NOTES AND REPORT PN SELF, THEATRE, TRUST, AND ENSEMBLE : MAY 1997-98
Item
- Title
- NOTES AND REPORT PN SELF, THEATRE, TRUST, AND ENSEMBLE : MAY 1997-98
- extracted text
-
-■
'
; ■■<>.
AO//lfeOSv
<■..
< .
*•»;
»v
USB
•~l^'-'"-:t i'. ■&«K >..‘ X*■?«•.•■•■' . * ’
____ —
Community Health Cell
Library and Documentation Unit
367, "Srinivasa Nilaya"
Jakkasandra 1st Main,
1st Block, Koramangala,
BANGALORE-560 034.
Phone : 5531518
CONTENTS
Ramble or Preamble-3
Dead or Alive ? G
General ComplouW *7
TkeTrfcdrfioftb Clad, Us • 10
Tke World
"IRecdre ood
Notes oa Mtjsdj • (G
A Raj Flabsnrvj r&vieAjs • 37
Noles oa 4ke*Tru7r •
• 52
4ke Gomp>an^ • 78
a€ Moderiod ■>Qa&>{ioa • JO
rupks aod I (Iu8^axkoa6 t Sources • 54
ord • $G
Qt ossxru oC (adieus (^Jord/S ■ 97
RAMBLE
OR
PREAMBLE
THEATRE*
♦ REFLECTION) ♦
♦ VITALITY*
4 possibilitiesT> ire ott>er
,{* Urfikez b’/ikx~<-jOqis
anA ouAepre 0-"
S^ier wxantoj
orfe
1 ' exX\b[e),4U^u
~ 1
f~
f * rvuss
rvuss oul
oaf on
J
4fe ir4cllsc‘tm4 and Spirrwl di mens
of oodlL expedience. [Ke/ Wfcr cut
nWred (X^> t>elohaiM'/o ojiker cLo/rvxinA
eoences
occur
tnvolv't
m\
€x^cncrO- of 4°wl\kj wkck
h'lk-fe ir^llo^utd and ^Pinkiol Lof
bKusiax Ia/c.
. . ...
lei" fr^e $cmj
£rsof%alV'4W (4o
IrrOOfUnt elemenT Or QSp/o
pty&ivorr^r^a 'ftw i6> rwr
or worub LJ- is Sonh^kir^ G'ke a, re
it$ •"fornhl (6
aS a. living kuman
i(x (XMh€«r(€ P&T1
w
or six 'kfnU PeAaps
I
ossikle.
DEAD OR ALIVE?
THEATRE- CINEMA-TV- VIDEO
Mcwu people
4koujf\
beas aeal[ (* ctadk Glow
[rr\ if<UvsMe6
3
fke lelevision
(AnA-led
s'fr^e video J. Alsoj^kaf
in4ke 4fewE
n\eretL/ a, less uuell Paid
rsu.cce£s-tu( J version of
r^rrxoJn
iruon.
16 awteTbe reverse.
iir-taxf 4fe
4^ecnerdouU>
^oSSitrtlrffej ivkck
xixve Si
Cored,
TV/viieo, ^tfv Jr
spec-Wor. 1 cto aqree-JW" mo
o( wU p<^e<>
one WlSi
rxofcjodoujS
GENERAL COMPLAINT/
NATTA- SWAOHARMA-SNARAJ
AAjorkof ftfe cxrxd
t i(\ ourselves Lout in,
-vieixj bes{o^ei Li| our
r^ecleA al/so
ih,-4k& (xrt$ And 4he 4keatfe.
Color\i^£/$ og
ickci of m4 or Culture cM> a
l Science
sLoodd live
m work.
(rx
senouvbn.e65,
pfucrfccxlj occu
H
enckwe (i
4rfcdrtion iyw^ even be honoured) (6 u/K
oia/k
rAAafcf be CoklleA ffe aenertJ "xitaise.
— Wifkin^s^ersetove ^of a4 )4kerC
&i'l(>ejr4(^ dL'fCcl import / reproduckocv of
Me&lem produce or, rwjns Aanowwbl^,
Vivisection
ection of ‘f"■foxAifiOncxl
4foJL4i'oncd Arrnb ’
n\od&>
xprC^Sion-^nx 4he sl^in of tje (VifL .
irfW "jumnerl^ rntthn/Wenj
JI
^twrA vjfxick-#^ dx^j 4kdr nsexxrurj
orsd i\bp*in^on.
CbCMYAA/XlTU
peHoctAokve
5'kfleJl eMs shows’ because
rrMV
-MGJUrO DOX
f)rDSC£ruum~prnfs(xf ^(dck Ww$>
kreodLj ou^c^ed, tdijk *£ke oAve/J-
o4 4fW evtA
perpmw\Ce6 ore
be <x Republic Dcu^-ftoal!
Wkere on
IAt
nxllij CbrAecfed ^•'Ik oKer (vxfAGus oclfvifeeb 5a<
(xu/xIin? , tirfk or rrArnMe f4ke^ orc rxovs/ -k^
oul” of occasion <^dr-p4eol bxta “ftc Scfcaulc o( r~kea[<C 'fe’H'
4nw^4t("fownsnrY /Ae/#4j Ouvl cV^tofAcJi'c SurMvut^^cuj
cxb %Yro4AirVA&4 } outside “ke orti( 0-f -fAt Geared, sorrow^
ac{u/i{if.
J
So-called sexioc^^Aeajtt iodso-pfed ii\[o •tkat- kHWi\q
odd,er\da.4t) li'-fe £<Mwrx tu? Sr^trfuiA/Ahsi. (I CorpurTAb-fc OAah^Jp'nv
~K^ r/rk^4f^p -tke ukfc-UnoA
SKjrvXo'fcc ^^skeh'^'
“two ifUepCAcler^ dofACUAb im’X bib fx^col Co^^eJi'or\
< khe ore
16 4U slujX o^ (i
rclaXixliOfx froKs'ii
To be (xr\ oirfre
IWvvb k rece<4 .
i
eeri
"fe^T(xJi“k'oAai onA Tkc rv^cUnx k
Lcca ConrffAcd 4o 4l>€ PEains o
fAO^A EaTOPcW
16 rw
o r nr\
THE TRADITIONS AND US
SELF, WORLD, AND THE OTHER. IN
Performance, daiix life,the here,now
Secof\dlt(/4koJ- -jke
4U
wUck
^>cxfk^ artMfx out ol
4 n-fuol’; ^4ke poSs\Lik-k/ (4 QrrOSechf^ bJith
4ke Vsjodij/o^iAe4U W-prrr^Ace
o«f G'-fey cuxi
(K S 5J*J £
Ccaa Ge
m one GVirtf slaje 4o cwojker (V\ok ;uisf
-jkm & skxle ok -fciimA-jo o
crfer Gor&lom • /
'
12
14
, THE WORLD OF THE THEATRE
&THE THEATRE OF THE WORLD
ACTS
ON STAGE • ACTS IM LIFE
lr\ 4kc[ke(X.ke 0^3 In
^-fxwfkinu else vue
K/Ortd,
TO
cU-ftne onds n>ie cw!
rv^duS openxndi;
cGscok/er vj keener
M, indeed
Son\eftxird 4o oftr
NOTES ON
MYSELF -"“-z
5HLF IN WORLDNORLD IM SELF
co odes
kjkck I a.
bndae 4uo or nNore domains oT
Of\
oi 4m\e iX resporvSe4i) <x ^oiclic^ar
sroUeay St‘[u.o<4xor\? or desire. Eack
ar\ on^ioirsq Si-fe of ^ObeaxcA
i o rs ircto
4kea^
T (x €
WorkiM
tfTO
^A/€Kttlo
cJlucahon r\o-
tUealve producAorx buf"
uji
fAChcuGo Lvb 4ko ro u^fxh^ rcuvdrx
Mlj parrsixr^ if\4€rE^{ C^'Aalr\eJ,/
€Abix&red nr>c if\ 4ke ~pcs4’ pt-c^c^
C Osf^.
lA/orrcstxops
oaoI wxsItWio^ .
(Xhtk a rwnb
I
Le»0U\4o (caJI worksUps
work~$xxf r^U>ck(
i/ douv). ( =pund. 4kat
mo
iKcWed rO Waxd4
(Ajtikolir'tike CaJTor of P€r/o>mn<v\ce ©€zrv
,
de-pned and Sckeduled tn advconce. (; orv4ise oiker
Land,VJtXb'k’'k' krso^L. ~.i----~pom 4kc4r
!:
-&A vji4% people ^ko
Movihfl OakJM'
>(• if4erez>{ed it
Were nor fp^terc^red ik ptr^mocnce bar in, 0,
< TUpe o4 pkeno/ACAor
-fkcx.[ occurred fekieen people in -tfe 4ke4re
encour\4er on, o< Lajbts differs
convenfxofvb o4 Cvenjdlau li-je f cr^cludliM t
i
4o -Afii o. aroap of people/ WNo uJoutWHsL
Oven 4ke c|cars( CorJluckna injxurr\ertxL(e ivorksUps
oM Coi45e6z rvu| working
■M\ak fuM> fr\Okdenk*s pew Lie.
R
over
kwe nrxtJuredl 4o <x dea cee
——
r(u(L Jle^oi^b^tal
bosbibili-K&s &/*\Lodlied -ir\
4i\ 4kis ix/pc
"Np^ o£
°£ (uw>
fuvwxn
1______
I . L . df
'>4o
L J
rvv^. j£l
SC4f>iofx
ICcxdlifX^
o
iVtxxrur^ v>AN cx*b I o rx a [ S akooI
o n
o
Q. CoNTtNuir<2 dialogue
&adcxldia in QJlCu-iU,/ 4krouak 4ke
i|’T((5f’ CNCouNfeis (ft/rtKrnb
p&optes ?n
ted 4o 4k<
~p(St SwMn oj ^e/Sofvxl
^p€r^nr^4xve cxcfiuikj in/Jm
Ca/f\
fvvore
N^Me oy
rr/XXACe TAAA
CrprAxajxce'
'e; As suck,
il- is poss'iUe
(YururAUfA CoNcL-frorx 16 TkaF
Vvfvjrrv ‘il is poss'tUe 410 irv/erAcT
Mu onai’rud hJfrskoN/ in
• “rdoKl Orissa, NaS prifivxrilu
1 4o 'nNeeP wJk -ff>e closelu
ever
space.
Fo o I sko
irxvolviNS 4ke bartiCA
Ca-
pwnoiVsf
a
public
sene6 y
^CfeoZxr\c]L eloiLonx4
clCssotve
dJsluxckorv bek/een
ckuir€A cuxA ixdulk.
1
!
I uised 4kis ptrlonAcxftce txs
nrxod<6 (X Co rr\m£A^
0kro xnk (xcnOftfr cxn! 3iaivbJ
0^ aJ kick [ NXS <K LuH*,
i -recaveA (K veru ujsrk oj
SoLdari^. olktrwise r\o
2G
Bolk CrtKtnxl Toiwjooltnj
foolstauJ Ivwc conrstirved
sicoll
StiTUTI OftS
and4ke Lke.~IKeno d> rvo
of rule or ojfck.de fcere: only
)
'
ii
i
/• .
4ke Safrse seekin
f On in
fr^ee■kf^4, in wka
er circurAsfcxce
OJxd iXjrflx Vs/koCV(
or ex saies.TKerc k^> oj4en
4Rm oau o|
skW rd<xZ
-ftr 4ke sanve r£az>od. TKi
solidari
Oft
"k 4kis
/<7/)
4o 4ke social and physical environm^
Stxt/ kas also provided 4ke n\eai\6
4ud€S. I kaye
CO(\[ai\cho<\ Vs/4-Hn oi
SNezUsk clowfx,
dawidl MlIk Ckkalis -
ihWc&& w\tK sw
0,0(0 k(x|?
Delk (W\J
Ga^si'eA ifx4ke Polisk
“Mbol
Arvolker sk&xm IkoJ- l^b S
wettsprirds of
Grej\eaxl"Toffvpo
space wMK
doeA m{- regains ca/ca orxe
e €AVirvn/Y\er<4"
onAe
I!
ckoAAelled 4krou^k
fYX , PAO
•+o one outside; &
■fmqqte {x> 4um WM
Ohxrfcr exetYserdb
cw>
(xl'knvx’kve possiUlikj
4kro uq^4kxS ffxejiufvx
<(>rt46>ioa
nwxrxce (
Ot i^Hectior;
07X $41 £ Qj\d
&
TR^4kue it
4kc Search 4or a
f r&nofxoJ (cv\fl uux^ €6.
nAOk/enxerl CM^tw^-frorrs
iLor\A xjvi
e 16
+o discover
4ke rrx£(AA4rtfS 0^ Suurxcts RK'l^r lxw\
cxaajouj
4x> Iced Ike'
oJV)-hxCr [evel.
Fifxfxllu, ( ifX OPpOSi
.* '
■
cttxbonxje Cosfunse cmy!
er^oLx^ spaxx^ 4kext
I
rsew-hjoe oj--res
IncLudeS I <* n
Cftbe I
<*■
ovU^ 4tx^, rerxemLered and
-pund, 4koJr Co rres Ponded wj-lk
u(*s inner vision. TRe. rtsulf
(xoS been 4ke rouak structure
or Sco/ffijtcUrxa—uy a perfionvMxnce
enWW r|*Tv S^(X r c4\ o-f
I
irx worKirui Towarofc tNe cne©c
kove LuKjirlurvx.lt in ColbJL
.ceded-
people wkalxove oicled
feS’ :
m
in Porxlicfsernf. I Cf&x[ed4Le -ftrsf-fwo versions of
Foolsona (A/'ilkUola in Nroclcxu/ durirvj ^8/ <xnd ^88
jLajbf L|8aT irx Pozaoa s(xe \w<xS rvdJtvvije irx 4ke Llrikirx;
.. • Morxer Mnnusk. S(xaupor\ LoS been insfrunxenfsC
Seeirxa FoolsoM
o^Uwo^
IA
hurnber o£ t\axrrvxLon6. &o4L
ren^lec*^
-Kj Ldp orxe ^pe4oN<*ni4> onei self-set qoals w<4W
OAi
bscxre x rare bxj^octt^ ir^rxe
Rryxllij ( Ovkal 16 perka,ps 4ke nM)s| -^rjlojvxeal’al
o^
•krnxZl 4ke cdl-eAConx^abs^
yjll r<\q v^ork ib bjAxxjf' nxox/
€X^re66ioru
mjker A ATv-tonnS. [ Lxvc
nAOACCj
lifl'orx
oci^side, sfudlxpM O|e
Iaa4v k/ € a u i ( ir\ (nrx j alaUuda
fclleckuJ. €we-
He
kr rrx£ nrx
■fvxe nxxke
CTOSSir^. CUXr/urxatClij b
4vo ‘2^^A,-^crtxzi(J ouxl
(rJbViduciGsfrc a/\ eao H
wi4k. I leXATfxt I kKcl TO
(Wj ouix Loak I cua irxdetfcd {o
t?ebdcU> &&u( ,Lokkan t>as and
Rai^ckoNlroi Mondal fee lobourin
Swami Vibkulx -fer '((larAifxoJt^j
4keir Coruxeckoiv u\-Gv iNrtnor
life. Professor J. P. S.Ufcero }
nku uNtfecsitu guru, kx8"funxed
(A<| (^orid-vrtxv Upside cloUfi and
been iMsfeufAenAxt in pro voting 11
4r>U(xrdlb qneafer self-defeniKon.
&
, While The Fool (Khalid Tyabji) was in England last November, he
\ undertook a tour, organised by Shape*, taking him to a series
' of unconventional venues all over London. His audiences •
' included users and staff of hospitals and day centres for
people with physical or learning disabilities (mental
handicap) and people recovering from mental
■
illness.
The Fool elicits a strong reaction from the
most diverse audiences and the
performances arc hilarious, subversive
and highly participatory. Each show is
■ different in a sensitive response to the
mood of each group - some quiet and
gende, others rowdy and energetic, but all
are built from the same elements.
he Fool uses no verbal language, making
himself clearly understood by means of body
language and written signs or propos such as
cky sweets, a drum and, on occasion, a loud and
somewhat authoritarian referee’s whisde. Using all
these elements, he endees unsuspecting members of the
S audience to become pan of his living sculptures - often
Jr with hilanous results; with scant respect for authonty even
b* senior members of staff, unwarily looking in on a performance
' area to inspect the proceedings, are ruthlessly incorporated into a
working model of the Channel Tunnel as a demonstration of his
skills as a civil engineer.
Anydiing may happen but laughter is guaranteed.
•Shape is a London wide arts organisation which works with and
for people with 'special needs’ to increase their access to ans
activities. Much of the work takes the form of participators’
workshops but it also includes a touring programme of profesional
companies and individuals. The Fool’s lour formed pan of Shape’s
1986/7 programme.
Shape
1 Thorpe Close London WIO 5X1. Tel: 01-960 9245
A FEW FLATTERING REVIEWS
ie Fool
lions of expressive motion as he shed
his dothes and donned lhe fool’s bell
cap to complete the costume revealed.
Then the fool began to sing his
'song', a song that told the talc of his
anguished country in wordless satire.
The concern and content of Khalid's
story was not all tragic. There were
subtle momenta of humour as he aped
Nagpol
and displayed the frothy nothingness
of high life — the drama of prettiness.
Flags, green, saffron, white, a gun and
T was funny, ft was Irreverent. It will recall his excellent performance In a parallel bar were the chief substance
Peter
Shaffer's
Equus
(TAG
1975)
—
was moving. But above all Khalid
of his prop*. Holding diem aloft and
TytrBjrr Footoong- (SRC Basemend Pnubong hwdirt r ktftg gestaritrft" ihlging 'wohdldisly Ik usitTthe flag
wax i sdntillating dwplsy of exception period. One had almost given up hope poles as crutches, steppinj on a piece
al still tn each (acct of the art form. o( a performance. It was worth the of flagrant tissue he became a titillat
Foolsong or Gadhagaan is a one man wait.
ing promise, winding a black cloth on
The basement theatre boon were his head and cradling a gun he was the
show sans words. It is not mime in the
traditional sense of the Marcel Mar locked at lhe dot of seven. This en archetypical terrorist and then a pop
ceau style of mime-white mask face closed performing space created a spe singer, singing a tribal ditty he wsj the
and no verbal sound. One has not seen cial ritual atmosphere so important for festival of India abroad.
Etienne Decroux perform, but what secret communication. Khalid came
It is difficult to recreate in words in
his ’shiyas" did sometime ago comes out from within the audience wearing this space the many images created.
doser to Foolsong. Even then it is everyday clothes. He turned and The last lingering one wu that of the
different and to stretch lhe word to greeted us with a namaste. Suddenly dismantling of the gun, a bonfire and
Indian solo thcatie performances, uni his body began to quiver and one the tricolour over it. Khalid is a superb
heard the sound of bells vibrating actor. The energy he emanated was
que.
Presented by TAG (Theatre Action much in the style of a Kathak dancer's almost tiringly demanding. And it
Group) with which Khalid has had a rhythmic creation in static position. took a while (or one to respond to his
long association — Delhi theatre buffs From stillness Khalid carved out po«- teasing insistence for laughter. Reject
ing the common practice of mechanic
al sound support Khalid created voice
patterns for his finely tuned body. If
there is anyquarrel it is with his repeti
tive simpering. Khalid must devise
some more gestures to convey the arti
ficiality of existence.
Ratnabnli Kant's Facing a Night
mare Alone at the IIC was a xhared
ordcall To rod insignificant to bad
sculpture, skipping about on stage in
the name of dance, and pretending
theatre, in one bixsrre bundle, and
also have the Greek Ambassador
sponsor it needs some gutsl
Solo performance of
exceptional skill
Stage/Knvito
I
~TO( '
. Khalid Tyabjl to Fooboax
Noth
•
Khalid Tyebji
A bitter and sweet fool
Fnolsnng' is a choreographed collection of vignettes which give a fools-eye view of
contemporary Indian conditions, comments Sliuddhnbrata Sengupta in Delhi.
HALID Tyebji is no common
fonl. Behind his grimace and
within his lithe, compact,
muscular frame is hidden a volatile
intelligence and a singular theatri
cal energy. His wordless Foolsong
is nothing if not a mucous threnody
for our times. For this tender and
vicious fool makes you at once the
hunter and the hunted. He makes
you laugh until you cry and never
for a moment lets you forget that
you nre laughing at yourself.
Foolsong is a solo performance
that has been shaping itself in Kha
lid's imagination for several years
now. He had earlier travelled
through Europe with a show that
had many ingredients which have
ripened to make the act what it is to
day - a delicately structured and
choreographed collection of vi
gnettes nnd responses which, while
giving you a fools eye view of the
contemporary Indian condition, is
also a significant point of departure
for the development of a new theat
rical language and sensibility.
The performance takes place in
a theatre space framed as it wore,
by fragments of our walls and
streets. A collage of torn posters,
images gleaned from the coalescing
worlds of advertising, politics and
« inema stare at us from the walls of
the auditorium. The floor of the act
ing area is littered with a motley
collection of objects • flags, a gun.
clothes, n bottle, a bow and a quiver
of arrows, cardboard boxes nnd
other strange bundles. Khalid picks
each of these, sings to and with
them, transforming himself into a
plethora of character typos. Like a
'Bnlmrupiya* without makeup.
with nothing to adorn him but his
K
body, voter nnd wit, hr takes on thr
guise of thr clerics, rock stars, com
munal fanatics, tribals, construc
tion workers, terrorists, football
maniacs, urchins, executives, yo
gis. drunkards • and several people
in betwren as hr glides from one
role tn the other. This encyclopae
dic montage of assorted characters
Iwtray a detailed yet distanced ob
servational capacity that must have
bad ipmething to do with Tyebji’s
academic training as a socio-ant h Topologist. Yet there is mon- to
this gallery nf |>oriraits than that.
There is in this work n latent sym
pathy that goes hand in hand with
hitter satire - and one may add a
certain moral vision: "Here, min*
rle, is n bitter ami sweet fool, nnd a
wise one at that”.
What is it that Khalid’s fool
wants to get through to us? Perhaps
an indication that the violence in
our lives has a lot to do with the
straitjackets of class, nationality.
religion and gender that don’t ever
let us be what we arc. Perhaps the
first step towards liberation is to
laugh at. and weep for the things
wo have become, by stepping out
side them for a while, putting on a
fool's cap. putting aside the em
blems of spurious identities that
hide our essential weakness.
Towards the end of the perfor
mance, the fool wears his jaunty
cap again, picks up the gun - that
has by now become almost a meta
phor for society - and breaks it
apart. He then proceeds to bury it
in an improvised coffin of card
board scraps and wraps it in a
shroud that unmistakably invokes a
torn and tattered tricolour, with
many spokes in the wheel, broken
and missing. He accompanies this
with a dirge, that is oddly, at the
same time also a celebration. Il is
KHAI.ID Tyebji has studied sociology at the Delhi School nf Econom
ics and staged solo performances in India and in Europe. Hr has
played the protagonist in a dramatised version of Kafka’s 'Metamor
phosis’ and also acted as the fonl in a Polish production of 'King
Lear’. He has devised performance art happenings for Sahmat's Janotsav in Mangolpuri and is currently teaching body-acting nt thr A'ational School of Drama.
On what hr misses as an actor:
I wish I had a critic, not a u-achcr or a guru, but soim-om* to watch
me and respond, stretch me further than I can g«> each lime I prac
tise an art. I used to have someone like that in Poland. A woman
who worked with (ir«>u»wski. she helped me a lot. Here there is no
one like that. So I am left entirely on my own resources and that can
be very frustrating. On thr other hand, it means I am furred to hr
my ow n audience, mv own critic ami may Im* that too is a good thing.
Il helps me know my act better.
On what he’d like to do next:
I’d like to lake thr show out to thr streets and see what happens. I’d
also like to work with a tram of actors. I enjoyed what we did in
Mnngulpuri for thr Sahmat Janotsav and I think there are a lot nf
possibilities in that direction. But then, it may not work. I do not
know if people outside a theatre wotdd take an almost naked fool/
clown seriously. Maylie I’d have to wear more clothes, play higherstatus. But I can’t rrnlly know until I’ve done it.
S3.
possible to read this final ‘trope’ as
an appeal for national reconcilia
tion and renewal. But the irony and
exhaustion with which if is invest
ed. suggests alternative meanings.
Perhaps it is a gently persuasive
nudge, suggesting we abandon
even the notion as too constricting
a shell for thr realisation of a hu
man identity that is individual and
yet universal. For the spare and
time of the performance. Khalid al
most cajoles you into being yourself
again, to be as unarmed, as vulner
able and naked as he is. This seduc
tion is perhaps the greatest gift that
the theatre, or for that matter any
art. can give you.
There is no denying the fact that
many would find room for dis
agreement with Khalid's act. Il is
also possible that many would find
his satire offensive (Khalid is un
sparing. and nothing, neither reli
gious frenzy nor radical preten
sions. neither machismo nor
effeminate posturing escapes his
wrath.) But it would be impossible
to find fault with his technique and
presentation. Khalid plays his ath
letic body like a virtuoso musician
wotdd play a cadenza on a welltimed instrument. Thr energy and
sheer range of his physical interac
tion with the performance space
makes his art as much of a visual
delight as ballet. Never have I seen
a man fall, or throw himself about
or even do a striptease with as
much integrity and control on the
Delhi stage. His portraits are often
ugly, clumsy, awkward people. Yet.
even these he imbues with an in
nate grace and a certain beauty. His
wordless song is a bizarre and
beautiful bray. Sometimes sono
rous. yet delicate when it reaches
the higher registers, if invents its
own language ami helps universalisetiie enactment. Il reveals a pow
erful vocal apparatus ami a phe
nomenal degree of breath control
(when you meet Khalid offstage, he
is a surprisingly quiet, almost silent
man).
Behind his performance lies
years of gruelling practice, and the
refinement of the ImmIv as an ex
pressive medium. But there is also
imagination, observation nnd in
tense intelligence. Virtues hard tn
find in Imlay's theatre. Khalid's
show needs to travel out ami indeed
it ran. for there is something in it
which exeryone will lx* able to re
late In. Be it the venerable priest
praying to an absent g«»d. the execu
tive emboldened by his tie and the
power it brings, the politician wav
ing a dirty rag of a flag, the drunk
ard or the yogi inflated like a hot-air
balloon with vacuous wisdom.
If fools nish in where angels
fear to tread, then I’d forsake the
angels for a while and go a long way
with this fool.
*Ftwlsnng’ will repeated at the Shri
Ram Centre Basement theatre on
November 22, 23, 25 and 26.
pioneer. N qm) rxK. i > 1^2 .
The FooUs amongst us
FOOTLIGHTS
Keval Arora
Khalid Tyabji’s
he fool is amongst us. He
emerges
from
our
shadows as we sit facing a
playing area littered with all
kinds of objects. Hacked by
laughter, taut with wailing, his
entire frame quivers as he disro
bes on stage to reveal the bells
and the patched dress of a I-'ool.
The I-'ool is within us.
Not quite, though. We lack his
enabling perspective and his
ability to laugh and mourn.
These he demonstrates as he
winds his way through the con
temporary Indian maze, offer
ing insights into our contradic
tions and our failures. In the
process, we meet ourselves
several times over — as the
opportunist politician, the bru
talized
tribal, the violated
woman, the bayoneted child.
the marionette executive and
the prying journalist, to name a
few. These images, each evoked
with brief but telling clarity, are
not all negative: there arc haun
ting moments of tenderness and
dignity too. At the end. the I-'ool
merges back into the audience.
faces the stage and applauds
what has just been. The I-'ool is
(hopefully) us.
This is the broad structure of
Foolsong. playing at the SBC
Basement Theatre till January
31. It is the creation of a "one
man-actor-fool". Khalid Tyabji.
Though the theme of the wis
dom of folly Is common to seve
ral cultural traditions, the par
entage of Khalid’s I-’ool. by
virtue of his thrcc-cornci’ed
cap. Is more specifically Euro
pean. He Is a distinguished addi
tion to a long line of philoso
phers with mischievous smiles
and piercing eyes.
In some aspects, however, he
is crucially different. The fact
that he is along on stage, that he
speaks no language, and that
he is not part of a story is
enough to signal major departu
res from the tradition of the
fool, let alone from the practi
ces of the conventional theatre.
Foolsong is a "fringe' perfor
mance: yet. it also represents a
T
Khalid Tyabji in Foolsong
return to the fundamental post
ulates of theatre. A Grotowskian insistence on the bare essen
tials -- a theatre without frills -is revealed in the rigorously sim
ple
costumes.
props
and
lighting, and the absence of
amplified sound. All we have is
a • space and a single actor.
Unlike monoacting where the
focus is on an actor’s skill in
portraying different characters,
Khalid uses the fact of a solo per
former to establish linkages.
Accuracy in insight rather than
in imitation is his main concern.
The mimetic style is similarly
abandoned in the, use of body
and voice. Words are replaced
by gestures and sounds that do
not aim at reproducing psycho
logical or social conditions, but
at revealing essential states.
Acting becomes a combination
of visual and aural signs instead
of n replication of natural beha
viour and speech. Khalid’s
intention in deploying this trans
parent. "theatrical' technique
is to transcend linguistic boun
daries. This works only to a
point: the text is culture
specific and therefore access
remains restricted. In fact,
quite, the converse occurs. Not
possessing the specificity that
words do., this "transparent'
language Is often obscure, the
reby giving to Foolsong a densi
ty and a stimulating ambivalen
ce in meaning.
There is another reason for
such ambivalence. Foolsong
has no story, no casual/chronological links between Its various
parts. There are some linear
movements, but its unity Is real
ly that of a mosaic. Images, pro
ps and actions are bonded toge
ther through a technique of
montage. The mother cradles
her baby, the terrorist fondles
his gun -- the same crooning
sound continues through both
A corporate sector necktie beco
mes a puppet’s string or a hang
man’s noose. A little girl plays
with her dress unselfconscious
ly raised: n rape victim screams
as her dress is raised. This
method is richly suggestive
even as (or. because?) it poses
difficulties in interpretation.
Such n form demands excep- .
tional talent. Khalid Tyabji has
it in ample measure. His vocal
range, physical control and
expressive skills arc amongst
the best in Delhi theatre today.
And yet. they pose a real threat
to Foolsong. It Is very tempting
to admire Khalid's performan
ce primarily as a virtuoso dis
play. Several audiences have
done just that, prompting him
to reduce the degree of difficul
ty of some of his movements. An
unusual problem for a theatre
starved for such skills!
There is another problem ari
sing from the structure that
Foolsong adopts. As a critique
of
contemporary
culture.
Foolsongis intellectually rather
thin, its images function as a
scries of closed assertions
rather than questions. This abs
ence of dialectic.nl tensions
sometimes reduces Foolsong to
a guessing game where the act
of decoding becomes the major
Intellectual exercise.
Skirting linguistic boundaries
FOOTLIGHTS
Keval Arora
Foolsong Four
halid Tyabji is arguably
the finest actor to emer
ge from TAG. The inter
ests
of
this
"one
man
actor-fool". as lie styles him
self. have long since diverged
from the preoccupations of
mainstream theatre—though.
It is possible to see TAG'S work
with spastlcs and other special
interest groups as a probable
connection.
It was fitting, therefore, that
Khalid’s latest work. Foolsong
Four, was featured in the TAG
Festival. There can be no bet
ter tribute than this to TAG’S
performance style which often
emphasised theatrical imagery
and body movement, and in the
process loosened the hold of
those tiresome "D’’s—Dialo
gue.
Diction
and
Delive
ry—which still shackle the
F.ngllsh-language
theatre.
(That one continued to hear
’’Imported" accents in TAG pro
ductions may have more to do
with the Anglocentric delu
sions of the class which flocks
to such theatre groups, than
any whip cracked by the
director.)
In Foolsong Four. Khalid bli
thely transcended such pro
blems. His show—"an explora
tion of the dark face of contem
porary Indian reality"— was
altogether without words. It
had sounds, but not language
as we speak it. There arc real
advantages in this approach.
For Instance. Foolsong Four
gained in accessibility by skirt
ing. the linguistic boundaries
that segment audiences and
performances
according
to
language, use. Of course. iLs
communicative
power
still
depends upon the cultural
>pace within which It Is porforrnod, but there Is no denying
K
that "culture" Is a far more dif
fuse and porous entity.
An added advantage lay In
the alternative theatrical langu
age that this facilitated. ILs Grotowskian insistence on the bare
essentials in which nothing
more than an empty space and
an actor’s body Is needed.
signalled a return to the basic
postulates of theatre. This is
what Khalid’s one-man show
provided.
Freed of the mechanics of
realistic representation, accu
racy In Insight rather than in
This is the perspective of the
Fool, a figure common to diver
se
performance
traditions.
Unlike the merry antics of the
Jester or the clown, the Fool’s
laughter Is tinged by the sad
ness that flows from his ironic
appraisals of humanity. He is
purely a stage figure—there is
no social equivalent of the Fool.
Khalid’s use of the persona
was as dependent upon this
social invisibility as upon the
Fool's reputation as a sad yet
sparkling truth-teller.
Both
combined to give Foolsong
Communicating without words: Khalid
imitation became the prime
criterion
of
this
physical
language. Thus, sounds and
gestures in Khalid’s performan
ce bore little mimetic weight:
they functioned more as aural
and visual emblems in a com
pressed theatrical shorthand.
As these lacked the pointed
ness of words, the language
they constituted was often stimulntingly
ambivalent
in
meaning.
An interesting corollary is
that Khalid did not disappear
behind his creations—a proce
dure conventionally associated
with "good" acting. Instead, he
highlighted his presence as a
performer to demonstrate link
ages between the figures he
evoked, and also to thereby
anchor the critical perspective
that authors Foolsong Four.
I Ke Pioneer.
Four its special aura of airyfairy value.
The truths that the Fool
revealed
through
sound
language and expressive gestu
re wore structured as a monta
ge of images, or "physical
icons", to quote Khalid. Some
communicated
immediately
(the
macho
motorcyclist):
others involved progressive
exaggeration, for instance the
yogi who. brimming with bene
diction. bursts like a balloon;
yet others gathered sharpness
only when viewed through a
contrasting frame—the displac
ed tribal metamorphosing into
the
urban
construction
labourer.
Two moments straddled and
contextualised this mosaic, of
criticisms. At the beginning.
Khalid emerged from the midi-
cnee. disrobed, donned the
Fool’s cap and then. Imitating
the postures of audience
members. peered at them as
intently as they did him. At the
end. he returned to his clothes.
to the audience, and applauded
the show that had Just conclu
ded The cheeky mirroring con
firmed that we arc Ills real tar
gets: Both as performers in this
dreary landscape and as pas
sive onlookers who believe that
approval of worthy causes
exempts us from acting upon
them.
Much of this mate
rial was carried over
from a previous ver
sion. (Foolsong Four
is presumably the
fourth.) The differ
ence now was that.
with the exception
of a white cloth used
In various ways, no
props were employ
ed hero. In contrast.
the earlier version
was littered with the
debris of the contem
porary scene.
The gains from
such austerity are
both practical
(a
portable show) and
aesthotic(a minimal
ist style). Yet. there
are perceptible los
ses.
The
most
obvious— the loss of
visual variety—can
bo ignored as a cal
culated risk. More irreplacea
ble Is the reduction in the tangi
ble friction between the Fool
and his environment as materi
alised through objects that pos
sess texturally a separate
reality. The ’’conflict" In the
earlier model Is now softened
by the rcconcilialivc presence
of the miming performer who
authors both his own ’’self’
and the "other" which oppres
ses him.
Yet. it is no criticism of
Foolsong Four to say that It
holds less promise than the pre
vious version. The attractive
aspect of Khalid’s work is that
he Is constantly innovating and
refining his material. Thai's
why Foolsong Is such an
appropriate title. Like a song.
one can return to II again and
again.
OcbLer 26«1^3
Not just a children’s show
Laxnti Chandrashckar on on
artiste who believes that the
inarjic of theatre is that it
can be created out of nothing.
'Foolsong 4 1/2'. n unique
solo-pcrformnncc by Khalid Tynbjl, was
presented at the Alliance Frnncalsc by
'/Xrtscapc' In collaboration with 'Kadambarl'.
n cultural group which has been responsible
for Introducing the Bangalore nudicncc to
some very special theatre events and persons
In recent years.
Grotowskian concept of theatre which could
communicate solely through the Ixidy of the
actor. Ills association with Bengali
playwright-actor-director. Hadal Sircar.
stimulated him tn think about the relationship
between art and society. Ills Interaction with
the tribals ol Central India helped him evolve
n mode of participatory performance which he
Inter called ’General Tomfoolery*. The need to
play two totally different roles of the city man
and the performer —- while he remained
himself, and the desire to overcome the
suspicion of the tribal people, turned him into
a fool. To pul II In his own words — “I
sought a self-explanatory theatrical presence
In order to explain who I was and to
communicate the friendly nature of my visit
— to give a gift that was not material, but
something of oneself.’' The uninhibited tribals
participated willingly in this playful act and
accepted him as one of them.
A Delhi-based performer of international
fame. Khalid Tyabji was scheduled to perform
in Bombay for a festival this month. Finding
himself at a loose-end when the festival got
performed, he decided to spend a few days In
• Enter. In Delhi and during his travels In
Bangalore. During his slay In the city he also
Europe, Khalid adapted this mode of
conducted a slx-day workshop on the physical
performance, which involves playing 'with'
training of an actor under the auspices of
'Kadnmbarl’ and gave a series of performances
of the 'Foolsong' nt schools, which arc
members of the 'Newspapers In Education*
project.
THEATRE
Though 'Foolsong 4 1/2’ has been
performed for school children. It Is not really
meant to be a children's show. It is a
theatrical confrontation of the harsher
realities of modern life through lhc\character
of the Tool*, created during Khalid's slay in
Poland (1986-88) In collaboration with jola
Cynkulls. ’Foolsong', for Khalid, is 'an
ongoing site of research' which has already
undergone several revisions. Since in Ils
present form. It Is not sufficiently distinct from
the IV version to be called V. Il has been
entitled ’Foolsong 4 1/2'.
rather than ’for’ people, for urban contexts ns
well, lie has used this mode of theatrical
exchange nut only for Interacting with people
of different cominunitlr.s. but even for
therapeutic purpose, with the mentally III and
the retarded. Based on 'General Tom-foolery'
Khali has evolved two other shows — 'Dance
of the Mirror’ and T'oolshow'.
Ever since he returned to India In 1988.
after n threc-year stay In Europe, during
which time he taught and performed In a
The fo<4. n common figure In nil literatures
number of countries. Khalid has been louring
and cultures. Is an archetypal
the country on his motorcycle, conducting
entertainer-critic. Always a loner, he is at
theatre workshops nnd performing various
once nn alien and a critical insider. A
versions of his ’Foolsong.’ Until recently he
costumed performer even within the
was the leader of training at the NSD
make-believe world of the play, he stands at a
Repertory Company and visiting professor of
distance from, its happenings and enjoys a
Vocal nnd Physical training nt the National
special licence to attack nil Institutions nnd
School of Drama. He has no faith in the
Individuals. No authority Is too sacred for
'Universal Actor’ who knows all kinds of
him. Being n professional entertainer, he Is
nctlng. (Khalid calls him ’the Klchdl actor’).
able to convert even the gloomiest aspects of
he has decided to start a professional group.
life Into theatrically enjoyable moments. The
Though Khalid has been a solo performer
fool’s guise offered many possibilities to the
for several years. Il Is not so much by choice
Idealistic ynung Khalid. In search of a form
which would bridge the gap between him nnd as necessity. Ills intention has always been to
start a professional group, lie has been In
the people he wanted to interact with. It
search of actors who share his concern nnd
would even help him transcend linguistic
are ready for long, arduous training before
barriers nnd communicate through the body.
they begin performing. Then, there Is the
problem of money, of course. Khalid Is very
Khalid had been brooding over the
particular about where the money comes
character of the fool ever since, he had played
from, lie refuses to accept corporate
the roic of the 'wise fool’ In Shakespeare's
sponsorship. He docs not like ticketed
’King Ixrar’ directed by Barry John for his
performances and hales chasing grants.
Delhi-based 'Theatre Action Group.’ Starting
Alone, he has been able to survive. Ills needs
his theatre career In 1974 with TAG. Khalid
played major roles in a wide variety of English arc simple. He carries bls entire home on his
motorcycle mid Is content to wear n motley
language productions and worked on all
dress. He has even gone hungry on many
aspects of theatre. A study of the writings of
days. But. a group will need more resources.
the Polish artiste. Jerzy Grotowskl. changed
Initially, he hopes to earn money by taking
his concept of theatre and he left the TAG
up short assignments abroad Io subsidise the
after six years* association with the group to
activity at home. But eventually he hopes bls
explore the possibilities of an alternative.
group would become self-sufficient. Ilb
eight-member group Will be based hi Bast ar
and even draw some of Ils members from
there.
‘Foolsong 4 1/2' embodies everything
theatre means to Khalid. Ils form mid content
arc subservient to the needs of society. II Is a
medley of images from coiHempornry life.
Though Khalid does not Identify himself with
any particular ideological group, his stand Is
broadly socialist. All forms «»f religious and
political hypocrisy, corruption. violence and
sexual abuse arc targeted for attack. 'I he
melancholic fool sings of many social evils
which have given him pain. Khalid confesses
he Ims not found theatrical expression for
many of them and Is constantly reworking
the Images he presents for better
communication.
With every new version, the Toolsong' has
moved closer to the concept of a theatre
where 'the actor. strlpjied of all but the barest
essentials. Is the sole means of achieving the
theatrical act.* The earlier versions had used
more props, masks, make-up nnd
costume-elements. But now. all these have
been discarded. 'The magic of theatre Is that
Il can be created out of nothing’ says Khalid.
All he needs now for a show arc his fool's
cap. a piece of cloth, a lighted space and nn
nudicncc.
Khalid prefers to stay anonymous among
the audience until it Is time to begin. While
all eyes look eagerly towards the wings, hr
saunters Into the acting area from their midst
and methodically strips himself of his modern
clothes until he stands before them naked
except for a pair of briefs sewn with animal
fur. transformed al once Into the wise fool
and the primitive tribal In his slate of
Innocence. The. graceful movements of the
tribal hunter nnd his Joyful dance arc In total
contrast to the ugly contort ions his body goes
through as he depicts political opportunism.
religious frenzy, sexual violence and the
dehumanising Influence of power and money.
There Is protest against developmental
programmes which have deprived the tribals
of (heir hunting grounds and forced them
Into construction labour.
Unlike traditional mime artistes. Khalid
considers voice (not language) as nn Integral
part of the body nnd employs sound nnd
movements for communicating hh vision of
life. The nightmarish vision which begins
with the loss of the cap ends when the fool
finds his cap nnd dons It again. The gesture
makes one wonder If Khalid is escaping into a
fool's paradise. But he confesses the need to
avoid a gloomy end and hi energise people to
do something about flic world. Besides, the
loss of cap symbolises the loss of wisdom and
the fool regains his balance when he finds II.
The act ends with Khalid tucking the folded
cloth and cap under his arm. pulling on his
everyday clothes and returning lo his sent
among the audience. He Joins the audience in
their applause, as if applauding the art which
has brought about (he moment.
Khalid will be back In the city in a few
weeks time to pci form his Toolsong 4 1/2'
for those children and adult who have
missed the show.
LAXM1 CIIANDIIASIIEKAK
10
THE TIMES OF INDIA. BOMBAY, THURSDAY. FEBRUARY 23, 1995____________________________________
Going solo with a tragi-comic world view
Khalid Tyabji, whose one-man show today forms part of the Prithvi Theatre
Festival, uses wit to demolish institutions, including corporate sponsorship
he solitary actor has found his
fool's cap and returned from
his nightmare world, which is also
the real world, to melt into the
audience. Foolsong 4 ]/2 is over.
Joyfulncss, the domain of fools,
dreamers and idealists, and per
haps all of us. is the only way to be.
The public has just seen itself and
the rest of society unmasked single
handedly on stage by Khalid Tyab
ji. The hall of funny mirrors is
closed for the day
Tyabji is the joker in the pack
who is all the cards and still the
same, the actor who is all of us —
harried
yuppie.
motorcycle
maniac, disco-cruiser, pnmped-up
socialite, wannabe rock star, numb
journalist, corrupt politician, re
ligious fanatic, uncorrupted tribal,
exploited worker — and then
himself, a part of the audience.
Alone, with silence and a range of
rounds, he demolishes entire in
stitutions.
“I use sound because sound
transcends the barrier of language...
especially in this country with its
many languages,” says the intrepid
actor, who has been hopping be
tween cities and tribal areas, con
veying his tragi-comic worldview
and cocking his biting snooks at all.
In an age deluged by information
and words. Tyabji’s sounds over
come the gibberish the former have
been reduced to.
" 1 he idea is also to get away
from the cerebral perception, so the
meaning of sound rather than the
meaning of words is important.”
Tyabji has also done away with
mnke-up t>ecnusc he is interested.
as he says, in using the mask that
is the face. Armed with a quick
silver face, a body that's taut but as
flexible as rope, and a long, white
piece of cloth that is transformed in
his hands from machine-gun to
performing and I want it to be a
combination of both the comic and
the tragic. The audience shouldn’t
leave the auditorium feeling de
pressed, but engaged about what
The imitation would be enough I’m trying to convey,” he says.
to break the ice and what often
In the range of characters he
began as a bit of tomfoolery would, unveils, Tyabji also includes
at times, go on into the night.
himself,
perhaps
unwittingly.
Despite
their
suspicion
of
"Being human, one is prone to
strangers, Tyabji ascribes his suc folly. I smoke, ride a bike, drink
cess with them to the fact that
and enjoy dancing myself." he says,
villagers, as also slum- dwellers, are referring to the shallowness and the
more receptive to body language. machismo of the motorcyclist and
"It’s because they enjoy the physi others he takes a dig al in Foolsong
cal sense of humour and are more 4 1/2. "but the point is the al
active with their bodies,” he says. titude." And if his caricaturing and
Going up to a village he has the swipes are perceived as cruel,
never visited before, standing then so be it. After all, he reasons.
outside its borders and beating his the blitz of vacuous messages and
drum to draw them out is one of the tomtomming of a superficial
the things he does often. Tyabji lifestyle by the business communi
remembers the time when, in a ty and its arm, the advertisers, does
village in Orissa, he came upon the undermine and negate an alterna
chief with his grandson in the tive and better way of life. "That.
village square. "The men were out I believe, is cruel and unthinking."
hunting and the women wouldn't he says.
come out of their homes.” Tyabji
This is so strongly fell, in lact,
started mimicking the child and that in a day and age when every
later, with both of them, perfect thing. except maybe newborn
strangers, laughing at his antics, the babies, are sponsored by some cola
rest of the village joined in. "They or chewing-gum company. Tyabji
brought out their instruments. We has no intentions of soliciting cor
drank together, became friends and porate support for his 'future pro
1 ended up staying there.”
jects, including one which is a
reflection on the tribal situation.
The same is considered low "The values embodied in my work
humour by city-dwellers and re arc contrary to corporate values.
jected, he says, because they feel and I don’t like to advertise a
ridiculed, surrounded as they are product as part of my endeavour."
by strangers in the city. It could be In a festival, he admits, one docs
misinterpreted as an act of hostility become part of it. “But I don’t
but if he docs succumb to the subscribe to this sort of thing
temptation, residents of Juhu will aesthetically."
get to see him some day tnke his
The viewpoint is perfectly con
shot at the morning joggers as they gruous with the universe he in
trudge
"sclf-importantly"
in habits. where they still smoke un
pursuit of the perfect body.
entered Charminars. But a selfThe social satire, however, is not assured Tyabji inlcnds braving it
a weapon for the actor. “I’m trying against lhe tide in his search for
to find a more joyful way of Paradise Lost.
often," he says. "I would just go
there, a total stranger, and unintroduccd. I would launch into my
routine by imitating one of them.”
By MAHESH RAMCHANDANI
T
I he face as mas kT’TyaSjT
motorbike handlebar, he guides the
viewer from deep contemplation to
pure guffawing.
The total effort is a result of
training in theatre since ’74, gymnastics at the college level, an
abandoned Ph.D. on an esoteric
subject —’before the age of scien
tific thought’ or some such — and
influences that include his teacher
Barr)- John, Badal Sircar and sev
eral others.
It all started, however, with his
regular forays into tribal areas
whose inhabitants he empathises
with strongly. The sounds and
silence onstage, his sparse attire.
his animal-hide loincloth arc sym
bolic of a return to roots, to n lost
paradise. Offstage, in his cotton
kuna and pants and a quaint pair
of leather shoes, the middle-aged
actor resembles members of the
vanishing tribe of Bohemians. ”1
have been performing alone since
’78 in tribal areas where 1 go very
HADOWS against tall grey
slabs reaching for the dusk.
A crescent silver moon peej>
Ing through the tall ash oka trees.
Terracona bricks laid out in teas
ing circles for players to trace
their dream steps on. An audience
arrayed in an amphitheatre, silent
In appreciation of the unmasking
of a searching soul at their very
feet And the unasked questions
that teemed the air.
What is a theatrical poem? Can
an individual hold a diverse audi
ence rivetted for a concentrated
•pell of time? Can a script put to
gether from varied volcc> ipcak in
a single tone?
The power and potency of
Khalid Tyabji’s work in progress,
Jn starch of Montr Manush,
premiered recently at Mahesh’s
Studio at JP Nagar in Bangalore.
explored inner landscapes with
daring — and provided a few
answers. With his taut frame.
aureole of grey^streaked hair, and
minimalist garb, Tyabji seemed to
be a man with a mission — to re
turn theatre to Its very essentials.
•tripped of al* trappings that dis
tract.
Poised as a being verging on a
shadow, these "scenes from a
waking dream of a Journey In
search of the man of my heart.”
walked miles with major minds of
•11 time, yoking together gems
from
the
Upanishads
and
Yevtushenko, Tukaram and Paulo
Coelho. Milarepa and R D Laing.
Tagore and Don Juan to form a po
etic chain of thought that
resonated long after the last words
echoed through the ether.
Sure-stepped, steepe-l In pot-try,
Tyabji invested the passages he
traversed with a magnitude that
S
was magical. His body language.
wrapped around the versatile lad
der that was his single prop, teas
ed and hammered, veiled and re
vealed, prised and concealed the
inner self, the mask that conceals
the man, the mind beyond the mir
ror.
Whether crouched in a foetal
knot, or ferally balanced and still
chanting atop the top slat of the
ladder, or swinging through circu
lar space with the prop cutting a
swath through the evening air. or
mating with his alter ego as
shadow meets shadow. Tyabji rose
above the immediate, the particu
lar, the Identifiable, to sea Io u spa
tial plane above the tangible and
the mundane.
Unlike his earlier success with
Foolsong 4 1/2, this composition
skirted political satire, to dwell In
inner wellsprings that arc the
very fuel of dreamers transformed
into doers. For what’s a dreamer
without a soul? A mere skeleton
‘A journey in search of
the man of my heart’
THEATRE
KHALID TYABJI’s work-in-progress, 'In search of Moner Manush,' recently premiered in Bangalore,
explored inner landscapes, discovers ADITI DE. He seemed to be a man with a mission —
to return theatre to its very essentials, stripped of all trappings that distract.
without shadow or substance.
And his unusual do-it-yourself
script — self-explorations couched
In Ute dialect of the Interior —
proved its coherence as it was
unspooled.
Bom of a collaboration with his
Polish friend Jola Cynkutls — who
was Instrumental in the birth of
Foolsong in 1967 — this work-in
progress now has a "scaffolding, a
script and a physical score," In
Tyabji’s words
But is that enough for a com
plete theatre experience?
It was — even to an audience
brought up on theatre as spectacle,
replete with grandiose dialogue
and ornate costumes and sets. Ow
ing as much to Jerzy Grotowskl’s
pared down Poor Theatre as to the
Natyashastra that recognises the
worth of the actor as "creator, me
dium and Instrument of theatre,"
Tyabji adventures Into the arena
of "the unaided and unadorned ac
Bengali and Sanskrit passages
And proves that the actor Is the
theatre, all else Is ephemeral For
through the intense 40 minutes of
Into a "mainly English" script,
Tyabji proved that the body and
the mind are the basics of theatre,
communicative beyond words. Ho
owes much to sources of enrich
performance — Initially lit by
torch beams, later supplemented
by spots — Tyabji wrested the at
tention of the audience by sure de
grees. testing their res|wmsi»s by
ment that include Guru Ammnnur
Cbakyar of kiidiyaUam and the
legendary /vur/Gour Kltepa
Like T E Lawrence, who an vs,
' Preamers of the day are danger
tor."
Questing Idee* find a voice (Photographs. Adil Hussain)
swift changes of mien and mood.
taming his being into subservi
ence to the physical score, con
quering the intimate space
around. Through it all, he proved
that an intelligent mind can Invite
like minds to an encounter that is
intrinsically drama.
Tyabji’s theatrical sense Is Im
maculate. He recognises the cre
ative spark for the Irresistible Im
pulse It Is. As both director and
solo player, Tyabji Is unafraid to
be self critical. Or to reach beyond
the stars. And that Is his basic
strength.
Even In the Incorporation of
Ba^jo-lore. becowx HeroJd ■ 'V.
ous for they may act out their
dream with open eyes to make it
possible," the evening finally was
a coming together of two dreamers
— Khalid Tyabji who sang the
song of an open road, and play
wright Mahesh Dattani. whose
new studio was the scene of the
its enactment. Aesthetically de
signed. the studio Is an ideal space
for crossdisciplinary "intuitive
expression." As Dattani sees it,
"My particular focus will be on de
veloping new plays by new voices
in the theatre. Workshops for play
wrights. actors, directors will gen
erate a greater awareness of the
nature of exploration In the arts,
rather than seeing an art form as
a successful representation of es
tablished ideas."
What a triumph of the human
spirit the initial fusion nf drcams
at the studio proved tn be. More
•larlng then In the dreamers of the
world May they grow from fan
lasy io inspiration with each suc
cessive encounter
,
Stripped to the very oito
ON THE
TOWARDS COLLECTIVE eWDEAVOUR.
Wilk'W'e. fwelpt Sup|>oci cwt CaCo
rvuosk-fanciful co-dreamer okrecenl- ueaxS in BanaaUfe, (
Ouikcrred 4^'lkeake'Triud m Mouj ^7'
'
Te, principal aim in So douxa W
4wk've, oraaniXakonal and -pRzUcia LoSis-for a. Professional
4keake^tKsemL(e ok oc{o (vander nu ((mhoI arfenc direckon.
o-lker perkrnvxkve ajyenjaes -Ikat are teijond 4ke reack oj
4ke Solo^perjormer.
A{* 4ke Core ok il all lb a {<novu(ccLe ok -fce possit\(rk
X *kfP€ ok kamouK encounter
and 4o skare
—'cx-ProS(tu»k| C iA anl""k) ex
a wider number ok people 'To anderkxte
nsLeJS of
pftberj1 Corr^ar^ 0X6 expected */o
own, am of special jJecesd and, Cbf4i'rvae
develop 4f\&r endeavour vui/k
vuiik a roups of SinuMu inclined
(M>bren'k'ce6.
—
OuyJ S&ae,) in
W/anZT; a/e si
e.
Our aim ik‘
4f-ia{nad (artfc
eeK to Tcv\6cgncr ti m ou Stic cam e
4kd“ Cilker do€4r--fUr (Abe Conv*
or one 4kLaf-wc
ik a, fvuiL-kpGci^
"A& chV/SibrS'
c/r^'/4bnaJ7 ('jfote >
(<M>icajt / a/v/ c(Y\ode/rt -/hroaah Prac/rcadd/adoacie,
’Of\ a/\Cl e^ccAa^^.
4kgz LoULT^AafieS of '^ealre (f4v ax€o^>
rvo
IaJH
StvxreX
U-HW^
)r oxtails’ cvvl ckkicbtA^,
se supposed^ beref
4koSC kexdK^ md 4ko^
S Urftcri rtf Hfr> nr\ iUL-(”>£xx14K
(xtrood, crkj a^dcoufdrLj,
-Ar (juwtfs'ik; profe&ofS
L j±L I / I iJ^,
dL’plonsojs ard4kose wko L'veorv
od ^KurAouf
Suck
<xZ> SbjaepiM
(.a.ilerj -fte^weexxrtf w
a* evexxj*
c<r{i'snc dirAd\Sio(\.
and
a/\d cof\{i\ued
orv (X. dallij taSis.
Ia/iU be
<
4oward6
IK
'
.[or f SaXrc/oya) (nAo IS kuckei d
setk< its owrv tvpe oj- s
rrxCfelij ceietnxLlij bur 7
:
%iivsu(’Ur*coi^l^ 'iix -IAe
AcmA CM^juk
I
Gn^rx
~con(s€cT-(ke worlds o{
J
i i .1 < r h J
/’>
is
REPORT
52
FIRST YEAR OF THE TRUST
MAY 1^7 - ------ 'HAY 19^8
■hrvse nvufstcMriCd H-bar -tor w t<W ou frWM
Work I -do -tke--ONlu e^seAnal (apock-jfirA*tke acfir of Goose! j
is a w orks [> ace. "Ke workspace > koojever/roxU fi ke
(X Special place • im4 Ord^ practical (lA-tke sense
- 0+ -Hoorira.
U&vifakoA, etc J and ux&pirirtf (skvujibJiXa 4o #e 3€A6e£^'Duf’
also protected.TKe (after, -wncK is Sddbom properly undcs’kod,
lf> 4ke n^ost- ifAporU^f- a6peck
(rv 4ke period of txaiwAZ aM preparatiOA: Lejooe
actor
n\eels aa aucL’ej\ce 4kmiK 4fe orepaneJ 3 kudu re oj a p^fww,
or 4kroaak -ffe skudure^' prepared -fir /rnprovizotiba,
•
r^edUr-^perfaps IrorucalLfJ 4o be^protected
-fiorr\ paving ojcs, irvku&iory fAockeru, tack
J
or Ae
V.
’
m Spectators/*—■
‘ CofY^>reMA8lOA,
"nxe aotor Qv\ expbofgcuneaL outside
> of Co^£A{[Orv, persorvd
(mM- lb
ir\
ecdnL anuclbk or ■taaeWsar- h/ilk CollQ^qutb Involve!
rocess.
MOrfcirU] abwosl"
inn^MertAblg laMjf\b
svnd ntnuces, \t\ parks, sd\oolroon*6, s
Kou^evtr, I am 4alh’n^ aboU“
OA& olo^r\F fVAVe
A^ap/ +o AAulk
expecMio^,-pr or\x one ib in, i
*a extax-ordd/xafu space w/ere <
OrtLirvxr^ events 4ake
place, sU" aparf" -rom
i
ordif\axi( eveAjdl^ reaGkp
up place A/kere
lb Kpk
econxe
Lb
Mt,
(X N
VJ
)
Spent (Yvuck e^ftorf-
oo(<rtx?^lsku\t '-fionrs £
Oucauirt a. %UAhxLL
(jrv-Dficr to kxx/C
-krsjaclcb j 4o cxpeaEACe nxcws a^ncatfund fvwde o£
Coopeffrkofx w»lk ixxkrc h%^er
(TJubtaal
i/vlcrvervko^ . Ixle, 4oufvl 4kree Do^s'itifcke^,
one of wluck vjofo V&y qood. Ann,, alor^| t
o
advisor,
^webka afed (locume/vt
ari o{
ai\ arcfcrkuxoJe
ojK' cut out/case wkck nrwJle pujc^abe
irMYufxent prospect
aroup Sde
./4o re^.lik( PdUaoW
<W 4o
r<xu -fi/^aoj resources
4x> Le released X Rxris X OcloLer-fkis i^eArj X a, vai\ axiker 4kv\
0c\ Itxrd.TvS Would c\i've (Aslkc
(AS4kc rv^oL'Jikj
fYjoktlikj 4o VOorU
Work. X diffitcenl
differed
locpckof\6 X L'eu
^rok/edl Io
^exthcxr^rxl k/or(c bo6e. TKe,
.1 t>oor\
ifx-llc ck£€f^ul
ck arekt
b
/erskxtesk, ouTclrivec
alfezxdk|
CcifxxUe kv<U>
od oa cxeahruj a res/ Solo perfonrance.
For ato\j- a uear
a.
r\ k u *(" l S , Sifxce ske s/OvS
pusoo I
\
C
rvot
c( cu\d,e/sk>od 4kovf* (h mtrffwce
vol/ te
torrs oul* oT sueACC,
o4 (Jork irs 4lw, Space, taf
/So Sad
Capadl^ -k te
rrvicU/i'ji 4t> 4ke process.
oJU mk|
FYAOACeS Infill-£*<*
cM^kve.
I ft,
cux
M
hu sK
UrGoft
Iorx irv Pozrxux under 4ke
.ONxxiemm
O\6w.ed nx a. fv\£&x&jcJ
cte-Ue
wt4k i<Uoc5 O' rvnkon^d4^;^^ arui a. Urufed Ekwp
—skucfured s» reek acfcond o/x-fta ^eAend 4keve ^4^
4oWh squares
PozruxA, ktasel, cxaoU4J
e.
(rx Lohdx>r\t erx rouk Io [rxdjov, ( okeAcled a -jfve-olouj u/orfekp
i
flxCnxber o-f Jerzu
Grokwskis Te^kLahonxknurft. Tkls woS 4ke ftaUzonoa oj
old, Wish
Parked olioft
rmed nrvxftu o-f rwj ideM in pnxcnce,
I possible bi| 4ke inA-kr! and vec^ Worm
K c CaN C t>i(eckr oj Ike kkrnalbnal
Workshop Festival in London) who opened me a jkd bltfSanp
While in Mia between k!e SepteMer and eadp bJovemker I
Worked Oft campilina lexkuxl fnaferiod Aron\ diverge author^)
4kol CorreAponded^for fne wi-lk 4he rontfK pkjsical score of
... M o ft eTr M a a a s h ouS tWSul (developed in, cdlLxbonxfi'on
Wilk Jola, up 4o 4ka.l- poirj-.
I also kuahb tx two -week CoaiKe od- Ike Nl al i o r\ oJ
Schoo
D ra pft a ift Oe[ki wilk AAi[ HuASaift aA
a^6isUftF.Two nrvore skdexk Expressed Ike wish 4o join me?
skald (J^nftjxjroap, a^fer Ikeirjttxduahoft irx SamtAer 1^88.
Ti'ftr ift Poland,
^ec&fv^ejr. I
a oft
iftConftpie^e. &e-pre leavirv; Poznan ( didlkree
open cekaiSodz/-p>r (nlertsled ■jriendA ift 4ke
Mcdajftitx of l>eTekrPokk'‘ Haeko Ike
kindness
Ike 4keft djicCckor, Leek kaczok,
I had 4ke C|ood -jorknC k also be
able 4o rekearse oik 4k*s -tkeake. Lujkk’ were (eJ- lu> j£r kke &)
wkole period b<(4keTea[r Os
_ A4CX.
oi 4o dlnxrrva, StuderK oj
Or\ perkon^CM\Ge.
.
J
(
lr\ India aaaia ord worfer^ kowonls a
S e ( e ct
roup, ( Conducted ■fwo
uJ o r*feTs k o p S “Of rv4o poA'cl pAA^S-jro/vx
xru and ( McucK.
vo<rap
A fvvb'krdLvA.
(hxctudjiN] Adil, Rilu,
1 nxej Wi$s (\4&v{k 4o j oih
Frx)rr\ 5* 4o 3o Meuck 4ke Co/npur^
wTorked rxectr HcxAunrxuAkalL aM ArxeawxcL
irs kuSNSurvda( 4ke Ha/npi area,. kJe-tqere
l/er^ Kindly kos-fed ti| nxy Jri'eAcU Skxnsa
'<£>■'.? k_L
’>-!•
.. ■
-
’ ■
> - ■
.: >■■ i ■ ’•"■ ' ..'.a
- - —■ •'
\U U U IM a r///» ,
ion o+ a camivcxlesa ue
.elo/persor^a ^‘rvcanvxGon
(Lilrfeb 4 loryxwoUiB'j) develop
xkonS Ajifk &eot»ie in a puUic
ifxdL'vJiacd
F
Achorxs in Service 4
Social a^A ^Ujsi
CosKw
■ 4kcJ* u^'C (AfB a
ils^biiC t>jWc on 4ke occasion
llacxdj (l\leMj Y&aT;
all Kornes c
rr\ekculov<bli|
cleooedj/
4ke -prsl occasion-for -H>€
c\ck<Wz^k'or\ o£
old
Service fact o£t5u.LL'c
utxfik^ and ujvKk 4k*S
Wi
uacI
creakoft of a (wSicrd nw
oLieck
Or elensea^ d -M r^Ural ChViroM
Individual, enfeeble,and perfjrnnance (n/ork- w\lk4fese loivands
4keak'cal Srouwd and muSi'cai Ser6(L’diluj Work Wilk Converkonal
H<Two atjempk 4o words develop!
^cxrdlb devexopirtf wrw
rOp>tj\■krururvi1 , OPCn/4o ^4eresM“^bs exveX"
■or pedagogical purposesOn bolk OCcabionS 4Ke, c txnxpwoS ev'idenKij
jvkitiled cwL ^CohSGtvttS1 de^pi-le (or perUp
1 ‘
M ff
r 1 4ko.t
oLsexvers
^tke,kc ‘kivcxxds 4kz
■
s
1 II
I
: voiiMnxkjJ
Isyoy mo
93J k| sviouaoa vi ya
jo
•bv? 'aJoyviNnocg yi yods qv/v) ko^ \Z^ V
‘ k|ryoAfry»App\^ 9“nl^jV’ \pr^ Jo ryo^opaJc;<k
kikroj yjv s*jA£qj^ kiynp jq^q \pva
kikyJijyaaj
’^’V\r33£
9VM jO3W j9?^ 3J) '
“
-AOJ AO CLL 173] STM1
■J3|jA^ ay Jo SV0i8Aj3^rp mo
'j9)*}^]
vo ^y°
W aououj J atfvaji. H-o < V3W3T3 axu&g XJO
JY)O
-j)tncj
OM JY)Q
"?va| svy- k/mvp -3ov?va<po
ck) 3pN*j yv^ yo^j- $jV3Mu9T3 Jaajyxm
jo 9^os Ja
sy
•MOUOrpaiAOA rwtf 4^3A? kj(UAOJcpm WJ=L V 1 aJ^JWP
3^. 5||IM Mojjxuo<y0jyo Ml 'yay?^
'^jopobxnoO-JVi Mnoho
IJ ^sUy 2gj^ ^ryvvpjoo
xj/Vq
J
k_4p 9apais-yj’q ^bjYiix?vrar|
p31¥jk|xJO0 2(V)
C^/V!
'
J° ppow JMO
■a^j. wpwpwKn
podQMu^ axj^’ajoyo
mi
\junuoJ.rv)YW Jimq-
|
|«v<4v>
Hensen CkoUs’is (\oir\e wtalc sfe
cmWcuj
cuvl
tkb& a
c[(\4&rooN\ <xt M aria, hl'ikekn, School cM> a, workspace ,TKe(
NaS
&ekieax-!ke 81k arA4^e 13>K ( wortel wiik a Sri/-w4<aA. actor.
S o a nr\ cK r a4 f\ e M a IC rs L <xd a, wko kxd arrived, <X
5.
: Cbrxltrvu^l 4^6 colleckve- ouxd iacLviducJ
, in
rsjuncAbn Kf'iik (k ptr&rfrxtxrvce on, SociaL
reLxkonb'j poS
.■ktM, f7Rez*TnLol Afwl 4A& ScxkL.
Finally, i*/£ skill te/ work™
\bkuckr^| (K pi 2jC€ of Cd£zvU?KMY(xL(e } ord
Since 4Ae procedure we skill k
"“jo (lowing bb f\o(- "iAc 'fwnwd one
—fi>r (Ywurvkrtf
flou fue. SQ
xcpr, selection,
4inrdkj (^f\&USal; ^uttiQ’L,Oi
J\d pejVonAiXACe,
ue, oL’reck rs ‘ 4ke^e) tat- oir\ oraVuc,
Colleckve process, 4l>e 4i'W\€-■ 'jrtdhl -fvr
^reDcxnxkorx
QXfWo
\oJeA o/ki'xed
trx
A "Mtal Works or\ L's tc^kep, to-Jk
ukk^Rm (wl teauiv-al,
if" W^S oA Ioaa aA'rr -kke6.
i£ it -frustad
ADIL HUSSAIN
t>. I^<o5
rvsa/or &.c.'rtvify a6 ayoeformer
^s/ard ay> Comedy
' / workedfor Si'x.
owyoerfrrr'ed a/fateA (50 Ame6
dunnj Ajo n^or\A6 of ^/e/y year.
S'onr\e^rr\e6 (^/e cL'd. rw\& 45
^our
vrr\ djAhk- &> dawn..
-y g
^a./ i.
G\au d^my (&£aya
f our
~79
realize
la^ibr
fvurrur CorbeldbudfVj °utper^orrrorL
^erdorr\arC&
rvjrLU>1 /v Cafh ama<
'I'dco/ order or
n&S/or\
oi ejxce,
in Assa/n ;
(\c
a
^^SlucUed <4* -/ke Hixi'onal Sckooi oj t^nxma, in ^>elki and
(\cwin2 received
FeUival d C^cL'a awardJ al ke £>ramaSkcL'o,
London;
cUfCckd -television ^[ou^s and worked <n severed -film
produckoak ovk ak$isLn[ d/reckr aad prvducfioaCorlroller;
kr j
'^-zkx2> teen am ackr 4oari
Wilk Ike ikdiona! School 0^ E>rrvna
^edJ and wilk ex paj’fedio
owbi(e 4ma[(€ Componu[ i/x Assam, 4ke (denial The^ltt
J-'
_f
1.trs J
3j0knd Q-50 skoUjS
7 fAOfxlks I
Corsctacied fwry\eroiAS WorfcsLop« i\ cL^Wsp
f>(xr[s o£ frvdjiCK
/-^pCrfon*ed
>X AnA^ikrolam;
(A- clown
Ink/TwxlioncJTourism
1
F^sIiVckI ik uUj
■—'kiis [(Xit (V>6iar\rr\e/v
Airs , nx a prvduclioA
Red, r Holder (kAio, *; k performed 5*2 4fn\e6 w\lk
<xll over Hollcuxd.
con^aMj
4^
PUTU TALWAR
b. ^70
z—Traveled. w»deL/ <x6 a cMlcl;
' ONSfat
o£ gutter
** B. A. ik
e, t^elki;
wonderful
cL'r^c^... ocAm mA 5 h/o^\eA cir^dera
<^d ae/wowA
pUS0Ndity~itM> ff^odmc/i'ori fo whd by cd&wd-.
ft
i^vouici
i/c/y cj^rr c«/7 ZD uvne rv Lert-curi
realiz^'o^> ard dv ac/i'veJy izain A&fwcete
AndiziM
tr\/o a CorceeA qrty>A. (^f~sfuclju ord acAb/x m
• • • f\/'bAx-Josk t f^obifx &&&,
, &• &
W(M> &A*/Mt(ed 4kc Ckadu> (JoJlcxce UgL'aTtu^
SckolarsL^ 'to studkj oj- 4ke Guildlxoll
Mabie ord Drama ir\ London.
Sckoot
'Pa/sy £&dej\bkra oj\d
Pea
c^KtirTned /kaf I reeled
7^ reflufdz. •. ’
pir^rfrwS
OtA/n d'f\b£,UJfi{y ir\ b&'i
~kofc> acted <\ several
f5; fyxost
fi-xerrxonaUe kab been, iVork>
Clarks Abet;
■"^rx^s u)rsduoted workskoj
i-tk cklUre/x and odulk t/x India
its ck docufAeAlcxnj.
a, /v’ccup sk//fed& odfefrafe
irw)\/a‘/t'of\b: cdearvM hon'&S, /Y\aPj‘r>a
cay0a Card^^i'siide,
t Wrifehy afevud CfAer^peo^ed'dfearrx^ro/eep^ oleWeedPy
kab
teer\ c utbl acktbS ir\
Rej>er[x)fxj
Nia[ipr>al Sckool oj C)nx/ysa
irx Odki; kte wnl^drecJed <vd
skfll'JS Orx "fkc Mordal CoryxfwiS6l0f\ i%lAC iX t^dki.
4*J'0i
DEESH MAPUWALA
t>. I?72
en /d'scoi/e/cd o/fdr a/ri/efc... a/v/ />y
la a
16 j
Lv\aa(xae pfodLuckoft& ir\ Sons
SfibsKCours Cai Placers,'fte Madras P(cu^e(^/'K^ Soard walked,
PcuaLK€ Hoka t
Rwwir Skok, R. Ransaacdkaa ,"Tom Paid, V\'krans
Aos dL'recfed
{<DkpoAia, S^lvtb'kr Da Cu(\ka;'oj>cvt
ockx?
Stvcnd jsla<|s, CofAuckd k/orksko^j
LHvrrK pfocLickofs t
rWJLSLC, cxrsdl li'flkkxk
C / odwou^S~t<r^J
ac/t'^ in a^cvy iv^en
t>f rry
ma
>
ik/’/v oab o
-t/^fre ny eaq4/y arc rwbodies >}j
^A/CAinqS'v (aJCTC
^'i^/y^ody do&s
in
(CjraJfXb I ^416 bo/nbofried wi/k...>
' AJ>bLW - <)r 7^ M all'oaal Sckool oj Drtxmo.
S^a-cIcaIs were 4txl<eA, lAal- ijearj
rw
-jir 4Ae
naexckxrsp fxxvi( »r\Z>lead.
/ne/o^/nave/ bo ted wk dea/k
jC/o yea/rso
Ob <X COp^nttTj i
t^£a
tv Co/Y'Jr&J&ad • • • 3
n,p^ckef-
nier ia Pro-ftxd, MadrcMs;
CAAcl
lAcUA&fnt
PrcdMCXr/Teckruuxi Grvb^ifcwxt, produvzn'oACoo^/ujtjr, Prodxczr,
klrrltTi EJUtor, EvoJuoctor o^d Director;
/ Corxfrrued h do
In3j<m> ijoaAjtst"
Sa^ve
^oa/.. /
P^.|t\cva6 Jilns, Bonrbup ord recer^ ia ex.
tCcxrwuAa. -film|
~ ‘f4tr&»fed iix reoJarsj, w-MpN
ruck cGrrsLery fYvoiorojcle, nxcer.
CertT^'ecl
8*4
SHANTI DEVI UPPAL k 1^75
I
b/f/e Stadr fMv, danced,
f>ou'f\/ed a*d dreA&ed
douyS a/xJ Ston^X/neb /Ae, fvjtfsT--1
•—'&on\ of InL'(M\ 0J\d DulcA parent t Sfonfi
Qf€w up LeJwe&v HollouxA and (ncLa;
—fiOS Worked £Xb on ocke^S in -Ike Arvvbfcrda^
TixeaGt Gmpoux^, in Aer prvduckonb , OrJl i\
a. 4elevisioo Serial;
'-^S^ucUeA Siiojioj t percu^iori CiociucL'rj (VunoSef- cv\l 4txLkx)
----- -'lUrycxrd Composer;
Worked (\£> fmsiako1 %ioaer, ~
Sunawri
Composer;
if\4tre6^ei io Cookn\j>orwx/ fYxXstc ao
r*7^e /vu/3/tfi?n6 See/nef/
oCaI
Wif/% SoUrJ,
3v rr^cA r^ofC
CQt\cre/e /^ar\ Az
a/7^
'
SludLed dance
ecdK
bj'iK Elise ftoosen j ^([eAoled fwmeroois 4ke4re and acIim Coiu$e&;
(X CouiSC itv Sculpknq oJ- 41^ College of Ari- in Oelki;
be Compl
A*ws|trclam nex.1
16
EofS S
44^ cL'n&clm o4 ki
Asscwi;
ir>
~taui\ed in welo
/ny
ir\
™ vs/or(<ed oJS a.
Worked <x6 cUrecUr cvd, ScerUtrdi^iflrs^r^Mxl par^'ctpakd ir\ scree
4^o[re; ^rmeKfixen\ber o^ -tfe Ne*J Ad Play
(r^ OuuuaK^^t wkci£, kc worked urdcr Skarrstku
Gu^k*, Abkx UtAZcuika, c\rd Anoop Cka.knxvyj4i’,
slotAjlut slobby
L/ /
b^axrr\e.
.. A
A
/
O.y
86
NEHA SHARMA b. I?74
'odl rxiqk/ wa/sdcdMS /X ar\d OCifa <f
-r^nSCS..» sfrirj i'r\^o Ac
ZaA rr\dAjt
mirra
inr\ajC5. - -
xjckoloj^ t Sbdokjij | ojvA E’corvonvc
bjivoub Glleae, dw^lorS;
~j>lo^dHfx Mdifesk t^oAsuvs 7Ujif4<(e7Xnx dL'reckd Lvj funs, <xn4
Pruka6k BelaA/oJLis pn>cLcG‘or\ oj Vi'jtxxj Rdkis ‘Credit’Tiftcs .
rOA sfaac (jvursd fY^sdf ska/p ord a.(/Ve.. /
'—(iiourSe/ in n\oi46-nr\eclicx, al Ike Nledia
Bcuvoalone;
'^"'Iriedlo Le pari of a, ’fkeake aroixp kefijre -fufTdrJTo-fit^ ’ft MacL
/ i/^Ci'^a/eJ~5e^eeAj/ce
a*d Ac dcdiM Aar rr^ydd
"faded ddrfaz fadzqrocir^
/ft\
"—'Hcxa, (xctej in television sericds
recenH^ in c\ 'kannacla “filnx (vu
vi'7
Deesk);
ra
<0£
TciK-rtES
STomAck
aHjJN^n£S
S<d£
Smetc-H
GOPAL &IJU KUMAR
of piftC Ark, KamAM;
Pxriskzvff, Baaqcxtare.
fteri
loofahjorSome
nr\ k/^id irw/o(ved claf\czD(d'nd
fYvOfttkS t'Ui th
oorVA
ftojre, ck a roup enzyxaed, ™'ilk Coirvfcmpo nxr^ dlaftC#
Uftolcrfk& oLrScnW of "fnpTR KcKsk^ap j Stu dud eJenfUftls’
o£ Mo^|U<rbkod\| CkfoUA ov& parf- of -(Ac ]Youftirtf iXftd, perftnmerl
tiiWcJnoup th BonsLcup Af^veaaLcxd c
/i'mA id'cA (dr
an /'nA,
. ei/eftz^//^
fifr&..
dosed and
1 ~T^r 5 fvsor\{U Cfwiftd Aft oftifft-
(M
-ror cki (dffiftj iduSwctea-ftr a
nruMjAZiftCj LiCAjclisl.
A A
YASMIN J AS DAN W ALA
e fdAejirS (mA (w'dddreamS — A&C ruwag
away drv/n Aomc lwA&\ / was A/e/i/e y£a/$
oti
B.Sc. in, Home Science, Mouu4 Ckrmd
tac, BaAjaXoce,; wfofe cd’ Cbtleje ( eonxed
5
iw ?y\on2l( cloiNj odd, jotsUSSal^U.usf
f -fiar\d
abouf Ac
Ua& forked i a k^-ffda
EcUccxkoAcd R^ouTCe
in,
dUrec/r'of\... /^// wardAo do
€due^Ab/\aA..1
)
al'/err^live educxdioA dJA A STH A
KA A^A and,
J oKct MCrOs
, MAYA,
sLkvvS cxpJI cured orezx6> ia exhd xtoiaacL
(A/Ofked (Ms a fYxodel
BcAqabnS;
V>J\
UPA
t<cM>k| Aps ^Apoorva
[Wuru
OCVA)
88
Wi
THE
MATERIAL
QUESTION
|
NOTE ON FINANCE
M(4tdcd ne60UTC€6 Oidol “k> 4urs
epke^xertd dream'^n? Irvipa realik|
(
Wou| of" I ru6>{* rvsd CmWpO'ALj j
kwe, So-pxr Geezx provided Osnrel^
mu Caoxir^s ~ror a role ja a.
•tilns skot
dear
H(VkVhCXA,
produced (xj Q-cuifYvoA^ Parts md
r^dw\JLv\{,'filers makeG 4fecQ<
k(App£A !). J
AdaMj people ewe kelx'r^j (Ab md
t>€6»4t) V*jirV? (Ab Wilk
Oimo A^Sr 4Ub8r-^
FofCnAOSt
CoUXSfc,
Devamp c4A© kob
StrRarA Devaraua
arunW tas a. ivorkbpcxce
(as a. i*/oft<£pAC€.
■'Arvoltarr~ni«Ad lb AfWi/v? cux
-^or-Ubd (Ar—^orrACc
(Acre of rt^
i
sluAeJ-j Rocjs-fen Mcufcs
6
<■';
>916593
&M596
ittliw
fan
Liters
Petrol
.•■•
', .•*
.if
**-
IAS Ov
>. Oil
. ■; ■ •■•
•. •
■
-
.'
•
Indent Na
.
-
Vehicle No
dsorvxl ex pCrJLkire ♦ Some,
ias
are
cU€ cAax/IfmAI
W|-{k txrx
, ^rsaixnapcW,
Causes
4kou.flk NC- Can SuCVlVC
LviOUS
IY\eorub t>i
4) earn txj VariolAS
_ WOHL
a period
perftcrnunceS. Some, ContnLxvkoAS
U6 CoAkidsxixUif
4i pac, Wo odd
■drj (x ^ro^€66>»onal level
Mjfxeij -jir 4W 4x>r
work.
t ard,
e o4 o ur veklder C ttteLpe 4o venue
pa&cUcoJ
en\
postage, 4ek
mmarvCcdioxS,
-.-o..i.. i . 1 ...
i
73071
0033 0071
02-06-1998
1773
13-45-57
0805462541
0 1 30
41-25
2-00
2-06
45-31
The treasurer shall have full
93
darge of all moneys belonging
to the trust and shall cause true and accurate accounts to bo knot
of the sums of monsy received and exf’ndod on behalf of the trust
reedved, bajorJl our
Afvq
Will ao lou/anU
biulcU
Up & corp>vu> HurJ. We hope 4M"
iNterej
to/a 4k*s CcrpUS
( oJoM Wilk eanuMS -frofA ptrfvrriwty
cwl -taxckiM JI Will Cover Satzcr
AI 4k^-fwoi
our Corpus
Rs io.ooo
earned b^
^orksko
^orkskob =4r
(kbouh
I 000.
- accou/4.
wke/\ we CoAclucled 4ke
4Uiuk ex£>fAbtt> ouaoua!^ Io
. ^no ).
<-1
21.1
'
The trustees shall regularly keep and maintain
accounts of the trust properties and income and shall get the
accounts duly audited by a chartered accountant every year.
PHOTOGRAPHS AND ILLUSTRATIONS
SOURCES*
Adi( HnA6CUf\ ; pkoloafW>ki> of ... Mof^r
MmmaA i a Mcike?s4eDo;^aAAS sMa’o
Pa/vcu
9ly93,?G.
kkxliA Tl/aL It: CoQaqefe ou\l skcicA#,/
3,lo,
csv<gr.
; t^oarapkfe, pf>. :
/rv^a/foryi/ Morfesfap
M axtiMszU
rvewslci: pko{o^rupk of mprov'i2aHoA i<\ Pozaoa
Skcba, Cl
—r\,S
r^-an^a, bdlu,
\r—\-zvvw\zv*
i I
W » *V4 V
At\ao, Skrzupczak .* cqxajoa sketch of
— -■-.■>■>------- »--y~»— I J—TKKV—-
, f>43.
I
j
VI | *
fRkxlii4fc “Ifool', i^ke^
'dob G ,*Torun\ Poland,, 1^6, p, Q3.
STaxAJek OfeszczaU: pkojoafixpkb </ General TofYv^olen^, WrocLj^
*>
Ei*/g Modzdevjska; pkotwra^k o( in^xockofs w\4k ^uk'skc cktcUcA,
WckfSZ(XW& , (^87, p.1287^
frjwte,
pkkfl nxpk of TonNTO ofery ib a korpe jjvr
, UfJbOTv7 IJ se/p. 2J.
, QJcufk. 1
Manuel Bauer -
ojM
p • 3©;
----------- --------------
POfkuk r>.
iui, Oelki,
3kwUxM\ SWio, I^hAob! pkolo
Mfeflsa Cly ksi^: p kokoa nxp k "of
Umu n\anka 11 j, -4?.
N1 cwroze GrJ-w^ktjTpMojrupM>
Tpho too rap
0^ ■#€ kstawsboui Works kop,
BaAflnlone, G7-
, 76.'—J
i^S ord skdeM^ £o,<o3,G8(to—'72.
S , 60-62,66.
on
AFTERWORD
™al vejSiOA
rwl
(X
D
cvd Tfe A IckerAisk
All -ftds will
Tujo rmembe^
-fk, CofYspaJVj, hJekx Sivarma,^ aM Gopal B'»|’u
'kufYAT kxve (w U6 wkiie -fo(AT oikas kave joined : AsAok
kun\ar, Askk/at!kan\a (J.D.),
FWad and Poc^cwu
CU> a. ruxrund/ if
UbOf\
f arojAp
.^TRef^&, of r^ecebb'il
Kdurtf our wkciker Suck work i&~ri)r oae;
.<*
Suck work.
V e^UxksA, our driver,
If CofA/enie/vi’
ftmckoA aS driven -fir to Combine witk
orter
lies So we Ao
2Un\ aer\eml lor
^ronMSed Jronfs Assam. S&*n£& too floodI
vea
ROUGH GLOSSARY OF INDIAN WORDS
CU/\ ,
djSCotvkA>|= ;
fS ‘
/Wya : dRVYsa/4^fiA^7
o\jefr\af\c&:
noxl /Aode; P-^i,
A/a^M/G^Xzi •
a*
31,
Moner
: man
acknowledgements
4v rr\t| brolk^r AdirRjoJt>iis j>ai/\6{c4J
euxi ex3fC/S6iors; 4o
Compr'erAs ; 4o
Sisltr jLcula TS?
4nthdlt> "Ar 4k6rS ;
|>iV>kirv2 rrve “AujaoU (Xr^'cUukoA. . .
'Unducjiorv
—
Position: 144 (28 views)