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Cho’s “Endru thaniyum indha Sudandhira dhaagam”

Politically correct

Suganthy Krishnamachari

‘Enru Thaniyum Indha Sudandira Dhaagam’ by United Visuals

The passage of time has not taken away the relevance of Cho’s Endru Thaniyum…

Machiavellian machinations, double speak, self-interest masquerading as concern for others – yes we are talking of politicians. Cho’s ‘Endru Thaniyum Indha Sudandira Daagam,’ first staged in 1971, and now revived and presented by United Visuals, for Kartik Fine Arts, could well have been written today, for it is reflective of today’s political scene. It is a play where, once humour has been given its due, sobriety takes over in the mind of the viewer. When one sees Bharatiar on stage, one cannot help but feel anguish at how his dreams have gone awry.

This writer had watched a CD of the play staged by Cho, and compared to the original, the latest version lacked pep. The timing was missing, pauses punctuating the lines. Maybe it could be attributed to first day jitters, especially as Cho was in the audience. Ravikumar, as Nallathambi, speaking flamboyant nonsense, was a livewire on stage.

The audience did not cotton on to some of the jokes, the context not quite familiar. For example, the abolition of the Privy Purse and also Indira Gandhi’s whimsical nationalisation of private enterprises but much of it was relevant. But then Cho was keen that the script and the dialogue should not be changed.

At the end of the play, Gandhi decides to go on a fast, to save India from its politicians. Maybe if Cho had written the play now, Gandhi would not have gone on a fast, for that method of protest has been trivialised and has become a farce.

Read more…

”தொடரும்…” – நாடக விமர்சனம் – தினமணி

”தொடரும்…” நாடகத்தில் ஒரு காட்சி

பிரயத்தனா நாடக்க் குழுவுக்கு நாடகத்தின் தரம் பற்றிய அக்கறை மட்டுமல்ல, புதுமையைப் புகுத்த வேண்டும் என்ற ஆர்வமும் உண்டு.  விவேக்சங்கர், வசனத்தில் மட்டுமல்லமல், மேடை அமைப்பிலும் புதிதாக ஏதாவது செய்தாக வேண்டும் என்று துடியாக இருப்பவர்.  “சிரத்தா” அமைப்பு தோன்றுவதற்கும், மேடையில் புதுமையைப் புகுத்துவதற்கும் சென்ற ஆண்டு தன் “தனுஷ்கோடி” நாடகம் மூலம் பிள்ளையார் சுழி போட்டவர் விவேக்சங்கர்.

விவேக்சங்கரின் “தொடரும்…” ஒரு பயமுறுத்தலான மேடை நாடகம்.  “ஹாரர் ஸ்டோரி” என்கிறார் விவேக்சங்கர். ரசிகர்கள் பல இடங்களில் பயந்துபோய்க் கைதட்டுகிறார்கள்.  அதற்கு காரணம் அவ்வளவு தத்ரூபமான நடிப்பு.  வெற்றிகரமான சினிமா இயக்குனராக வரும் அப்சர், வேறு ஒருவருடைய திரைக்கதை-வசனத்தைத் தன்னுடையதாக்கிக் கொள்ள, திரைப்படம் வெளியாகி சக்கைப்போடு போடுகிறது.  அதை எழுதியவர் மறைந்துவிட, அப்சருக்கு சவால் விடுகிற மாதிரி, தொடருகிறது நாடகம். அவருடைய உதவியாளர்களே அவரைத் தோலுரித்துக் காட்டிவிட முயலும் நிகழ்ச்சிகள்தாம் நாடகத்தின் பயங்கரக் காட்சிகளுக்கு காரணமாக இருக்கின்றன.

அப்சரை புதிய படத்துக்கான டிஸ்கஷனுக்காக, ஒரு மலைப் பிரதேச வீட்டுக்கு கூட்டிக்கொண்டு வருகிறார்கள் அவருடைய உதவியாளர்கள்.  இங்கேதான் செட்டுக்கு முதலில் அப்ளாஸ் விழுகிறது.  அப்புறம்தான் அப்சருக்கு விழுகிறது அப்ளாஸ்.  இரவில் பயமுறுத்தல்களுக்கு எஃபெக்ட் அதிகம்.  எனவே விளக்கொளியும், வெளிச்சமும் குறைவாக இருக்கையில் பயமுறுத்தலின் திவீரம் ரசிகர்களை தொடத்தான் செய்கிறது.  அதுதான் நாடகத்தின் வெற்றி.  அடுத்தவன் சொத்தை அனுபவிக்க ஆசைப்படாதே என்பதைத்தான் விவேக்சங்கர் சுட்டிக்காட்டியிருக்கிறார்.  அப்சரை பயப்பட வைக்கிற அளவுக்கு அவருடைய உதவியாளர்கள் நடிக்கிற நடிப்புகூட மிகையாக தெரியவில்லை.

திரைத்துறையில் இதெல்லாம் சகஜமாக இருக்குமா என்று தெரியாது.  ஆனால் விவேக்சங்கருக்கு ஒரு “ஹாரர் நாடகம்” எழுதி அவர்களை எச்சரிக்கை செய்ய இந்த சப்ஜெக்ட் வசதியாக இருக்கிறது.

- சாருகேசி

Source: Dinamani, Dt. 2nd March 2012 (page 6)

“Thodarum…” Play review by the Hindu

Bold attempt

Suganthy Krishnamachari


Scene from Thodarum

Prayatna has to be commended for trying horror, rarely explored.

While most people would hesitate to steal another person’s material possessions, somehow ethical boundaries get blurred when it comes to stealing intellectual property. Why would an otherwise honest person cross the Rubicon when it comes to stealing another person’s ideas, is a question worth exploring from many angles.

Prayatna’s ‘Thodarum’ (story, dialogue, direction, production K. Vivekshankar) is about the theft of a script by film director Arjun (Absar).

But the play does not focus on the psychological causes for such thefts or the legal redress available to victims of such thefts. Arjun is not merely guilty of stealing someone else’s script. He is guilty of having allowed a man to die. Does this make him a murderer? Is an act of omission as sinful as an act of commission? This is yet another angle the playwright could have explored, but didn’t, for the focus throughout was on creating an eerie atmosphere, leading up to the climax, and in this the play succeeded to some extent.

Horror is a genre not often attempted on stage, and ‘Thodarum’ was a bold attempt. However, it was not scary enough. In a story about the occult, it is silence, faint whispers, and the suggestion of menace that are more frightening, rather than a ghost which announces its presence loudly. The use of anklets to suggest a ghostly presence is old hat. The director could have tried some other technique to create a spooky atmosphere.

Absar as the one haunted by Sathish’s ghost gave a splendid performance, alternating between bouts of braggadocio and fright.

The story takes place in a cottage in a remote hill station. The cottage is picture perfect – simple and elegant. The trees and the mist seen through the window, display the beauty of the place, but also suggest the danger lurking behind the beauty. Full marks to Usha Stage Vijayakumar, who was in charge of the sets.

But the play could have done with a lot of pruning, the story not justifying the length. Sevanaa’s (T.D. Sundararajan) lines on the film fraternity seemed like an afterthought. There were some baffling moments too. If Krishna (Girish) is a bosom friend of Sathish (Balaji), why is he quiet when Arjun scolds him for giving his (Arjun’s) phone number to a stranger called Sathish?

In recent times, one notices that plays announce their arrival with a lot of emphasis on how good their sets are going to be. While the props are truly remarkable in most plays, and good sets are a treat to watch, it would be a pity if one hopes for looks to make up for shortcomings in the content. ‘Thodarum’ is a play where the sets become the hero, and the story plays second fiddle. One awaits the day when one can see a play where the story does not try to ride on the back of the sets, but vies with the same for top honours.

Thodarum Play Webcast Details here

February 21, 2012 1 comment

Sri Parthasarathy Swami Sabha presents

Prayatna’s Thodarum

Written and Directed by K. Vivekshankar
At Narada Gana Sabha Main Hall
TTK Road, Alwarpet, Chennai

on 25th February 2012 at 7 PM

Sri Parthasarathy Swami Sabha in pursuit of nurturing fine arts for the first time of Tamil Stage Play history is pioneering an innovative way of presenting this tamil play, Prayatna’s Thodarum for the benefit of theatre lovers all over the world. The play is scheduled to be webcast live on February 25th 2012 at 7 PM IST. Click here to convert  to your standard time.

 The webcast will begin at 6.45 PM with the inauguration of the webcast by Shri.Dr.Nalli Kuppusami Chetti, President of the sabha.

 The webcast on February 25th at 6.45 PM can be viewed here.  Please bookmark this post for easy access to the webcast.

 We solicit your presence either in the sabha or in the web.

Courtesy : Sri Parthasarathy Swami Sabha Official Blog

Staging a Revival!

February 20, 2012 Leave a comment

Staging a Revival!

Tamil theatre is employing new methods to reach out to the younger audiences

 By Srinivasa Ramanujam 

 Chennai Times, A Times of India Publication dated 20th February 2012

A new wave of ideas seems to have hit Tamil theatre. Shedding its ‘familydrama’ image, it’s galvanizing forward thanks to the spirited efforts of some to reach out to the youth and the masses. The latest in this line is the idea of webcasting a Tamil play!

When Prayatna’s latest play Thodarum is staged later this week, theatre lovers from across the world can watch it live at the same time. “We want to give audiences a live theatrical experience,” explains its director, K Vivekshankar, about this first-of-its-kind initiative, “For instance, if a person in Coimbatore would like to watch a Tamil play, his options are limited. This initiative strives to reach out to people who have few options. Of course, as the Internet is involved, it can be viewed across the world. We want to take theatre to the masses, literally.”

Read more…

Following Dhanushkoti, We are Coming Out with Our New Tamil Play Thodarum

February 17, 2012 1 comment

Thodarum

Narada Gana Sabha, TTK Road, Alwarpet, Chennai

February 23,24,25,26

Time : 7 PM

Prayatna, which is entering its second decade in Tamil Theatre, presents Thodarum. Written and Directed by K Vivekshankar, the play is in the horror genre, something that’s not been explored in Tamil theatre in the past few decades. The play revolves around the life of a film director and features leading Tamil stage artists.

Watch this space for more information and invitation…

Kalanilayam inaugurates their new play, “Yaar Payyan”

January 24, 2012 Leave a comment

Kalanilayam, a chennai based theatre group founded by its President, Kalaimamani Shri. K.S. Nagarajan has been presenting tamil stage plays of solid content for the last few decades.

Shri.K.S. Nagarajan, who is in his nineties is still active and his passion for drama has never diminished at any point of time. His theatre group, Kalanilayam will be inaugurating their new play, “Yaar Payyan” by K.S.N. Sundar under the auspices of Kartik Fine Arts, Chennai on this Friday.

The play is written and directed by his son, Shri. K.S.N. Sundar who has penned most of the plays produced and presented by Kalanilayam.

You can catch up with the show

on 27th January 2012 at 7.00 pm (IST) at Mylapore Fine Arts Club Auditorium, Musiri Subramaniam Salai, Mylapore, Chennai.

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