Show Timings : 19.30 PM Schedule date : 17 Oct 2019 - 18 Oct 2019
Set deep inside an American federal prison, David Coleman Headley is a one-man show that explores the life, times and lies of the man that planned the 26/11 attacks. Years later, removed from his life and in prison for the next 35-years, Headley is compelled to confess his sins. He carefully lays out the events of his colorful life and need for attention. Headley is the story of a lost boy torn between his American mother and Pakistani father. He delves into both, the details of his story and nuance of his emotional life, which led him to become a double agent. He lived the life times of the war and terror and made all the wrong decisions.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 15.30 PM,19.30 PM Schedule date : 19 Oct 2019 - 19 Oct 2019
An adaptation of Nikolai Gogol’s – The Government Inspector, this play takes us through a comic outing on the Political, administrative turmoil happening in a small town when unknowingly a senior officer from the Capital is in town for inspection. A laugh riot all the way..!!
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 15.30 PM Schedule date : 20 Oct 2019 - 20 Oct 2019
This is the story of an epic struggle between an old, seasoned fisherman and the greatest catch of his life. For days together he has returned home empty handed. One fine day he sets out far beyond into the sea and drops his lines. At noon, a big fish, which he calls Mari, takes the bait but the old man cannot pull it in. Instead, the fish begins to pull the boat. For a couple of days the old man struggles with the fish, with sharks and with the sea, to survive and get back home.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 20 Oct 2019 - 20 Oct 2019
From childhood to old age, a human life goes through various stages - physically and emotionally. A child becoming an old man or an old man becoming a child, thus completing the circle of life, is a miracle in life as each stage of life has its own unique gift to give to humanity. Let us remember that at each stage of our life, we are protected and nurtured by nature. We ought to take the same attitude toward nurturing the human life cycle as we do toward saving environment. Be it a child or a boy or an old man, life at every stage is precious, very very precious.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 22 Oct 2019 - 22 Oct 2019
The entire play is situated in court. Sean, a lower grade army man had killed the senior army officer. This murder case discussion takes place in the play. We have done detailed work with army ranks and also met army officers for a power packed performance...
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 23 Oct 2019 - 24 Oct 2019
Girish Karnad’s drama revolves around the unsung tales of ordinary Bengaluru citizens and their struggles. Starting under a single roof, these lives branch out in various directions, get entangled in the swirl of life outside where they lose track of themselves, they separate or unexpectedly collide and careen off each other. The city is Bangalore, but anyone familiar with life in a modern Indian megalopolis will instantly respond to this portrayal of urban aspirations, conflict, blind groping and violence. The struggles and the madness is interwoven with the joy and the hilariousness of everyday life in our city.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 23 Oct 2019 - 24 Oct 2019
Girish Karnad’s drama revolves around the unsung tales of ordinary Bengaluru citizens and their struggles. Starting under a single roof, these lives branch out in various directions, get entangled in the swirl of life outside where they lose track of themselves, they separate or unexpectedly collide and careen off each other. The city is Bangalore, but anyone familiar with life in a modern Indian megalopolis will instantly respond to this portrayal of urban aspirations, conflict, blind groping and violence. The struggles and the madness is interwoven with the joy and the hilariousness of everyday life in our city.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 25 Oct 2019 - 25 Oct 2019
'Tughlaq' is a play about the turbulent rule of fourteenth century Delhi sultan Mohammed bin Tughlaq. The protagonist, Mohammed bin Tughlaq, had great Ideas and a grand vision, but his reign was an abject failure. Tughlaq was known for his reformist ideas, one of which was shifting the capital from Delhi to Daulatabad in order to have a capital at the centre of his province. This play covers the consequences of this decision and deals with his clever plots to eliminate his opponents. These end in scenes of utter chaos and misery and Tughlaq is left alone and abandoned.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 15.30 PM,19.30 PM Schedule date : 26 Oct 2019 - 26 Oct 2019
"On a typical day, in a majestic bedroom six women are hanging out and chit chatting about various things and one of them is about a certain man who happens to be their husband! These six women are none other than the six queens of Henry VIII, who were married to him at different time at different ages but died because of different reasons. Sometimes simply because of the King’s wish. There is Catherine of Aragon, Ann Boleyn, Jane Seymour, Ann of Cleves, Katherine Howard and Catherine Parr; the ill-fated wives of Henry VIII who were betrayed, beheaded, barren, bemused, broken and bored, just because of one man. And in the midst of these they also compete among themselves as to who was the truest and the best queen. Six dead Queens is a rib tickling comedy, where there is music, songs dance and lots of laughter. Although the characters are from past the play definitely reflects upon problems and issues that women face at present, but of course through humor! Throughout the course of the play the queens accepts the challenge of being their true self, enemies are transformed into comrades, and the women behind the titles band together to raise a raucous royal coup against their fat, flaccid, inflatable spouse."
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 15.30 PM,19.30 PM Schedule date : 27 Oct 2019 - 27 Oct 2019
Manjula Nayak is not a very successful Kannada short-story writer. She attains sudden wealth and international fame after writing a best-seller in English. The question that haunts Manjula is whether by opting for a global audience, she has betrayed her own language and identity. She now faces issues of loyalty and betrayal. And, without warning, it is her own image that decides to play confessor, psychologist and inquisitor The play explores the dilemma that is faced by Indian writers who choose to write in English, and is a scathing look at the Indian literary establishment as well as a moving story of conflict and the desire for fame. It is also one of the first plays that straddled the world of theatre and technology in Indian theatre. ‘Bikhre Bimb’ in Hindi, ‘Odakalu Bimba’ in Kannada, ‘A Heap of Broken Images’ in English, is Ranga Shankara’s first production (2005), the play opened in two different languages at the same time. Directed by Girish Karnad and K M Chaitanya and featuring Arundhati Nag, it was hailed as one of the best productions in the country in 2005. The English version ‘A Heap of Broken Images’ is performed in English by actor Arundhati Raja.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 29 Oct 2019 - 29 Oct 2019
“Uchhishta” means “left overs”. This Kannada play “Uchhishta” is an effort to understand and appreciate the trials and tribulations of the young, burdened with the inheritance of “left overs”, a consequence of unethical life of the old. A society which is devoid of ethics & morals and guided by law alone, will eventually turn out to be an uncivilized one.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 30 Oct 2019 - 30 Oct 2019
Life is about small details than bigger definitions. Love, anticipation, desperation and dreams make life a well garnished experience and these smaller notes are what makes life worth living. The compilation of small stories in Vasudhendra's Mithuna, based on Telugu original by Sriramana is one such garnished experience and gives a sense of life fulfilled with these smaller elements without much pomp and glory of intellectual reasoning. Our effort with this play is a sincere try towards bringing on stage, these elements that make life beautiful, simplistic yet contented. Childhood lurings, teenage attractions, old age love and the memories these experiences leave behind in one's life is what makes the life of a common man. Our effort is to bring up these common yet special elements that make the common man's life an uncommon one.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 31 Oct 2019 - 31 Oct 2019
“Uchhishta” means “left overs”. This Kannada play “Uchhishta” is an effort to understand and appreciate the trials and tribulations of the young, burdened with the inheritance of “left overs”, a consequence of unethical life of the old. A society which is devoid of ethics & morals and guided by law alone, will eventually turn out to be an uncivilized one
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Nov
Show Timings : 19.30 PM Schedule date : 01 Nov 2019 - 01 Nov 2019
'Beediyolagondu Maneya Maadi', written in Marathi by Cham.Pra. Deshapande, translated by Surendranath S., and Sripathi Manjinabail; directed by Mohit Takalkar, in a satirical and a humorous vein comments on the degenerating nature of religious festivals and disproves traditional dogma in a realistic setting. The occasion is the much celebrated Ganesh Chathurti right in the thick of Pune's middle-class, Maharashtrain-Brahmin dominated locality where the protagonist, Shreepad and his wife Sukanya have come to an agreement that every alternate year the razzmatazz of the Ganesh Chathurti will not disturb the sanctity of their home which in simple terms mean, no celebrating the festival and not even allowing its slightest sound or whiff to penetrate their house. Despite Sukanya's minor complaints all seems to go well until Shreepad's old aunt, her son and daughter-in-law unexpectedly turn up with their infant son with the solitary intent of watching the procession. The aunts voracious desire to witness the procession and Shreepad's staunch refusal to allow her to do so sets the tone of this humorous and remarkably pertinent play. As aunt and nephew take turns to explain each other’s situation with the aunt often scheming with the others to sneakily see the procession, the plot thickens. Shreepad's logical, reflective and philosophical rationalizations are balanced by the more immediate necessity of the situation that is both habit and religion driven. The processions approaching tenacity becomes a barometer for the muted tension that the characters begin to reel under and resonate the fallacious arguments of the brigade. The play also successfully evokes the mores of a middle-class, Kannada household as everybody await the final outcome of the battle of ideologies.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 15.30 PM,19.30 PM Schedule date : 02 Nov 2019 - 02 Nov 2019
'Beediyolagondu Maneya Maadi', written in Marathi by Cham.Pra. Deshapande, translated by Surendranath S., and Sripathi Manjinabail; directed by Mohit Takalkar, in a satirical and a humorous vein comments on the degenerating nature of religious festivals and disproves traditional dogma in a realistic setting. The occasion is the much celebrated Ganesh Chathurti right in the thick of Pune's middle-class, Maharashtrain-Brahmin dominated locality where the protagonist, Shreepad and his wife Sukanya have come to an agreement that every alternate year the razzmatazz of the Ganesh Chathurti will not disturb the sanctity of their home which in simple terms mean, no celebrating the festival and not even allowing its slightest sound or whiff to penetrate their house. Despite Sukanya's minor complaints all seems to go well until Shreepad's old aunt, her son and daughter-in-law unexpectedly turn up with their infant son with the solitary intent of watching the procession. The aunts voracious desire to witness the procession and Shreepad's staunch refusal to allow her to do so sets the tone of this humorous and remarkably pertinent play. As aunt and nephew take turns to explain each other’s situation with the aunt often scheming with the others to sneakily see the procession, the plot thickens. Shreepad's logical, reflective and philosophical rationalizations are balanced by the more immediate necessity of the situation that is both habit and religion driven. The processions approaching tenacity becomes a barometer for the muted tension that the characters begin to reel under and resonate the fallacious arguments of the brigade. The play also successfully evokes the mores of a middle-class, Kannada household as everybody await the final outcome of the battle of ideologies.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 15.30 PM,19.30 PM Schedule date : 03 Nov 2019 - 03 Nov 2019
"Kododilla Bidodilla is an adaptation of the play Can’t Pay-Won’t Pay written by Dario Fo. Through this play Dario brings into fore the common problems and its difficulties to the middle class and how the establishment can turn a blind eye to all these. In a very funny way he brings out the issues of price rise, unemployment and many other things through two middle class families. Can’t Pay, Won’t pay is a revolt in itself by the bourgeoisie class against the establishment. Dario Fo is a Nobel laureate. Fo was awarded the Nobel Prize for Literature in 1997. He was popular as a playwright for writing about current issues and for his satire style of narration. He brought out the issues in the society very well through this characters and made sure that people started thinking about this in a very constructive way. Many of his plays have created a movement in itself to showcase the draw backs of an establishment. This play has been translated and adapted to Kannada by Krishna Hebbale. We chose this play in continuation with the idea of bringing out socially relevant issues."
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 05 Nov 2019 - 05 Nov 2019
‘Nava’ is a devised play, created and performed by Veena, Chandri, Shanti, Prarthana, Purushi, Jyothi, Sandhia, Thara and Swetha from Aravani Art Project and directed by Sharanya Ramprakash. This project is supported by the India Foundation for the Arts, under the Project 560 programme. ‘Nava’ explores the stories of 9 urban transwomen through the 9 rasas. The performers take the stage to explore the Navarasa boxes and through their performance, unbox, expand, challenge and defy fixed notions of what constitutes the Navarasa and who can be its Nayakis. Through their telling, they provoke, question, inform, challenge and expand dominant ideas of Haasya, Adhbuta, Bhibatsa, Krodha, Shrungara, Bhaya, Veera, Karuna and Shanta. They bring their bodies, stories and voices which have been deliberately silenced and willfully ignored, to reclaim their rightful place – the centrestage.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 06 Nov 2019 - 06 Nov 2019
I WANT A COUNTRY is an award-winning play by the Greek playwright Andreas Flourakis, inspired by the social and economic situation in his home country. Written as an open text, in which the country is simply “a country” and the characters are “everyone”, it was conceived to be performed by an ensemble of any number, from anywhere. The action and design are left to be devised by each individual production.
At the outset of the play, a crisis in this eponymous Country brings about a popular demand for change. The young seek to take over by charting out a course for a ‘new Country’, a new identity, fresh values, a space to feel safe within ... They argue and fight, they mock and educate each other, they reveal their fears and secrets. Through all of this and their quest to define a new world, one tantalising question emerges: Is there a dream country after all? Can a society reinvent itself or will this vision forever remain a utopia, wishful thinking, an impossible dream?
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 07 Nov 2019 - 07 Nov 2019
Hello Farmaaish! is a heartwarming story of resourceful women who surpass the limitations of society and their surroundings, to reinvent the world they live in. Inspired by the intrepid Kalpana Chawla, a group of enterprising women embark on a whimsical adventure from a small Haryanvi settlement into Outer Space, and back again! As Space Shuttle Columbia takes off into the Earth’s outer orbit, teddy-bear makers in a remote village hear about Kalpana Chawla’s mission into space. Minaz, a young girl and Gita, her older teacher venture on a path to track the odyssey that captures their imagination. BBC Hindi and Akashwani report the news as dry data, but the vivid minds of Minaz and Gita see in it, discovery and passion. They convince local RJ Bobby to give them air space on his community radio. Their show explores the Universe in a way they themselves never can. But further on their journey, they find themselves in uncharted skies. Daily callers wonder if buffaloes can fly, a confounded farmer worries that the Black Hole has swallowed his prized donkey. The inexperienced RJs broaden their minds and win the hearts of the villagers, making their weekend radio broadcast the village favourite, next only to B.R. Chopra’s epic, Mahabharat. The play is a rollercoaster ride from reality into science fiction to dreams and back to reality again… With the help of radio airwaves and some stunning leaps of imagination there is no stopping this village from defying gravity! Hello Farmaaish! is also a tribute to the rural community radio stations of India. During our research we met many radio jockeys from rural stations in the Mewat region of Haryana who shared their intrepid stories with us. They are inspiring women and men who work daily through their broadcasts, towards expanding ideas, extending support and creating new horizons for their communities. Based on several true incidents and a good dose of fantasy.... Hello Farmaaish! makes you laugh and cry and find new wonder - not just for outer space but also for the valiant heart within! Originally produced for Aadyam, an Aditya Birla Group initiative.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 08 Nov 2019 - 08 Nov 2019
Lavani is a traditional dance form of Maharashtra with a rich heritage of several centuries. Lavani necessarily involves direct interaction of the artists with the audience. The artist communicates with the audience through her singing, abhinaya and dance. The dominant rasa (elements) in lavani are Sringar (eroticism) and Hasya (humour). Although Lavani is gaining popularity since last few years, its portrayal in popular media is limited to being just a traditional item number. The rich heritage of Lavani is slowly dying and will soon be completely forgotten. The text and performance of these traditional numbers are quite contemporary, which deals with women’s sexuality in a direct, unabashed, graceful way. Most women, who start dancing in Sangeet Bari Kala Kendras (traditional Lavani theaters), belong to nomadic tribes such as Bhatu Kolhati, Dombari and Kalwaat. The women of these communities have been performing Lavani for centuries. The girls are initiated in this profession at a very young age. The initiation is conducted by tying of ghungroo and after this they are not allowed to get married. They are expected to be under patronage of a man whom they call Malak (husband). This man is expected to take care of all their needs, but in most cases this patronage is superficial and women are left to fend for themselves. There are many women who rose above all the difficulties and social stigma and became award winning dancers viz. Padmashree Yamunabai Waikar, Roshan Satarkar, Laxmibai Kolhapurkar, Shakuntalabai Nagarkar, etc. We were introduced to this hidden world of Lavani dancers nearly 10 years ago and it fascinated us. We travelled extensively to various Sangeet Bari Theaters across Maharashtra and were able to meet the Lavani women and observe their lives closely. Our first venture with Lavani was the documentary film in 2008 called ‘Natale Tumchya Saathi- behind the adorned veil’. With the wealth of these amazing life stories, came the critically acclaimed book ‘Sangeet Bari’ in Marathi, published by Rajhans Prakashan in 2014. The book and the film focus on the lives of these women and attempt to portray them as artists and human beings unlike the popular image of a seductress or victims. Sangeet Bari is a theatre production which combines multiple narratives such as the Lavani woman, the musicians, the customer and the researcher / narrator. It also includes live Lavani performance of old traditional Lavani which are either unknown or forgotten. This is our humble attempt at creating a platform for the Lavani woman to tell us her story. Sangeet Bari has been extensively performed in Mumbai, Pune and various venues in Maharashtra. It was also performed in Bharat Ranga Mohotsav at NSD Delhi in February, 2016, NCPA Ananda Hindi Theatre Festival in May, 2017 and NCPA Pratibimb Marathi Theatre Festival in August, 2017, Remembering Veena Pani Festival, Adishakti, apart from regular shows at various venues in Mumbai, Pune, Delhi, Ratnagiri and Belgaum.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 09 Nov 2019 - 09 Nov 2019
“In the last decades interest in hunger artists has declined considerably. Whereas in earlier days there was good money to be earned putting on major productions of this sort under one’s own management, nowadays that is totally impossible. Those were different times.” So begins Franz Kafka’s short story titled, A Hunger Artist - the extraordinary tale of an artist who takes on elaborate fasts for the amusement of the general public. A public, that is soon losing interest in this genre of performance. He struggles to retain their attention and is forced to prove the authenticity of his hunger repeatedly. One day in desperation, taking his fast to an extreme, the protagonist starves himself to death in his cage. Only to be replaced by a young, gluttonous panther, whose insatiable appetite for food, begins, once again, to attract large crowds to the zoo. Like all great pieces of art and literature, this archetypically Kafkaesque parable written in the 1920s lends itself to many a complex interpretations and themes that become more definitive and veracious, as the years go by. Until in the end, this begins to be seen for what it has been all along, a story simply about the ‘condition’ of the modern human being. About what it means to be human in our times. An idea which is at once, fiercely political as well as deeply psychological. This is the exact path of inquiry we embarked upon as part of making this theatrical production. Our Hunger Artist, however, is several people at different points in our shared history. In one case, for example, he is a man from the interiors of a drought-stricken Maharashtra put in a cage in front of us, the present day audience. He speaks in a muddled varhadi dialect of Marathi, he is hungry and has decided to stay so until he tells us his story. His family’s story. Until he persuades us to hear him, to see him. His story and he himself, bone tired and starving in nothing but a pair of black tights, are as removed from us as an abstract museum piece. We, on the other side of the cage, peering in, are as alienating for him. And yet, somehow a conversation begins. The production looks at the idea of ‘hunger’ from a variety of reference points. What does it mean to a farmer facing a prolonged drought and rising grain prices? As the FAO data recently confirmed that, “no country comes close to India in terms of the absolute number of people living in chronic hunger”, malnutrition is still very much a part of his reality. What does it mean when we lose interest in his story? On the other hand, what does it mean to an activist like Irom Sharmila, whose fast, much like the fast of Kafka’s Hunger Artist, lost our national interest. From the famines in Bengal, to Gandhiji’s fast for our independence, Mid-day meals, to the recent deaths from starvation due to lack of proper paper work - through the late farmer Poet, Krishna Kalamb’s poems as well as the revolutionary Namdeo Dhasal’s haunting verse ‘Bhook’, a layered and dialectical web of narratives is spun. And our protagonist and his ‘performed hunger’ lies at it’s centre. For us, Kafka’s story is as much about the Spectators as it is about the artist and they too are worthy of acute examination. Who are these people who gather around a cage everyday and entertain themselves by watching a man starve himself. Who are these people who then lose interest in him, get bored of him and now need something else to amuse themselves with. When they watch him, what do they really see? Are they simply passive observers, an audience only meant to consume unthinkingly whatever it is that is served? Or is their act of spectatorship, a deliberate act of aggression? Their loss of interest in him, the result of a carefully cultivated sense of apathy? P. Sainath, an acclaimed rural journalist of our country, often refers to the idea of ‘Nero’s Guests’. By putting the audience at the centre of our story, we explore the social and psychological moralities of those who stand by, watch and illuminate themselves by the flames of those burning at the stake. Another major aspect of our production is the use of a grotesque looking puppet of the panther in the end, operated by the actor. The panther is a recurring metaphor throughout the play and is represented in various forms until it takes a physical shape in the end and like in Kafka’s circus, we on the outside cannot look away. The panther, as seen in the video plays a critical role in the narrative of the hunger artist. It stands for everything that he isn't yet they are both more similar than may appear to be. In a sense that both of them at the end of the day perform for and exist at the mercy of the spectators. The play, to conclude, asks questions about the artist's identity, his relationship with the land and its tiller, the violent act of spectatorship, what does it mean to be on display and most of all what does it mean to be hungry.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 10 Nov 2019 - 10 Nov 2019
Ashrafi and Bilal are orphaned siblings stranded and defined by the troubles in Kashmir. 18 year old Bilal is the pride of the region, part of a teenage football team set for great heights, and pushed to the limits by the violence around them. Haunted by hope, his sister is caught in the past, and Bilal is torn between escaping the myths of war and the cycles of resistance. Interweaving true stories and testimonies with Islamic storytelling, the play paints a magical portrait of a generation of radicalised kids, and a beautiful landscape lost to conflict.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 12 Nov 2019 - 12 Nov 2019
Probably, with the dawn of the civilizations in this world, politics also took its birth. As time flies, politics wear different masks. Among all those masks, ‘DICTATORSHIP’ is the worst form. ‘TADROOPI’, a play by Prasanna, is such a narration, which ridicules one such dictator, in a subtle satire way. Dictator in the play, catching hold and making use of his clone, kills his protestors and opponents. But gradually, that clone, a common man by name Tadroopi, wins his heart and becomes his only and close friend. Ultimately, with his death, he makes the dictator realize his devastation. As any over-growth in a human body is considered as a disease, so is, someone in society getting tremendous power. Hernia, suffered by the dictator is a metaphor to this, along with depicting that, however big a person is, he has a deep sorrow and pain, which he can’t share with anybody. Creative Artists holding Diploma in Theatre Arts from renowned Drama Schools across Karnataka, came together and constructed this play through improvisation. In our today’s society, earning degrees through deception and becoming Police Officers, Doctors etc., or faking as monks, for money or power and leading their lives insincerely, aren’t also clones in their respective professions? From this, do we realize, how much life has become contaminated? Is it that difficult to be genuine?
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 13 Nov 2019 - 13 Nov 2019
Siri, not only the daughter of the soil of tulunadu, but also a scared deity of the land. She has fought against atrocities of male dominated society. Siri is a synonym of wealth. Siri means spiti. Siri's curse is backed by sufferings and miseries of her life. In spite of all her belongings her life was vacum and empty. We are presenting the saga of siri in collabration with tulunadu's art of land Yakshagana and Pad-dhana, Tulunadu's folk song.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 14 Nov 2019 - 14 Nov 2019
The play revolves around the life of the famous South Asian actress, Binodini Dasi (1862–1941), also known as Nati Binodini, who born to prostitution, started her career as a courtesan and at twelve played her first serious drama role. Later she started performing in Calcutta's National Theatre, under the mentorship of its founder, Girish Chandra Ghosh. As the play moves forward introducing several acquaintances of Binodini, it slowly takes a steep turn and brings into light the sacrifice, pain, betrayal, and misfortune of the famous actress. Although she was referred to as the ‘Flower of the Native Stage’ and ‘Moon of the Star Theatre’, the drama brings in the truth of Binodini’s life and shows how the mentally devastated actress left the stage at the age of 25. Blessed by the saint, Sri Ramakrishna Paramhansa, Binodini tried to attain the wisdom and peace, which finally gives the play a new perception.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 15 Nov 2019 - 15 Nov 2019
Search of his long-lost painter friend urges the poet, Chitrabhanu, to constantly leave his home. Mahua, the poet's wife, being a silent witness in all these years, becomes worried now because of the poet's deteriorating health. The search for the poet continues; in the meanwhile, Mahua receives a phone call from Chitrabhanu. The poet relates to find his lost painter friend, Samyabrata, and has travelled to an unknown land with him. Despite the repeated requests from Mahua, Chitrabhanu refuses to return. The play slowly takes a turn when Mahua suddenly finds the autobiography of the poet getting published in a weekly magazine. The poet's past discloses several incidents; the relationship between Mahua, Samyabrata, and Chitrabhanu, the painter's involvement in the then ultra-left movement, and the painter's sudden disappearance. Mahua's battle with her own and the world she is living in arises many questions: How did the painter disappear? What was the role of Chitrabhanu? Where is the poet now?
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 15.30 PM,19.30 PM Schedule date : 16 Nov 2019 - 17 Nov 2019
Ultimate Kurukshetra is an outrageous comedy set against the backdrop of elephant behinds and the Mahabharata. It is the first day of the battle of Kurukshetra. Two massive armies face off. The end of an epoch is imminent. The battle charge is about to begin! And a warrior of great repute is having a moment of self-doubt. Off stage. Very far away from this central action, which is completely obfuscated by elephant bums, we meet Sudarshana – a warrior, Adi – his charioteer, Daksha – a mahout and Maya – a courtesan – the protagonists of our tale, who are at the rear-end… of the rear-guard. There are also some guest appearances, by very famous Mahabharata characters like Vyasa and (not-sofamous) warriors like Yuyutsu (that single Kaurava brother with a conscience!). Through the course of the play, we find out how all their lives are intertwined and how destiny has brought them all together, to this truly epic moment in time. For each of them must choose… the “right action”.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 15.30 PM,19.30 PM Schedule date : 16 Nov 2019 - 17 Nov 2019
Ultimate Kurukshetra is an outrageous comedy set against the backdrop of elephant behinds and the Mahabharata. It is the first day of the battle of Kurukshetra. Two massive armies face off. The end of an epoch is imminent. The battle charge is about to begin! And a warrior of great repute is having a moment of self-doubt. Off stage. Very far away from this central action, which is completely obfuscated by elephant bums, we meet Sudarshana – a warrior, Adi – his charioteer, Daksha – a mahout and Maya – a courtesan – the protagonists of our tale, who are at the rear-end… of the rear-guard. There are also some guest appearances, by very famous Mahabharata characters like Vyasa and (not-sofamous) warriors like Yuyutsu (that single Kaurava brother with a conscience!). Through the course of the play, we find out how all their lives are intertwined and how destiny has brought them all together, to this truly epic moment in time. For each of them must choose… the “right action”.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 19 Nov 2019 - 19 Nov 2019
Two boys, Abidh and Riaz, friends from a long time, get into a quarrel during a football game in the neighborhood playground. Riaz in a fit of rage, loses his control and removes a gun and shoots. The bullet hits Abidh, and he dies on the spot. On realizing what he did, Riaz runs from the scene of murder before people catch him. He runs far and hides in a make shift cave by the sea, that he and abidh built long ago. The word is out, that a juvenile killer is on the run. While riaz is in the cave, hiding, wailing at his friends death, and remembering all the things he didn't say to abidh, Mariam, his lover, visits him. She asks him to go away from the town, as people have found out about his whereabouts. He begs her to stay, but she bids good bye to him. Soon, people find Riaz, and hand him over to the military. It is decided according to Sharia law, that Riaz will be hanged to death in a public execution at the Noour town square three days before Ramzan. One of the laws in Sharia, called "qisas" gives the right of retribution or revenge to the victims kin at the time of the execution. Abidh's mother, Unaiza Nizan, is thus, put in an extraordinary situation of either taking revenge or forgiving Riaz for killing her only son.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 20 Nov 2019 - 21 Nov 2019
This is a Kannada play based on M.R. Srinivasa Murthy’s book, ‘Rangannana Kanasina Dinagalu’, a hilarious account of the experiences of a village school inspector. The play revolves round Ranganna, a school-teacher promoted to the post of inspector. After visiting a number of schools in the interior parts of his range, Ranganna realizes that the inspector’s job is no bed of roses as his friend had led him to believe. His measures to educate the teachers and improve the working of schools earns him the love of teachers and the wrath of local politicians.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 20 Nov 2019 - 21 Nov 2019
This is a Kannada play based on M.R. Srinivasa Murthy’s book, ‘Rangannana Kanasina Dinagalu’, a hilarious account of the experiences of a village school inspector. The play revolves round Ranganna, a school-teacher promoted to the post of inspector. After visiting a number of schools in the interior parts of his range, Ranganna realizes that the inspector’s job is no bed of roses as his friend had led him to believe. His measures to educate the teachers and improve the working of schools earns him the love of teachers and the wrath of local politicians.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
Show Timings : 19.30 PM Schedule date : 22 Nov 2019 - 22 Nov 2019
“Uchhishta” means “left overs”. This Kannada play “Uchhishta” is an effort to understand and appreciate the trials and tribulations of the young, burdened with the inheritance of “left overs”, a consequence of unethical life of the old. A society which is devoid of ethics & morals and guided by law alone, will eventually turn out to be an uncivilized one.
BOOK NOWAll shows begin at 7.30 pm. Every Saturday and Sunday the shows are also at 3.30 pm. No late entry permitted. No refund on tickets. This programme is subject to change. Children below eight years not allowed (Unless a play has specific audience discretion)
November
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