Author Topic: नाटककार दिनेश बिजल्वाण का उत्तराखण्ड की पॄष्टभूमि पर आधारित नाटक "पंडेरा"  (Read 24850 times)

Anubhav / अनुभव उपाध्याय

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Thanks Dinesh ji for the details.

Thie High Hillar Group  staged many plays  on its own but in a few shows  some of the  Groups in Delhi and Out-side Delhi helped it  to stage the shows e.g.  Jagar for Guman Singh Rauteli, in fact it was Jagars production and artists were from High Hillar Group, Jai Singh Kaka- Uttrakhand Sahyog Samiti Mayur Vihar, Delhi,  Guman Singh Rautela- Akhil Gadhwal Sabha Dehra Dun, Gayya Mayya- Rotaract Club Delhi South, Chamatkar- Sadhan Natya Kala Kendra, Sahibabad.

Dinesh Bijalwan

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The last post also refers ' Chamatkaar' written by Late Lalit Mohan  Thapliyal.  As  informed by Shri Suwarn Rawat.  This play is  to be staged soon in Delhi.  The play will be in Hindi but some part  of it will be in garhwali boli.  Shri  Rajendran of NSD is taking this initiative.  Now a days they are rehearsing at NSD.  It is likely to be staged by 2nd week of March, 2009.

Dinesh Bijalwan

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Chamatkaar i.e Chimte Wale Baba , the play written by Late  Lalit Mohan Thaplyal(1920-2004) was staged at  Alliance Francaise Auditorium, 72 Lodhi Estate, New Delhi  by  New Delhi Theatre Workshop(NDTW) on 9-10 March, 2009.  It was directed by KS Rajendran.

This  production was deicated to the memory of  Late Lalit Mohan Thapalyal.
Shri Thaplyal, the author, playwright-director,  wrote in Hindi and Garhwali.  He wrote about 12 full length plays and  30 short plays including 10 children's plays.  His play, Chimte Wale Baba (Chamatkaar in Garhwali)  won the Delhi Sahitya Kala Parishad Award in 1990 .  Again  in 19995 he won it for Panne Ki Angoothi.  He established  Sadhana Natya Kala Kendra at this residence at Rajinder Nagar Sahibabad.  He has been active in theatre till end.

Chimtewale Baba- the story

The play is set in the surroundings of a pilgrim lodge on the road to the shrine of Badrinath in the Garhwal Himalyas.
In the background, snow clouded peaks of  the Himalayas  give a mystic touch to the  whole environment.   The pilgrims include, Professor  Manchand, who teaches Chemistry in Ajrmer, his wife Malti, a photo-journalist- Jayant from Delhi, Saroj a widow from Luknow , a police officer searching for a dreaded criminal and a fake sadhu all assemble at the  Tea shop of  Harkhu.     Nathu, the servant of  of Lala Harkhu is the favorite disciple of chimte wale Baba.   All the pilgrims are waiting for the Baba for different reasons.  Prof for a child,  Saroj for peace,  Jayant for a photo feature, Police Officer is suspecting that the Chimtewale Baba is the real criminal.   No one know for sure when th Baba is going to reappear.  Inspector  lures  Harkhu with a reward of Rs.5 lakhs  for caturing the suspect.  Events  take place and   Prof Manchand, Malti , Saroj and Jayant  realize the  hard truths of life.  Manchand could not compromise and jumps in the river.    The play works on many levels and explores the issue of man-woman relatonship and raises questions about the nature of spiritual pursuit and what nature does to men.

It was an excellent performance, simple but beautiful  set desining,  lights were good still has a lot of  potential for improvement.  Souti Chakraborty as Professor Manchand and Padmashree as Malti Impressed a lot. 

Dinesh Bijalwan

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PRESS RELEASES


Times of India, MONDAY JULY 16, 2007/EDUCATION TIMES

BBPS, Dwarka holds workshop on "Theatre in Education" Bal Bharti Public School, Dwarka conducted a workshop on "Theatre in Education" on June 30. The resource person was Suwarn Rawat. Suwarn in his address spoke on how an educator needs to be a co-learner, a motivator and a facilitator. 
 Delhi The Hindu: Friday, August 4, 2006 FRIDAY REVIEW
Excellence... with a speck of a slip

THEATRE "Pandera" was gleaming presentation at the just- concluded ANSDA festival held in New Delhi.
ROMESH CHANDER 
 













 This past week, the curtain came down on the eight- day festival organised by the Association of National School of Drama Alumni (ANSDA). The festival was indeed successful so much so that it presented a platform to NSD graduates, mostly working in their own socio -cultural imlieu and in their own language.
A hymn of Himani "Pandera", presented by Kala Darpan, a theatre group in Uttarkashi, is based on a novel of Rajeshwar Uniyal, adapted and directed by Suwarn Rawat, (1989 batch of NSD) is located in an imaginary village, Himani in the hills of Uttranchal.

 
http://www.hindu.com/thehindu
The word 'Pandera' in garhwali, reportedly means the natural source of water, a life- giving source for the simple inhabitants of a village and the fountainhead of their culture and folklore. It is the nerve center for all social activities and interaction between diverse characters of the village. Himani has become the symbol of new awareness. Rawat's work over the last 10- 15 years in Uttarkashi is commendable.
 
FRIDAY REVIEW
Delhi The Hindu: Friday, February 3,2006
Too many streams to this stream
THEATRE Kala Darpan's recent presentation of "Pandera" was engaging DIWAN SINGH BAJELI. A graduate of the National School of Drama, Suwarn Rawat has been directing plays for children as well as adults with considerable artistry. His "Neeli Chattri", an adaptation Ruskin Bond's "The Blue Umbrella", presented at the National School's Children's Theatre Festival, is a milestone in his career as a director. His latest venture, "Pandera", which was presented by Kala Darpan Rangmandal recently at the LTG auditorium, gives the picture of the hill people, their struggle for a better future and the opprtunism of the political class in a manner that is engaging. Adapted by Dinesh Bijalwan from Rajeshwar Uniyal's novel "Pandera". A case in point is the Tehri dam which has caused untold sufferings to the uprooted people whose centuries- old history and culture have drowned in the vast water forever, without leaving any trace. Delightful music
However, the music score by Uma Shanker Chadola, a well-known musicologist enables "Pandera" to offer some delightful moments to the audience. Featuring a large cast of 25 performers, the production projects some beautiful visuals. Director Rawat handles mass scenes aptly.
 
 
NATIONAL HERALD: New Delhi, Monday, July 7, 2003
Actor shops

UNLIKE Mumbai, Delhi may not be an epicentre for film production, but it is certainly a launching pad for budding artists whose ultimate aspiration is to become a star. Besides the old National School of Drama that has given some talented persons to the film industry in the past years, there are many theatre groups in the Capital that are not behind, in grooming new talents. Kala Darpan, a theatre group, is one of them.
It was the conclusion of a one-month-long summer theatre workshkop for childen conducted by Kala Darpan recently where acting was not limited just only to perform a role, but extented to other forms of the art also.
The other attraction of the month-long show was presentation of various plays i.e. "Bees Sau Bees" and "Khajoor Mein Atka", directed by Suwarn Rawat. "Phoolon Wala Ghar" was presented by the participants.

Rajendra Singh Markuna
 
THE SUNDAY TRIBUNE, JUNE 21, 1998
Kids' creativity to the fore
Tribune News Service
CHANDIGARH, June 20-
Spontanekous expression of artistic creativity by school children, moulded by expert like Suwarn Rawat, was the highlight at the concluding function of workshop at the Durga Das Foundation here today.
Technical finesse was not the aim of the show, but children more than impressed through improvisation in scenes, dances, and songs. The elements of personality development, relating to others and team work were nicely portrayed, much to the delight of the parents.
 
THE TRIBUNE, THURSDAY, JUNE 4, 1998
Tapping children's talent
Tribune News Service
CHANDIGARH, June 3
Theatre workshops are not revolutions but little pats to wake up sleeping faculties of latent talent among children.
A batch of the students aged 7-9 years could be seen training under Suwarn Rawat, one of the founder members of the theatre in education company of the NSD. It was interesting to watch him "practice gibberish" with children. "It is important to bring all children on a common platform.Only when the teacher establishes a friend-like rapport with the children the workshop becomes more effective," he said.
Rawat said in case the workshops were not followed-up, they would lose their meaning. Children were exposed to satellite channels which sometimes proved counter-productive.
Rawat played the lead role in Mohan Agashe's 'Rani Aur Pinto' an adaptation of a German play which was staged at Warsaw. He has directed several plays.

 

 “Times of India”, 1994
Smita Nirula



Working with the National School of Drama's Theatre in Education Company (TIE), Aagashe gave the Capital its first taste of the Grips method with Rani Aur Pintu, the Hindi adaptation of Max and Milly written by Volker Ludwig. Based on the theory that theatre goes beyond sheer entertainment and can be used as a medium to create awareness among children, the Grips method wants children to concentrate on the daily situations of everyday life, and teach them how to deal with the world around them.
 
"To circumvent ghosts and goblins, gnomes and fairies, miracles, magic and false illusions and to concentrate instead on the day to day situations and problems of life; the aspirations and dreams of the child equipping him to handle this with dexterity," is the message that came across as well.

The story of a brother and sister who live with their mother, while father stays in Dubai, and their chance meeting with Munna, a boy who lives with his father and stepmother, neither of whom treated him well, ends in a fast friendship between the children and awareness among the adults as to the needs and necessities of their progeny.
A cast of five adults, a simple multi-coloured Jungle Gym doubling as bunk beds, a large trunk and a few assorted props completed the essentials for the play.
Suwarn Rawat as munna, the children's friend was the most effective.
 
THE STATESMEN FEBRUARY 14 1989
Sensitive rendering of Brecht classic
By Our Drama Critic
Just when a number of people were wondering where the National Shool of Drama was headed, comes this wonderful presentation of Round Head and Peak Head by the third year students of the institution.
In all this, Brecht's message came through loud & clear: that all reforms, however well intentioned, turn out be adroit diversionary measures which only reduced the chances of revolutionary disputes of the inevitable class war.   
 
The ultimate irony occurs when the farmer's daughter agrees to sleep with the prison Governor to save the Zamindaar from hanging even as her father agrees to stand in for the condemned man to redeem his debt.
What seemed to start out as a confrontation between the rulers and the ruled developed into a fascinating clash between the rulers themselves.
This class would ultimately triumph was quite apparent from the very beginning but the manner in which this was achieved made one sit up and wonder: is there really no hope for the peasants of this world and their ilk? Sadly,one had to conclude there was none, given the propensity of revolutionaries to tailor.

Singling out individuals in a 34 member cast might seem slightly unfair, but for the record, must be mentioned - Suwarn Rawat as the farmer Callas, a man who becomes traitor to his class because he considers the new racial theory to be a legitimate means of acquiring the two horses he needs to cultivate his land.
 
THE HINDUSTAN TIMES, NEW DELHI SUNDAY FEBRUARY 12 1989
Expose of divide and rule policy
Stage/ Kavita Nagpal

Round Head and Peak Head is the play Robin Das chose to direct for the National School of Drama (NSD) Final Year Students at the Circulation Unit Studio Theatre at Bhalpur House.This is one of Bertold Brechet's plays, marks his later 'didactic' period. Round Head and Peak Head is a scathing expose of the 'divide and rule' policy. It lays bare the diversionary tactics of rulers who use reforms to dilute revolutionary class struggles.
There is a peasant uprising in the fictional land of Yahoo. The ruler shrewdly uses Bhamborin's fanatical racist ideology as a tool to create a Hitler-like state divided not as the exploited poor and rich landowners but as round and peak heads.

This leads to a division in the ranks of the fighting peasants with the rounds led by Callas, exceptionally well delineated by Suwarn Rawat, falling headlong into the trap. He, in effect, becomes a trailor to the cause, and of course his class, the realisation of which dawns when he sees his comrades led to the gallows by a now united gentry even as his daughter is raped whilst stepping in for a rich man's daughter. All so that the family can survive.

 

एम.एस. मेहता /M S Mehta 9910532720

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Congraulations Dinesh Ji

This is indeed a big achievements.

PRESS RELEASES


Times of India, MONDAY JULY 16, 2007/EDUCATION TIMES

BBPS, Dwarka holds workshop on "Theatre in Education" Bal Bharti Public School, Dwarka conducted a workshop on "Theatre in Education" on June 30. The resource person was Suwarn Rawat. Suwarn in his address spoke on how an educator needs to be a co-learner, a motivator and a facilitator. 
 Delhi The Hindu: Friday, August 4, 2006 FRIDAY REVIEW
Excellence... with a speck of a slip

THEATRE "Pandera" was gleaming presentation at the just- concluded ANSDA festival held in New Delhi.
ROMESH CHANDER 
 













 This past week, the curtain came down on the eight- day festival organised by the Association of National School of Drama Alumni (ANSDA). The festival was indeed successful so much so that it presented a platform to NSD graduates, mostly working in their own socio -cultural imlieu and in their own language.
A hymn of Himani "Pandera", presented by Kala Darpan, a theatre group in Uttarkashi, is based on a novel of Rajeshwar Uniyal, adapted and directed by Suwarn Rawat, (1989 batch of NSD) is located in an imaginary village, Himani in the hills of Uttranchal.

 
http://www.hindu.com/thehindu
The word 'Pandera' in garhwali, reportedly means the natural source of water, a life- giving source for the simple inhabitants of a village and the fountainhead of their culture and folklore. It is the nerve center for all social activities and interaction between diverse characters of the village. Himani has become the symbol of new awareness. Rawat's work over the last 10- 15 years in Uttarkashi is commendable.
 
FRIDAY REVIEW
Delhi The Hindu: Friday, February 3,2006
Too many streams to this stream
THEATRE Kala Darpan's recent presentation of "Pandera" was engaging DIWAN SINGH BAJELI. A graduate of the National School of Drama, Suwarn Rawat has been directing plays for children as well as adults with considerable artistry. His "Neeli Chattri", an adaptation Ruskin Bond's "The Blue Umbrella", presented at the National School's Children's Theatre Festival, is a milestone in his career as a director. His latest venture, "Pandera", which was presented by Kala Darpan Rangmandal recently at the LTG auditorium, gives the picture of the hill people, their struggle for a better future and the opprtunism of the political class in a manner that is engaging. Adapted by Dinesh Bijalwan from Rajeshwar Uniyal's novel "Pandera". A case in point is the Tehri dam which has caused untold sufferings to the uprooted people whose centuries- old history and culture have drowned in the vast water forever, without leaving any trace. Delightful music
However, the music score by Uma Shanker Chadola, a well-known musicologist enables "Pandera" to offer some delightful moments to the audience. Featuring a large cast of 25 performers, the production projects some beautiful visuals. Director Rawat handles mass scenes aptly.
 
 
NATIONAL HERALD: New Delhi, Monday, July 7, 2003
Actor shops

UNLIKE Mumbai, Delhi may not be an epicentre for film production, but it is certainly a launching pad for budding artists whose ultimate aspiration is to become a star. Besides the old National School of Drama that has given some talented persons to the film industry in the past years, there are many theatre groups in the Capital that are not behind, in grooming new talents. Kala Darpan, a theatre group, is one of them.
It was the conclusion of a one-month-long summer theatre workshkop for childen conducted by Kala Darpan recently where acting was not limited just only to perform a role, but extented to other forms of the art also.
The other attraction of the month-long show was presentation of various plays i.e. "Bees Sau Bees" and "Khajoor Mein Atka", directed by Suwarn Rawat. "Phoolon Wala Ghar" was presented by the participants.

Rajendra Singh Markuna
 
THE SUNDAY TRIBUNE, JUNE 21, 1998
Kids' creativity to the fore
Tribune News Service
CHANDIGARH, June 20-
Spontanekous expression of artistic creativity by school children, moulded by expert like Suwarn Rawat, was the highlight at the concluding function of workshop at the Durga Das Foundation here today.
Technical finesse was not the aim of the show, but children more than impressed through improvisation in scenes, dances, and songs. The elements of personality development, relating to others and team work were nicely portrayed, much to the delight of the parents.
 
THE TRIBUNE, THURSDAY, JUNE 4, 1998
Tapping children's talent
Tribune News Service
CHANDIGARH, June 3
Theatre workshops are not revolutions but little pats to wake up sleeping faculties of latent talent among children.
A batch of the students aged 7-9 years could be seen training under Suwarn Rawat, one of the founder members of the theatre in education company of the NSD. It was interesting to watch him "practice gibberish" with children. "It is important to bring all children on a common platform.Only when the teacher establishes a friend-like rapport with the children the workshop becomes more effective," he said.
Rawat said in case the workshops were not followed-up, they would lose their meaning. Children were exposed to satellite channels which sometimes proved counter-productive.
Rawat played the lead role in Mohan Agashe's 'Rani Aur Pinto' an adaptation of a German play which was staged at Warsaw. He has directed several plays.

 

 “Times of India”, 1994
Smita Nirula



Working with the National School of Drama's Theatre in Education Company (TIE), Aagashe gave the Capital its first taste of the Grips method with Rani Aur Pintu, the Hindi adaptation of Max and Milly written by Volker Ludwig. Based on the theory that theatre goes beyond sheer entertainment and can be used as a medium to create awareness among children, the Grips method wants children to concentrate on the daily situations of everyday life, and teach them how to deal with the world around them.
 
"To circumvent ghosts and goblins, gnomes and fairies, miracles, magic and false illusions and to concentrate instead on the day to day situations and problems of life; the aspirations and dreams of the child equipping him to handle this with dexterity," is the message that came across as well.

The story of a brother and sister who live with their mother, while father stays in Dubai, and their chance meeting with Munna, a boy who lives with his father and stepmother, neither of whom treated him well, ends in a fast friendship between the children and awareness among the adults as to the needs and necessities of their progeny.
A cast of five adults, a simple multi-coloured Jungle Gym doubling as bunk beds, a large trunk and a few assorted props completed the essentials for the play.
Suwarn Rawat as munna, the children's friend was the most effective.
 
THE STATESMEN FEBRUARY 14 1989
Sensitive rendering of Brecht classic
By Our Drama Critic
Just when a number of people were wondering where the National Shool of Drama was headed, comes this wonderful presentation of Round Head and Peak Head by the third year students of the institution.
In all this, Brecht's message came through loud & clear: that all reforms, however well intentioned, turn out be adroit diversionary measures which only reduced the chances of revolutionary disputes of the inevitable class war.   
 
The ultimate irony occurs when the farmer's daughter agrees to sleep with the prison Governor to save the Zamindaar from hanging even as her father agrees to stand in for the condemned man to redeem his debt.
What seemed to start out as a confrontation between the rulers and the ruled developed into a fascinating clash between the rulers themselves.
This class would ultimately triumph was quite apparent from the very beginning but the manner in which this was achieved made one sit up and wonder: is there really no hope for the peasants of this world and their ilk? Sadly,one had to conclude there was none, given the propensity of revolutionaries to tailor.

Singling out individuals in a 34 member cast might seem slightly unfair, but for the record, must be mentioned - Suwarn Rawat as the farmer Callas, a man who becomes traitor to his class because he considers the new racial theory to be a legitimate means of acquiring the two horses he needs to cultivate his land.
 
THE HINDUSTAN TIMES, NEW DELHI SUNDAY FEBRUARY 12 1989
Expose of divide and rule policy
Stage/ Kavita Nagpal

Round Head and Peak Head is the play Robin Das chose to direct for the National School of Drama (NSD) Final Year Students at the Circulation Unit Studio Theatre at Bhalpur House.This is one of Bertold Brechet's plays, marks his later 'didactic' period. Round Head and Peak Head is a scathing expose of the 'divide and rule' policy. It lays bare the diversionary tactics of rulers who use reforms to dilute revolutionary class struggles.
There is a peasant uprising in the fictional land of Yahoo. The ruler shrewdly uses Bhamborin's fanatical racist ideology as a tool to create a Hitler-like state divided not as the exploited poor and rich landowners but as round and peak heads.

This leads to a division in the ranks of the fighting peasants with the rounds led by Callas, exceptionally well delineated by Suwarn Rawat, falling headlong into the trap. He, in effect, becomes a trailor to the cause, and of course his class, the realisation of which dawns when he sees his comrades led to the gallows by a now united gentry even as his daughter is raped whilst stepping in for a rich man's daughter. All so that the family can survive.

 


rajsha0222

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Another scene "JAI BHARAT JAI UTTARAKHAND"
on stage:  Sushila Rawat, Kanta Panwar, Manju Bahuguna, Chandra Singh Rahi (famous Uttarakhandi Singer), and Late sh. dinesh Kothiyal:

Helloo rajen sir how r u ? I like dis jagar pic which u uploaded can u share its video i want to see its video plzzzzzzz?

 

 

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