright Bhasa), Imphal Imphal (1982), Chinglon Mapan Tampak Ama (Nine Hills One Valley) Andha Yug (The Blind Age, by Hindi playwright Dharmvir Bharati) Wahoudok (Prologue) and Ashibagee Eshei (based on When We Dead Awaken, by Norwegian playwright Henrik Ibsen) (2008)

Thiyam's works are tightly choreographed; his actors must physically push the limits of character. "I have always found human expression more convincing when it is physically portrayed, when there is a body rhythm", says Thiyyam. “Theatre is a composite art, and the actor a vehicle for expression of the thematic content. So the actor must be a composite man..... He need not master all forms of art but he must acquire the basics of aesthetics so that he can utilize the experience as a vehicle of expression in a space called the performance stage".

ARJUN DEO CHARAN

Dr. Arjun Deo Charan is a renowned Rajasthani poet, critic, playwright, theatre director and translator. He is presently the Head of Department of Rajasthani Language in the Jai Narain Vyas University, Jodhpur and the Chairman of Rajasthan Sangeet Natak Akademi.
He has written and directed more than 25 plays in Hindi and Rajasthani which have been translated into various Indian languages. He is known for his women-centric poems and plays. Known for his women-centric poems and plays, his latest book of verse too talks of the status of woman within the confines of her house. And his next play is “Draupadi Agan Suta”. This time, the playwright is looking at the life of a woman from the eyes of the mythical character Draupadi.
Some of his creations are: Dharam Judh, Ghar To Ek Naam Hai Bharose Ro, JethvaUjali, MugtiGatha, Jatra, AjeSeinBakiHai, Bol Mhari Machhali Itto Pani, Jamleela.
The K. K. Birla Foundation has awarded the 21st Bihari Puraskar for 2011, Sahitya Akademi award in 1992, Rajasthan Sangeet Natak Akademi award for his contribution to the Rajasthani language theatre. He is the founder director of the group Rammat As a director, he has performed plays at Sangeet Natak Academy Festival (Delhi 1992), Bharat Bhavan Festival (Bhopal 1992), National Theatre Festival-Kerala Sangeet Natak Akademi (2000), Bharat Rang Mahotsav (Delhi 2004), Ban Theatre Festival (Assam,2007), Jaipur Virasat Festival (2010). He is a recipient of many awards including the Sahitya Akademi Award and the Bihari Puraskar.
His latest play “Kanupriya”, looks at war and love from Radha’s perspective. “Staging a poem as a play is not easy, but I have found a way. There is a part in the poem called Amangal Chaya. I have turned it into a character, a kind of sutradhar.” Infusing it with dialogues, chorus, music and Dr. Arjun Deo Charan is a renowned Rajasthani poet, critic, playwright, theatre director and translator. He is presently the Head of Department of Rajasthani Language in the Jai Narain Vyas University, Jodhpur and the Chairman of Rajasthan Sangeet Natak Akademi.
He has written and directed more than 25 plays in Hindi and Rajasthani which have been translated into various Indian languages. He is known for his women-centric poems and plays. Known for his women-centric poems and plays, his latest book of verse too talks of the status of woman within the confines of her house. And his next play is “Draupadi Agan Suta”. This time, the playwright is looking at the life of a woman from the eyes of the mythical character Draupadi.
Some of his creations are: Dharam Judh, Ghar To Ek Naam Hai Bharose Ro, JethvaUjali, MugtiGatha, Jatra, AjeSeinBakiHai, Bol Mhari Machhali Itto Pani, Jamleela.
The K. K. Birla Foundation has awarded the 21st Bihari Puraskar for 2011, Sahitya Akademi award in 1992, Rajasthan Sangeet Natak Akademi award for his contribution to the Rajasthani language theatre. He is the founder director of the group Rammat As a director, he has performed plays at Sangeet Natak Academy Festival (Delhi 1992), Bharat Bhavan Festival (Bhopal 1992), National Theatre Festival-Kerala Sangeet Natak Akademi (2000), Bharat Rang Mahotsav (Delhi 2004), Ban Theatre Festival (Assam,2007), Jaipur Virasat Festival (2010). He is a recipient of many awards including the Sahitya Akademi Award and the Bihari Puraskar.
His latest play “Kanupriya”, looks at war and love from Radha’s perspective. “Staging a poem as a play is not easy, but I have found a way. There is a part in the poem called Amangal Chaya. I have turned it into a character, a kind of sutradhar.” Infusing it with dialogues, chorus, music and dance, Charan dramatises Bharti’s lyrical verses relating to Kanu (Krishna) and his Priya (Radha).

Having always staged his plays in Rajasthani, Charan says, “Language has never been a deterrent” for him. “Theatre has its own language, I communicate through it.”

TRIPURARI SARMA

Theatre has an ancient but male-centric history in India. Tripurari saw it as an intimate way of revealing and connecting the lives of women audiences and sharing their perspective with the world.

She is Associate Professor Acting at the National School of Drama New Delhi. Directed many plays and has been associated with many theatre groups in India and abroad. A playwright of repute and has translated many Indian and Western plays. Was the Indian representative at the first International Women Playwrights’ Conference’ held in USA in 1986. She with a few close associates initiated the theatre group Alarippu in 1983.

Tripurari explored the potential of theatre as a tool for discussion on issues very much on her own. The experience of travelling nationwide, conducting workshops and working closely with the local people helped forge her approach – to collectively evolve plays. She was also involved with trade unions and college students, preparing plays and generating awareness on issues like dowry. Street theatre emerged as a strong socio-political medium, an exclusive forum where women audiences could relate to various issues. It was an intimate way of revealing and connecting the lives of women audiences, and sharing their perspective with the world. She is involved working closely with performers of various dramatic forms, like Nautanki, Tamasha, Khyal, Pandvani, and Surabhi. She built new scripts, keeping within the parameters of the traditional forms, which were unable to assimilate the vast changes in the ways women worked, or to give space or recognition to these endeavours

Tripurari’s scripts and the plays she has directed over the years are today an integral part of secular consciousness. Her approach to the issues of peace, women’s rights, human rights, and the right to information have helped crack the traditional barrier between high art and grassroots communication. Her plays Bahu, Birsa Munda, Aks Paheli, Banjh Ghati, Sazaa, Kath Ki Gadi, Reshmi Rumaal, Pshak, and Daiyre exemplify this.

Prof. Sharma received the Sanskriti Puraskar in 1986; was honoured by the Delhi Natya Sangh in 1990; received the Safdar Hashmi Award from U.P. Sangeet Natak Akademi; and was among the ninety nine women from India nominated for the 'Thousand Women for Nobel Peace Prize' by an international initiative. Her play Kath ki Gaadi has been translated into French, and her other plays have been translated into several Indian languages as well as English.

WAMAN KENDRE

Waman Kendre is an alumnus of the National School of Drama (NSD), and is presently Head of the Department of Theatre Arts at Mumbai University.

His plays Zulva,Janemaan,Ranangan,Madhyam-Vyayog,Ladi Najaria,Gadhe Ki Baraat,Nati-Goti,Char Divas Premache,Rahile Door Ghar Maze,Tempt Me Not,Tee Phulrani,Ten Paishacha Tamasha,Ek Zunj Waryashi,Dusara Samana are create a new mode of idiom in the modern theatre scenario. His theatre communicates directly and easily and at the same time explores a new language and mode of expression. His productions of classic Sanskrit plays are trying to apply the basic premises of the Natyasastra in the contemporary theatre scenario.. Also he is an eminent teacher who has conducted more than 250 workshops for Actors, Directors and children, all over India and Abroad, in Theatre, Cinema and TV medium.

He has done his research in Folk and Ritualistic theatre of Kerala. He received numerous Prestigious Awards including National Award for Outstanding Multifaceted Contribution to the Field of Theatre Arts

PARVESH SETHI

Parvesh Sethi, the veteran theatre actor from Chandigarh , Born in Gujranwala, now in Pakistan, is awarded for acting .

Parvesh had started theatre as a make-up artiste at the age of seven. He acted for the first time here in Chandigarh in 1961. Since then he has acted in more than 500 plays and is still active in theatre.

"Theatre has changed a lot over the years. Technology is helping in a big way today but my only contention is that people are not as committed to the theatre as they used to before," he said.

Sethi is as active as he was 50 years ago. "I take part in at least two productions every month and feel privileged to have worked with theatre personalities like Balwant Gargi, Mohan Maharishi, Shyama Nand and NC Thakur," Said Sethi.

NIRMAL RISHI

Nirmal Rishi, an actor of Punjabi theatre, born in 1943 was also given the award for acting.

Theatre has been a passion with Ms Nirmal Rishi right from school days. She joined the group Punjab Kala Manch formed by Mr Harpal Tiwana and his wife Neena, graduates from National School of Drama who came to Patiala to to establish Punjabi theatre. Nirmal Rishi started acting in their plays from 1966. The first play was ‘Aduhre Sapne’ an adaptation of a play by Albert Camus, ‘And in the Dry Mountains’.

‘Kanak Di Bali’ and ‘Loha Kut’, evergreen plays of Balwant Gargi, were staged by them a number of times. In the preceding years she acted in several plays, the most notable was ‘Hind di Chaadar’ based on teachings of Guru Tegh Bhadur. Later the team shifted to Ludhiana and Punjabi Bhavan, the open-air theatre, came alive when the Tiwanas and the regular performances of their troupe Punjab Kala Manch. They translated Ramayana in Punjabi and held shows morning and evening to packed houses. The other popular plays staged from 1975 to 1985 were ‘Diwa Bale Sari Raat’, ‘Chandigarh Musibet Da Ghar’, ‘Garam Bazaar’,’ Behrupiya’ and many others. Those were the days when they played to the packed audiences. They also staged special shows for workers, students etc.

She continued acting in plays of the Manch and performed in London, Canada and America during the early nineties.

PURISAI KANNAPAPA SAMBANDAN

The traditional actor of Theru-k-koothu, (the traditional theatre of Tamil Nadu), Kannapppa TSambandan also won the award for acting.

Born 1953. Younger son of Kalaimamani Purisai Kannappa Thambiran. A fifth generation artiste of the Purisai School of Theru-k-koothu, Sambandan has been performing since 1977 in the main roles. His versatility and skill to improvise have won him appreciation from both the veteran artistes and the public. Sambandan’s skills have been widened by his interaction with contemporary theatre efforts in Tamil. In 1977 he participated in the National School of Drama workshop conducted by Bansi Kaul at Gandhigram. Later he participated in the workshops of Badal Sircar and Ingbor Mayor. He conducted workshops himself in Theru-k-koothu at National School of Drama -New Delhi, International Theatre Workshop – Alwaye, the Central University – Pondicherry, Bhaskar’s Arts Academy -Singapore. Sambandan directed the Group’s Koothu version of Gabriel Garcia Marquez’s An Old Man with Huge Wings, for 5th International Theatre Festival at Bogotá, Colombia in 1996. He also directed the Brecht centenary Koothu production ‘Caucasian Chalk Circle’ in 1998. He choreographed production between Koothu-p-pattarai and Dr.Avanthi Meduri. He also directed Thenali Raman and Bhasa’s Dhoodha Gadothgajan.

Sambandan was conferred the prestigious title Kalaimamani by the Tamilnadu state Eyal, Isai, Natak Mandram in 1995. He was also conferred the prestigious Title Nataka Thamizh Ariangar by Pongu Thamizh Arrakattalai in the Year 2002 and Dakshina Chitra Kalai Virudhu by Madras Craft Foundation in the year 2004. Podhigai Award by Chennai Doordharshan in the year 2007. Nritya Kala Nipuna Award by Nrityalaya Aesthetics Society, Singapore (2008) Sambandan has accompanied his troupe in all major performance within India and abroad. He has performed in France (1985&1997), Sweden (1987), Colombia (1996), Singapore (1990, 2004 & 2005) and the USA (2006), 65th birth Anniversary Festival of Neelan Tiruchelvam in Srilanka (2009) and performance at 25th Republic Day Parade at New Delhi (2009)

MURARI ROYCHAUSHURY award for music for Theatre.

Murarida was born on 23rd of November, 1945, in Kolkata. Since childhood he was addicted to Music, developed it further when he came in contact with legendary “Hemango Biswas’’ and became fascinated by the legend as well as Folk Music. By then he became well educated in Classical Music (Vocal), because he took lessons of classical Music (vocal) under the guidance of Shyamal Chakraborty (A disciple of Pandit Tarapada Chakraborty) for 15 years and Modern songs, Geet, Ghazal, Bhajan from famous Satinath Mukherjee.. He is also a capable Tabla Player - took his lessons on Tabla from Gyan Das (A disciple of the legend Hiru Ganguly). Murarida is a Music Composer, singer and also lyricist Although he was associated with various forms of Music, his ultimate goal was to create music for Theatre and is a reputed Music Director of Group Theatre, who has worked with many directors in many important productions in Kolkota.