Alps Writes

THEATRE APPRECIATION COURSE- 2024
National School of Drama, New Delhi

Many of my friends and teachers have been curiously asking me about my course at the National School of Drama. I enjoy sharing about the functioning of the course as well as NSD. People who admire visual art would be aware of the institute NSD, established for theatre development. First as a theatre artist and now as a Research Scholar working on drama pedagogy at the Department of English, I'm trying to make the readers of this blog aware of this course if they wish to join in the future. Not everyone interested can enroll in a three-year diploma course at NSD, but they may apply for the Theatre Appreciation Course held every year at the NSD campus.

I would love to express my gratitude to Curator Mr. Amitesh Grover and the co ordinator of the course Ms. Kanchal Ujjal and NSD team for the beautiful conduct of the course.

ABOUT THE COURSE:

Theatre Appreciation Course (TAC), conceived and curated by Mr. Amitesh Grover (Associate Professor), was started at the NSD in 2010. In the course, you will attend talks by renowned theatre actors, designers, and directors, and you will get to watch historic plays from the NSD archive. We will discuss a range of topics such as ‘modernity’, ‘tradition’ and ‘popular’ in performance; the classical, its formations and challenges; how literature, media and new technology are shaping contemporary theatre. We will also discuss the changing relationship between theatre-making and spectatorship, and the challenges of theatre pedagogy in the Indian context. The course is complemented with a tour of the NSD campus, its various departments (carpentry, lighting, costumes, set-props, management) and a visit to the photo and music archives. (copied this paragraph from course invitation mail)

EXPECTED PARTICIPANTS

The Theatre Appreciation Course is designed for individuals interested in gaining a deeper understanding and appreciation of theatre. It caters not only to artists within the theatre realm but also to enthusiasts and theatre spectators. People from diverse professions across India enroll in these courses every year.

APPLICATION PROCESS

To apply, you need to fill out the form on the website when it becomes available. The application form requests basic information from applicants, such as educational background. The main questions are:

1) Why do you wish to enroll in the course? (Answer in 500 words)

2) Write about three plays you have watched in the last five years. (Each answer in 500 words)

Out of the hundreds of applications received, only 50 applicants were selected. Selected candidates are required to pay a course fee of 5000/- (fees as of 2024). Candidates who are selected are invited to attend the course at the NSD campus.

FUNCTIONING OF COURSE

This year, the course spanned eight days, running from 2 pm to 8 pm daily. Additionally, the institute offered the Scene Writing workshop by Asif Ali Haider Khan for six days, held from 11 am to 1 pm. Despite the hectic schedule, the experience was rich in knowledge, creativity, and much more. The program provided a diverse exploration of theatre, facilitated by renowned figures and practitioners in the field. We were exposed to a variety of perspectives, some of which were even paradoxical, presented by eminent practitioners. Their insights expanded our understanding of theatre, emphasizing that it extends beyond the proscenium stage. Practitioners continually experiment with content, form, space, and characters, showcasing the dynamic nature of the art form. Recognizing the importance of practitioners' perspectives, we were left inspired and enlightened by the experience.

INAUGURATION BY SHRI SWANAND KIRKIRE AND SHRI CHITTARANJAN TRIPATHY

The course was inaugurated with an address by the alumnus and keynote speaker, Shri Swanand Kirkire ji, who shared his insightful idea on theatre: "Natak kitna sachha hai aur jivan kitna natakiy hai..."

ABOUT SESSIONS :

Many sessions led by directors, playwrights, and practitioners were held during the 8-day course. The schedule provided valuable insights into the field. I would like to highlight some interesting aspects from a few of these sessions. When we talk or think about drama, the static image of theatre or stage often comes to mind. However, the practitioners' approach went beyond that at NSD.

Institutional histories: Theatre training & Pedagogy at NSD -AMITESH GROVER

Amitesh Grover ji, is a fantastic director and a sharp curator of the course, discussed Institutional Histories: Theatre Training in Pedagogy at NSD. As a research scholar working on drama pedagogy in literature classrooms, I was keen to hear about the changes in pedagogy over time. We were introduced to different types of pedagogy brought to NSD by its directors. Ebrahim Alkazi, trained at the Royal Academy of Dramatic Art (RADA), brought practices happening in London to NSD for students. B.V. Karanth had a more rooted view of tradition. He gave importance to Folk theatre of India and had students leave the campus for 45 days to learn from actual folk people in the field. The diverse perspectives of directors have shaped NSD and its functioning. Currently, Chitranjan Tripathy ji is working as the director of NSD.

Amitesh Grover ji talked about Money Opera, an experimental theatre practice, also known as Post-Dramatic Theatre in academic field. He discussed the concept where there isn't necessarily a story or a single story... "Kahani ke bina rangmanch ho sakta hai ki nahi?" (Can there be a stage without a story?) The play unfolds in various scenes within a single building on different floors, allowing the audience the liberty to move during the performance. He also mentioned the quote by someone: "Theatre is the last human gathering left."

The Power of Dialogue - ABHIRAM BHADKAMKAR

Abhiram Bhadkamkar spoke on "The Power of Dialogue." He covered various aspects of writing, emphasizing concepts such as not necessarily writing what we mean, the writer is to be understood not to be judged. He mentioned that behind every dialogue, there is an agenda, illustrating this with an example of an iconic Bollywood dialogue: "Mere pass Maa hai."

Rhythm & Silences: The Poetry in Playwriting - Neel Chaudhary

Neel Chaudhary, a playwright known for his modern approach, discussed "Rhythm & Silences: The Poetry in Playwriting." He expressed his belief in portraying the smallest, most intimate incidents of life on stage. His vision of seeing theatre is very modern and intimate.

Building a Character - Aniruddh Khutwad

Aniruddh Khutwad discussed "Building a Character" and shared insights into his process of selecting characters for his dramas. His approach of breaking away from the conventional norms is fascinating. He described his method of casting a character, mentioning that he often selects individuals, even those are non-Hindi speakers, and teaches them Hindi for their roles in particular dramas. He doesn't just assign them minor roles but gives them significant parts to play.

Draping a Character: A Demonstration in Costume Design

Amba Sanyal is a renowned costume designer in India. She has a very connective aptitude for artists. During her session, she didn't just speak but also demonstrated her ideas. Her session was conducted in a workshop mode, where she instructed us to select a particular costume in silence and then imagine the history of the character after wearing that garment. Another exercise involved challenging the normal perspective by wearing Western clothing in unconventional ways. Her creative approach to costume designing stood out, as she not only showcased her own creativity but also encouraged others to think creatively. Amba Sanyal believes that costumes are more than just pieces of clothing; they establish characters and provide them with confidence and imagination when worn. She shared stories and examples of how costume design can shape or influence characters. For her, costumes are integral to character development and storytelling.

Laughter & Farce: The Making of Taj Mahal Ka Tender - Chittranjan Tripathy

Chittranjan Tripathy, the director of NSD, a theatre artist, and a cinema actor, also known for his role as Trivedi ji in Sacred Games, delivered a session on "Laughter & Farce: The Making of Taj Mahal Ka Tender." With his sarcastic and sharp sense of humor, he discussed farce and comedy. He elaborated on the process behind his play Tajmahal ka Tender, a farce depicting Shah Jahan's attempt to build the Taj Mahal amidst contemporary corruption. Tripathy imagined Shah Jahan's predicament in today's corrupt environment and how it would affect his endeavor. He gave an example of Shah Jahan's entry accompanied by the song "Takdadhim Takdadhim," portraying him as a small man who does not walk like a king should, creating a farcical effect for the audience. Tripathy challenges traditional logic associated with visual representation on stage. He believes, "every actor is a director and every director is an actor in the theatre."

Walk: A Visit to the NSD Studios & Theatres - by Parag Sharma

Parag Sharma, the production manager of NSD, guided us through a tour of the NSD campus, introducing us to its various departments such as Sammukh, Studio & Theatre, Bahumukh (Mobile Theatre), Abhi Manch Costume Department, and Property Department. Exploring the functioning of these objects and structures was both informative and fascinating.

GLIMPSES OF CAMPUS TOUR