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英国精选论文代写范文:Habib Tanvir and Naya

2017-05-02 | 来源:51due教员组 | 类别:更多范文

本篇英国精选论文代写范文讲了哈比卜•坦维尔和纳亚剧院是印度现代戏剧场景中永远记住的两个不可分割的名字。哈比卜•坦维尔(Habib Tanvir)是印度印地语最受欢迎的人之一,乌尔都语剧作家,诗人,戏剧导演和演员,但仍然是印度的大多数戏剧演员,都记得他的着名作品如阿格拉•巴扎尔乔尔该国将永远记得这个人是印度当代戏剧的创始人。本篇英国精选论文代写范文由51due英国论文代写机构整理,供大家参考。

Habib Tanvir and Naya Theatre are two inseparable names which will always be remembered in the modern theatrical scenario in India. It's been a year since the death of Habib Tanvir, one of the most popular Indian Hindi, Urdu playwrights, a poet, a theatre director, and an actor, but still the majority of theatergoers in India remember his famous artworks like Agra Bazar and Charandas Chor. The country will always recall this man as the founding father of contemporary theatre of India. But before we go into his life and work details we will have a quick understanding of the evolution of contemporary theatre in India.

The traditional theatre,

The classical or Sanskrit theatre and

The Modern theatre.

Contemporary Indian theatre, as we know it today, has been widely influenced by the change in the political scenario in India. During the 200 years of British rule Indian theatre came in direct contact with western theatre. With the union of power by the British Raj in Maharashtra, Tamil Nadu and Bengal, it was in the metropolises of Bombay, Madras and Calcutta that they first introduced their style of theatre, primarily based on London concept.

This genre of theatre began to expand in the 1850s as more enthusiasts started to perform their own play on different languages based on western style. Due to the growth of this new form of the theatre the other conventional form of theatre felt the heat. Theatre started being ticketed from the 1870s. By the 20th century and First World War, it became a product for sale and was restricted into the auditorium.

As the Indian freedom movement picked momentum, the creative side of the theatre took a setback. In 1922, the Indian Communist Party was founded and along with it came the Indian People`s Theatre Association (IPTA), which worked as its cultural wing. They took the initiative of portable theatre and these were based on various political agenda primarily against the British Rule. Indian theatre was turning out as a medium of social and political change that would be more concerned about reaching out to the common people.

Post-Independence, Indian theatre got a fresh and broader outlook from appropriate mixing of various styles from medieval, Sanskrit, and western theatre. This newly found entity was further enhanced by the formation of Sangeet Natak Academy in Jan 1953 and the National School of Drama, New Delhi under Ebrahim Alkazi in 1959. This dramatic revival brought many pioneers in the theatrical front among which Habib Tanvir was one of the most popular theatre playwright-director in Hindi and Urdu. Along with B.V. Karanth (1928-2002), Ibrahim Alkazi (born 1923), Utpal Dutt (1929-1993) & Satyadev Dubey (born 1936), Tanvir shaped the structure of modern theatre in India.

The individuality in Tanvir's form of theatre was that it showed how Indian theatre could be simultaneously blended with traditional and contemporary aspects. His theater was not fixed to any one form as a whole. His works reaped the skills, energies of folk performance and made them relevant to the secular and democratic perspective. The effect was that his artwork was as challenging as it was entertaining. During the five decades of his stint in theatre, Tanvir gave such memorable productions as Agra Bazar[1954], Mitti ki Gari[1958], Gaon ka Naam Sasural Mor Naam Damaad[1973], Charandas Chor[1975], Jis Lahore Ni Dekhya[1990], and Rajrakt[2006], of which many are renowned as classics of the contemporary Indian stage.

Another significant difference is that while the nacha songs are mostly used as intermediate musical delays, in Tanvir's plays they were closely embedded as an important part of the theme of the play. This is best displayed in some his adaptations like The Good Woman of Szechwan (Shaajapur ki Shantibai) and A Midsummer's Night Dream (Kamdeo Ka Apna, Basant Ritu Ka Sapna). Tanvir not only gave his poetic compositions the freshness of the original but has also used his words to fit native tunes with ease and skill.

However, Tanvir was always conscious not to create a difference between his own educated minds over the uneducated creative mind of his actors. An example of this approach is the way Tanvir mixed his poetry to the traditional tribal and folk music, retaining its own imaginative power without in any way less valuing the latter. Another example is the way he allowed his actors and their skills to be projected by less complicating the lighting & stage design.

Therefore in contrast to the stylish genre of drama on one side and the 'traditional' theatre on the other, Habib Tanvir, with his own blend of tradition, folk creativity and critical consciousness, offered a fresh and innovative model of field of dramatics. It is this rich blend which made his art so memorable.

Even after Tanvir's death, his innovative art form and style is still being carried forward through newer productions of Naya Theatre. Seeing recent performance of Naya Theatre actors in movie "Peepli Live" we can probably comment that Tanvir's art form is gradually crossing the barriers of contemporary theatre and exploring newer towards mainstream cinema.



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