A Famous Hindi (Indian) Play- Tumhari Amrita. Bloggers Note- The play Tumhari Amrita is a very famous play in this age of modern theatre in India. Played by best actors of theatre including farukh Sheikh. TUMHARI AMRITA – A HUMBLING EXPERIENCECan one view the inscape of an existence, that is larger than itself in terms of emotional and spiritual space, and call it a mere life ? Can one ever know anyone intimately even if one stayed in touch with his or her thoughts and feelings throughout a lifetime? How many of us know ourselves, or seek to know who we really are? How many shades can be worked into human portraits with ever changing hues of personality, influences, backgrounds, upbringing, relationships, aspirations, circumstances, decisions, vanities and regrets? These are the larger questions that . Set in a stark minimalist stage with just two tables and chairs, the fabric of the lives and times of the two protagonists is woven with the magic of just words. Shabana Azmi is Amrita Nigam and Farooq Sheikh is Zulfi Hydar. Childhood friends, buddies, lovers, confidantes, soulmates, and ultimately learners in the journey of life. You may hold someone’s hand all your life and never see his/her face, is the ultimate irony it teaches you. Pages in category 'Indian plays' The following 74 pages are in this category, out of 74 total. Tughlaq (play) Tumhari Amrita; U. Urubhanga; Usha Parinayam. OPEN Magazine 20 January 2014, Author: Open Media Network, Name: final. Published: 2014-01-09T00:00:00.000Z. OPEN Magazine 20 January 2014. Free Download New Mp3 Music 2016 Gratis. Download Latest Hindi,Pop,Rock,Reggae,Hiphop,Disco,Punjabi, Remixes and Bhangra Tranding Music 2016. YUMRAAJ JI KUCHH KARIYE (Bhagwadajjukiyam) is a stylized play based on Natyadharmi Shaili. YUMRAAJ JI KUCHH KARIYE Play Schedule(s) 6:00 pm, Wed. Glamsham is a popular Bollywood news portal by providing latest news, movie reviews, music reviews, and other happenings in Bollywood. Mone Ki Dwidha & Script: Hemanta Mukherjee: Tomar Akash Tomar Batash Volume 1: New Dzire Plus. Shamsul Islam, University of Delhi. Papers Theatre/ Culture/Literature (English). Asia and United States where she staged 22 shows of Mujhko Qaid Tumhari Mil Jaye. Bhagwad Geeta in Hindi.pdf FREE DOWNLOAD. Short Motivational Hindi Stories; Readers/Visitors. Tumhari Amrita, An Unforgettable Play: Nirmala Garimella //. Tumhari Amrita was conceived many years back in Boston. When the actors are as skilled in their craft as Shabana and Farooq, we tend to overlook their talents because what we see in the story- telling mode of narration is so natural, that we are not even fascinated by it, until we realize how we have been drawn effortlessly into another world. But, they are personal letters and we are peeping into intimate spaces with the permission of the writers themselves and delivered to us in their own voices. Yet surprisingly, there is no lurid anticipation of voyeurism. That is one of the successes of this playwright and of the performers. Both actors play their parts with brilliant ease where all they have at their disposal is the use of their voices and ex- pressions to hold an audience enthralled, for an hour and a half. The sense of space, place, world, philosophy comes purely from the characters who tell their story. The script enables this with touches of constant humour peppered throughout, in the various little ironies and paradoxes of life, quirks and perversities; or in sketching characters with shades of mischief, playfulness, sarcasm or fancies and foibles that resonate in our own fallible lives. We recognize these and swell up in laughter and sighs at our shared human predicament. Amrita is the intrepid painter with an innate sense of poetic beauty, a quiet sense of inward- looking tragedy and a desire to experiment impulsively and flirt with adventure. However, throughout there is an honesty about her that is at times brooding and at other times brutal. This is set against Zulfi, who is the traditional everyday man ruled by either his inability to stand up against a much- admired patriarch or the various commercial and familial priorities that bind him. At one level, the play is about this business of not being able to get in touch with either ourselves or others as we bungle along in search of social approval and comforts. And yet, even those of us like Amrita who choose to fly the coop cannot remain unfettered, even if that is so by a different set of restraints. She is the one who ponders on death and wonders what it would be like to cut her veins and watch it bleed. She is the one who goes to the beach and sleeps nude on the golden sands and is outraged when the man she is with wants to paw her. She employs drinks and drugs in her attempt to free her mind from herself and to be the detached observer. Yet, she ultimately has the moral fiber to confront her own falsehoods and self- deceptions with courage and strength that is one of the defining moments of this play. Not just acceptance but admiration of her condemned illiterate step- mother of years and the new light in which she sees her now, in contrast to her own rebellion, is a humbling experience for the audience as well, as we recognize in ourselves and in our instant response to the play’s situations, our own falsities and pretenses. Amrita is poetic and maverick, has travelled the world, loses herself in the self- centered melee of the western world, and experiments with forgetfulness to find herself. Zulfi, on the other hand, sits in his own country and grows in stature to be a statesman of repute. He is rooted in the need for stability, honour and security, and is enslaved by time, work and social priorities. He neither seeks nor finds himself till the final loss of Amrita hits him. It is like a jugalbandi, like a poem where the musical notes move in tandem with the emotional wavelengths to set the rhythm. And yet, it is non- melancholic and that is the surprise – the play’s ability to keep it light and unencumbered by sorrow and drag it down where it cannot be redeemed. The letters are charming and platonic with barely any passion. There is no hint of sexuality or even sexual tension. Despite that, the chemisty is unflagging. The intimacy is felt more in terms of time than emotion. The lives lived in the ordinary events, and in commonplace everyday newyears and birthdays bind together a longevity test for the sustainability of the relationship. This is true for a lot of us too. Our lives are stitched together by threads of common shared experiences that are ultimately unique and special for each of us. It is also concerned with the larger metacognitive question of knowing about knowing. Amrita who spends three days with Zulfi searches for the man in the letters. The mind body disconnect is hinted at making us wonder about the real nature of our attractions and the dichotomies and splits between the real and imagined and perhaps the nature of reality itself. Like any classic literary piece, the play employs several leit motifs like the mirror, the painting, the creeper to suggest larger truths. Amrita herself is like a painting and as the play ends, the canvas is complete by the significance of her life and persona. Poetry is a part of her nature. Her descriptions of pain and love which she finds married in Pieta, as motherly love that is supreme, is revised to a human and universal condition, when she experiences compassion for Zulfi’s wife if she Amrita accepted his late marriage proposal. Her description of memories as crisp autumn leaves beneath her feet, her honest admission that she could live in the comfort of a veil of canards, or of how madness cannot be shared, are instances of a soul of beauty. Truth is Beauty and Beauty Truth is what she is all about. He on the other hand, is you and me. Safe, sane, secure and ordinary. His weaknesses, his timidity is ours. His late marriage proposal to her is self serving and cowardly, as were his reasons for rejecting her earlier. His education, because of her life and death, and his recognition of both their true natures, is our education too.
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