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The Script, Edition 12 - December 2011. Thespo 13 Special Edition

It's December. And that means only one thing and one thing only - ITS THESPO TIME!!!!!! AND ITS A TEENAGER!!!!! 

This year Thespo is struggling to find support from the corporates and appeals to you help us save the festival! Become a Friend Of Thespo today!

From December 13th to 18th at Prithvi Theatre and NCPA Experimental, we proudly present THESPO 13 - THEATRE TERA MERA!!!

Here's the lo-down on all that we have on offer at Thespo 12:
Friends Of Thespo (FOT):- Save Thespo! Become a FOT today.
Thespo 13 Schedule:- The festival at a glance
Workshops:- Physical, Emotional, Absurdism, Radio and even Shakespeare. It's all here. From the UK, Australia and India. Register now!! Entry Free!!!!
Live Bands:- The Prithvi cafe comes alive every evening with live pop rock, alternative rock, Soul and Folk at Red Fm Band-o-Mast..
Platform Performances:- A regular feature at Thespo where performers explore space, form and content.
Plays:- A mouth watering palate which will make you laugh, touch your heart and explore your sexuality!

To find out more like tickets, workshop registrations, or just how to be a part of India's Premier Youth Theatre Festival. Log on to our blog at http://thespo13.blogspot.com/

If you wish to be a part of TEAM THESPO - Its not Late!! You can still Volunteer in various capacities for Thespo 13. Mail: thespo13@thespo.org


Our last month's quiz question was:
What word is used to describe a theatre that is closed?
Only 40% got it Right!
The correct answer was 'Dark'.
 
So since this is our 'Thespo' Special Edition, we thought we'd give you a certain 'Thespo' feel to all our regular sections. So sit back and enjoy.

Trivia Time: Thespo Stats

Mind Walking: Our First International show!
Thespo 13: Its Here!! Its now!!! Theatre Tera Mera!!!!!
Point of View: Priti Bakalkar reviews 'Spamalot' from Bangalore
4 Corners: Thespo Volunteers talk about their first Thespo experience.
Dolly Thakore's 'Life in Theatre': Dolly Thakore recounts the life of Thespo 9 Lifetime Acheivement Awardee and Theatre icon Pratap Sharma.

Q's Countdown: 10 acts of generosity that have happened at Thespo 

Up & Coming: Details of the Final Four plays of Thespo 13 and Platform Performances.
Theatre Training: Details of Thespo 13 Workshops.
Other Theatre News:
Details of PACT Zollverein Residency.
Curtain Call: Quotes on Thespo.


Yours Sincerely,
On Behalf of Q Theatre Productions,

Himanshu.
Editor, The Script


Theatre Trivia

Number of plays at Thespo - 57


Number of Original Plays at Thespo - 29


Number of cities Thespo Screening have been to - 13 (and auditioned a play from New York!!)


Confessions has been the Longest Running play from Thespo in terms of years. This year marks the 5th year.


Most number of actors in a single play in Thespo - 33 (Manusmriti)


The first 4 years of Thespo was predominantly English plays, but the last few years have seen Marathi plays take Centre Stage. English plays still lead the way with 36 plays, 7 Hindi plays and 13 Marathi plays. We've even had 1 play Gibberish.

Mind Walking - Tour over

BandBaazi from the UK in collbaration with QTP produced Tanika Gupta's 'Mind Walking'.

And so it's done. The mammoth tour that kept Q away from Bombay for 9 weeks has finally come to an end. After 13 venues in the UK and 3 in India, the show finally came down on the 18th of November at the NCPA Experimental. And what a ride it has been.
The feedback by and large has been positive, and hopefully more such projects will happen in the future.

The workshops were also very successful and Peter D'souza's Playing Shakespeare seems to have inspired the small group tremendously.

Thank you to everyone who helped in making the tour possible and also for turning out in such encouraging numbers.


Thespo 13

For everything you need and want to know about the 13th edition of India's Premier Youth Theatre Festival, just click onto:

Friends of Thespo

Become a Friend of Thespo TODAY!

Firstly we would like to thank all those who became Friends of Thespo this year. Your contribution has greatly helped our cause to bringing you India's Premier Youth Theatre Festival. 
But its still not too late!!! Come be a part of a community of Thespo-lovers!!!!!

The purpose of Friends of Thespo is to build a network with Thespo lovers. Allow us to keep track of those that have moved on past the 25 year old barrier, and to keep a connection going. Allowing ex-Thespoans to ensure that the assembly line of theatre lovers continues.

The features of Friends of Thespo is relatively simple:

For a fee of a minimum of Rs. 2,000/- we will provide the following:

· A Free Friends of Thespo Tshirt
· Two Free Tickets to any performance during Thespo 13.
· Priority booking with regards to tickets for shows.
· A Free Thespo 13 Magazine.

All you need to do, is email us on fot@thespo.org saying that you are interested, and send us a cheque in the name of “Theatre Group – Play Thespo” and we will provide you with a FoT registration number, which you can quote when booking or collecting you tickets.

So don't delay...become a FOT today!

Point of View


SPAMALOT

I had heard about this Bangalore production of Spamalot (a version of Monty Python’s Spamalot which is “lovingly ripped off” from Monty Python Holy Grail, a 1970 film) produced by Cause Foundation, because of my acquaintance with Vivek Madan. For all those who do not know him, Vivek used to manage Thespo Bangalore. He had won the best actor award in Thespo 3 for his role Arthur in Nostalgia Brand Chewing Gum, which was later on (beginning of 2011) was being produced by Q Theatre Productions (which also happened to be directed by him). So coming back to Spamlot, since Vivek was a part of this multi starrer (35 cast and crew members!) musical comedy, I had to watch it when it came to Mumbai for NCPA Centrestage Theatre festival.  
Spamalot is a spoof on the quest of King Arthur and the knights of Camelot for Holy Grail. It is full of songs and dance, of course being a musical, it has to be full of that.
 
The play is really super funny. The humour is actually rip roaring funny, as the play was publicised! But sadly the show I watched was nothing of that sort. It felt like as if I was watching an under rehearsed school performance. 

There were two shows of the play for the festival and I watched the first show of Spamalot. The show started a bit late. The audience was let in when the technicians were still fixing a few things on the stage which was not a very encouraging sight for the audience who had sacrificed their Sunday siesta for this 4p.m. show. Maybe it was a warning sign as throughout the play we could see some characters moving around the stage in the background and they were not part of the cast! 

The crew members had taken the concept of “quest” very seriously and during the blackouts they kept using torches backstage in search of God knows what!! One certain stage manager could be seen moving around the backstage with her bag most of the play duration. Finally my friends and I were so distracted that we started taking bets as to who will be seen next time. Oh, and then there was this mystical, magical green light which started glowing suddenly in the middle of the first act and it kept glowing till interval. We just could not understand what was happening there. May be the Lady of the Lake was sitting there all that time. 

The group dancers seemed to be out of sync. Each dancer seemed to be doing his/ her own thing. In the early part of the 1st act, there was a dance sequence (Lake Girls Cheer) where the dancers had tassels as props. One of the dancers dropped one of her tassels on the stage. That prop remained on the stage throughout the 1st act, despite various scene changes till interval. But credit goes to entire cast & crew, it remained in the same position throughout that duration. However, in another dance sequence, similar shiny props were dropped on the stage by the dancers. This time some backstage member thought “enough is enough, I cannot let these props on stage” and he decided to collect it from the stage hiding behind sheer white cloth curtain! May be he thought the Lady of the Lake had made him invisible. 

There is a scene where the Camelot Knights in their attempt to retaliate to the taunting of French Guards at a Castle, leave a large wooden rabbit (in the style of Trojan horse) at the gates of the Castle. When the scene got over the rabbit had to be taken away. It had to be taken offstage from one of the exit doors. For quite a while the crew could not figure out how they were to take it out of that door. There was a long deliberation happening on how it needs to be moved out as the wooden rabbit was really large for a rabbit! It clearly showed they had not done a run through before the show. 

The amount of money and effort which were taken on the dancers costumes, if even one tenth of it was spent on the costumes of King Arthur and his Knights then watching varying styles of black shoes would not have been such an eyesore. And how can I miss the wrist watch worn by one of the Camelot Knights! May be he thought the watch was too precious to remove or maybe he thought it was anyway a spoof so how does it matter that wrist watches were still not invented in that era.

In spite of all these glaring defects, the play had it’s funny moments. First of all, I really enjoyed all the parts played by Vivek Madan. He played parts of the narrator, the Knight of Ni, Mrs. Galahad, the French guy, the Sentry, Tim the Enchanter etc. etc. The best I enjoyed was Mrs. Galahad and the French guy. He was so funny. 
I also enjoyed the performance of the guy who played “Not Dead Fred” and Prince Herbert. I loved his heart wrenching rendition “Where are you”. It was really hilarious to watch the encounter between the Prince and Lancelot who had mistaken the Prince to be some damsel in distress. 

If I am not wrong, it was Priya Mendens who played the Lady of the Lake. I really enjoyed her Diva tantrums. One more song sequence that I enjoyed was “He is Lancelot”. It comes when Lancelot (Mark Swaroop) comes out of closet and accepts that he is a gay. These were some of the performances are really enjoyed. The play as whole, however, did not appeal to me. 



4 Corners - My First Thespo


“What is Thespo?” At the beginning of my stay in Bombay, this question would have left me utterly confused. “I…don’t…know,” I probably would have stammered. To me, Thespo was this ‘theatre thing’—I knew about it because I knew someone, who knew someone else, who knew QTP, who ran Thespo. I quickly realized that as the resident firang of the QTP office, I had a lot to learn. No, Thespo is not a ‘thing.’ It is one of the most empowering youth theatre festivals in India. And no, theatre in India is not different from theatre in America. It’s just as crazy, just as much work, and just as much fun.

I still feel, even while writing this, the same unceasing pulse of electric energy that I felt at the first Thespo volunteer meeting I attended in October. This is the feeling that defines Thespo.  No matter what time of the day I walk into the office, it is buzzing with excitement and activity.  It’s always moving; always changing; always alive. The burst of inspiration that my first Thespo has given me is one that I cannot wait to share with the theatre-loving youth of India. 

- Anjali Mehta

My first Thespo was Thespo 7 in 2005. (No wait, that can’t be right, I have only one more Thespo to go? Grrrmmphtt! ). I was managing production for Anshuman Jha’s  Mr.Kolpert. And I was handling lights for the show too.

So, it was my first Thespo, first time ever working on a play, first time on lights and first time in Bangalore! How I miss Thespo at Bangalore.  Bangalore is blissfully beautiful in December and RangaShankara is the place to be. For a first timer like me, being in theatre space like the RangaShankara, being in a different city, meeting people who share the same sentiment and enthusiasm for theatre was all too unreal!

Working on the play, almost single handedly was the best induction into theatre I could have asked for. From sitting in on rehearsals, making rounds to Crawford market, managing lists, learning how to prompt actors, managing a budget, getting the best deal for printing posters, transporting a 6 feet trunk to Bangalore and back, buying beer before show, emptying the beer cans and replacing it with water for show (no comments of what happened to the beer), to setting up stage, ordering pizza for the show, setting up the green rooms, watching and making notes while the tech set up, running a tech run to running a show. And running a show is where I found myself. Sitting all nerves at that light desk, watching a play come alive…I wanted more of that.

It was our show in Bombay, when it became clearer to me that I must do more of all of this. I saw Q, T and a whole bunch of QTP seniors at work none stop at the Experimental. It was most inspiring. It was also our show in Bombay, when it became clearer to me that lighting is what I had to do, more much more!  I watched Arghya focus lights. (Nuff said!) He was uber helpful, he set up the show for me, explained each light and its function in a manner that I understood. It was all very magical, the lights, Arghya talking about lights was / is equally magical of course.


So then came operating the lights. Now I still didn’t know who Arghya was, so once we marked the board and were good to go for show he asked me “Would you want me to stay with you through the show?” to which I promptly said “No,I am good!” Arghya said “Right, well then, I am going to be here, if you need me”. Show went off smoothly, I had a slow fade out at the end of the play (a slow fade is actually philosophy/ a way life really, I learned  this later )
 

I managed my ‘slow fade out’ well, Arghya patted me on the back at said “nicely done”.
I was very happy. Then I met Q on my way out from the tech room he patted me on my back at said “2 seconds too long”. I was still very happy. 
 

I was now one Thespo , one play and two shows old. From here on I went onto to do many more Thespos and much more theatre. Some of the people I met and worked with on my first Thespo, I still work with. Some I met years later working in the theatre in different capacities, now with specialized focus areas, some as actors, directors others as designers.
 

You’re part of movement when you’re part of Thespo. You go back to Thespo, to watch a play or be part of a workshop and you get that feeling, I can’t describe it, it’s a feeling, you need to feel it. 

You need to do it. Thespo!


- Sananda Mukhopadhyaya



Thespo.



Four years back, when I had just shifted to Bombay and was itching to do something that would keep the artist in me happy, I was introduced to the world of Thespo. What started off as a youth theatre festival, ended up changing my life.



In 2008. Rukawat ke liye Khed hai was the play that we were putting up for the screening. It was a cast of 14! And most of us had day jobs.  We use to run for rehearsals as soon as we finished our jobs. The play didn’t make it to the final four but the screening was like a performance. And we thought we had done a brilliant job. 


And then, there was the feedback session. And just like that, with a their pen nibs, they burst our bubble. They ripped us apart and I loved it! All their points made soo much sense and really helped us get better.


We started our own theatre company and participating each year became like a ritual. It is something that we knew we had to do. 


This is my last Thespo and one thing that I have become an expert in these 4 years (thanks to those feedback sessions) is- what not to do in your plays. 


And finally after all those years of learning, rehearsing, volunteering and hosting, it given me immense pleasure to introduce our play ‘Cock’- standing tall for Thespo this December.

- Shweta Tripathi
 

Dolly Thakore's 'Life in the Theatre'


THE LEGEND, PRATAP SHARMA

It is with a heavy heart that I sit down to write about playwright, author, dog-lover, karate expert, actor, 'The Voice', and a warmth, affectionate, gentle friend Partap Sharma who left us last week on November 30, 2011.


If there is anyone I know who has never had an unkind word to say about people and events, it is Partap. Never envious, never complaining. Ever patient, and always cheerful. 

My first encounter with the name was in London in 1966-67 when I was called to audition for 'A Touch of Brightness' to be staged at the Royal Court in Sloan Square on March 5, 1967.  Needless to say I did not get the lead part of Prema – the beggar girl whose life unfolds in the red-light district of then Bombay.


It was there that I heard we were auditioning for a play by an Indian playwright that was banned in India. It is well-known now that on September 10, 1965, the actors passports were impounded on the eve of their departure to stage the play – directed by Alyque Padamsee - for the first Commonwealth Arts Festival.


But Partap did not give up.  He filed a writ petition in the Bombay High Court challenging the ban.  And in January 1972 the High Court revoked the ban. But it was not till August 9, 1973 that the Indian National Theatre first performed the play at the Tejpal Auditorium in Mumbai - directed by the playwright Partap Sharma himself. And I played Suraksha – one of the inhabitants of the infamous cages of Foras Road!


Returning to India, I first met Partap in 1970 - when I acted in his little known play 'The Professor has a War Cry' directed by Arun Sachdev at the now defunct Palm Beach School off Napean Sea Road. Thus began my numerous encounters and conversations with Partap in recording studios of the Films Division, Radio Gems, Radiowani, and Famous Mahalaxmi. This was our regular beat. And in 1970, I was assistant/casting/costume gofer to friend film director Shivendra Sinha for his film 'Phir Bhi' in which Partap played the lead.


But our conversations were always about his newly acquired Alsation puppy Ranja who Partap exercised every morning at the Race Course.  And went on to write a few books that were dog-based…'Dog Detective Ranja', 'Top Dog'; Or his children’s book of stories 'The Surangi Tales' when his daughter Namrata and Tara arrived.


Then came his martial arts period. And he prided himself in regaling us with those experiences.

In 1989-90 he played Nehru in the film The Jewel of India by Kumar Kiran and in 2002 he was cast as Nehru again in the Bandung Sonata which took him to China where he was struck down with emphysemia. He returned with a lung infection, and almost since then  an uninhibited Partap with his oxygen bottle cylinder and tubes could be seen at book launches, concerts, and special get-togethers. 


On my brief encounters in recent years, he shared his training regimen for breathing….he began to learn to play the flute, train his voice under a classical guru.  And gave us the most valuable renderings of Julius Caesar, Macbeth, and The Merchant of Venice -- playing all the voices including Calpurnia, Portia, Lady Macbeth…albeit taking breaks to recharge his lungs.

He never failed to astound one with his zest and pursuit for pushing himself to achieve what many of us deemed impossible.


I never missed a play by Partap Sharma.


His impeccable research for his plays “Zen Katha”, “Begum Samroo”, and the latest surprise “Sammy” made one marvel at his indomitable spirit.


As I look up at my book shelf I see many of Partap’s books staring down at me…but my all time favourite is 'Days of the Turban' about the rise of Sikh extremism and terrorism among the young elite  in the troubled days of the Punjab.


I never missed a book by Partap Sharma.


And even as recently as two months ago he enthused about his latest book for his grandchildren with digital images, and asked for a publisher.


Four years ago, when Thespo 9 had chosen him to receive  the Lifetime Achievement Thespo Trophy, he was shifted into ICU…but the same indefatigable spirit of encouraging the youth and paving a path for them made him seek special permission to be presented the trophy in his ICU bed by Vijaya Mehta - his first Bhabhi Rani of A Touch of Brightness.


And he has left us with that touch of his brightness that will always touch our lives through his plays, his books, his recordings, and his voice.

To view the Partap Sharma Video by Thespo, Click Here

To view Partap Sharma receiving the Thespo Lifetime Acheivement Award, Click Here



Q's Countdown

Since Thespo 13 is all about Tera Mera, I thought I would list out acts of generosity that have happened at Thespo over the years. Please feel free to add to this list:


  1. Set Sharing
    In 2000 My Funny Valentine (MFV) had blocked their furniture with a set-wallah. The morning of the performance, they turned up to the godown to discover that the set wallah had given the same furniture to a film shoot in spite of a prior booking because the money offered was better. In a panic the MFV gang tried to find a replacements. Suddenly they chanced upon the furniture one of the other plays, Cheaters, which was still lying around back stage. A few phone calls later the Cheaters gang were only too glad to help. A quick change of upholstery and 'voila' the MFV had chairs to sit on!

  2. Light it up!
    It is no secret in theatre cricle that Argyha Lahiri is talented, and works for anyone or everyone who wants him. That explains why he is so overworked. But this is a carefully cultivated mentality that began many Thespos ago and continued through all his Thespo years. Arghya directed plays in 2000, 2001 and 2004. None of his plays won Outstanding Play. But almost every year he walked away with the Production Design Award, albeit for other plays. 2000 was for My Funny Valentine, , 2003 was for Trial, 2004 was for Sakharam Binder. When you are generous with your creativity, that is pure generosity.

  3. Patron Saint of ThespoTheatre is my religion, Thespo is it's festival and Dolly Thakore is it's patron saint! The first Thespo office was a 6ft x 4ft carpet in her drawing room. And while we tried to feed young creative minds, she ensured that our uncreative bellies were fed. When there were no budgets for sets, her drawing room would become the catalogue from where groups would pick up set elements. And the parties...who can forget the parties. A thing of Thespo folk lore now, since finally her society asked us to stop partying there, but how anyone could open up their home to so many 20 somethings and not complain at the cyclonic damage is quite unbelievable! Thespo is truly tera-tera.

  4. Danny of Decor
    By the time Dhanendra arrived in Bombay he was already too old for Thespo, but that didn't stop him from diving in. First it was time, then man power and then whatever he had. Each year Danny loans Thespo elements from his other projects, be it materials, fabric, wiring or wood.

  5. Proliferators
    Some might argue that Natak Co. have been a regular feature at Thespo over the last few years. But before they knew what Thespo was they enthusiastically promoted it on campusses in Pune. In fact part of the domination of Pune teams has been through their efforts to proliferate the Thespo message among all and sundry. And the Pittie Hall where they formed now has a VERY special place in Thespo folklore as well.

  6. Spare Rooms
    There are quite a few people who have opened up their homes over the years to the descending hordes  that come to perform at the festival. Virendra Shah is chief among these, and his 'office' has been home to more theatrewallahs than we can count. Shweta Tripathi is another person who throws open her home at the drop of a hat. Home is where the heart is, and clearly "they heart Thespo".

  7. Sharing spaceIt was one of the most unique instances of generosity I have even seen. Ramu Ramanathan was a judge at Thespo 6 (2004) and was impressed with Chandan Roy Sanyal's Sakharam Binder Retold. So much so, that in a city where there is a paucity of dates for groups, he sacrificed his own two performances and gave them to Chandan. An unbelievable gesture, and more importantly it opened up the doors for Thespo plays to start having a life outside the festival.

  8. THINK!
    This was not the big Tehelka festival that happened in Goa, but the initiative of a former volunteer at the festival Priyanshi, who decided in 2009 that it had been long enough that Thespo had no merchandise. So she took it upon her self to make quirky gits like candle stands, clocks, magnets, etc. for the winners and judges. The gifts were a big hit, and finally Thespo could brand things.
  9. Friends
    So Thespo was kind of lonely last year. It knew a lot of people, but didn't have really an friends. But then as the old saying goes, "A friend in need..." and suddenly friends appeared. Thespo 12 was completely supported by what we later learned was called 'Crowd Funding". It was quite a humbling moment. 120 people signed up in less than two weeks. Wow. The Friends of Thespo membership programme is still on, so if you are reading this and haven't signed up, please do. We really want to build the community, because that is where the love is.
  10. Stranger Kindness
    We have never quite figured this one out. How is it that random people are so generous to Thespo. Sometimes it is through financial support, but most of the time it is through time and expertise. Dropping everything else to become a judge, or taking the time to sit with green horns to patiently take them through the simplest of tasks. to giving up sabbaticals to tour the country or watch a young troupe. The theatre fraternity truly seems to be a warm place to work...makes me glad I don't work in any other medium.

> Up & Coming

Schedule of Plays in December





Theatre Training - Thespo 13 Workshops


presents
Exciting Theatre
Workshops for One and All!

Thespo announces its plans for 2011! Along with the usual fare of full length productions, platform performances, lives bands, etc., Thespo 13 brings a wide array of theatre workshops in the next 2 weeks. (Complete schedule given below). Thespo 13 will be held from 13 to 18 December at the Prithvi and NCPA theatres.

Thespo has always been committed to introducing the young theatre wallah to new ideas and providing them with an opportunity to train in the various aspects of theatre. Keeping that as the focus, Team Thespo has curated a series of unique workshops that will be conducted by the local and international theatre fraternity. Workshops will be lead by theatre legend Alyque Padamsee, actor/director/trainer Faezeh Jalali and RJ Rohini Ramanathan. Thanks to our continuing partnership with Urban Myth Theatre of Youth (Adelaide, Australia), we have director David Hirst at the festival. We have also joined hands with UK’s Kipper Tie Theatre who will be represented by Bernie Byrnes and Jim Fowler.

Says Thespo 13 Festival Director, Vidisha Kanchan: “Staying true to our word from last year, we thought the festival would be a great way to provide some organized training to young theatre-wallahs who keep coming back to the festival every year. It is their continued support and love that has made it possible for us to host Thespo 13 – Theatre Tera Mera!”
Most of the workshops are single session, free and open to one and all! It is not necessary to be a theatre practitioner to be a part of these workshops. It simply gives you a chance to understand theatre and garner your interest in it. Enthusiastic participants can sign up for multiple workshops as well.

There are a limited number of seats in each workshop, so register today!

To register call Ishani- +91 9920767209 or Anjali- +91 9619633090
For more details: www.thespo.org / thespo13@thespo.org
-----------------------------------------------x----------------------------------------
For more details, interviews, photographs, contact Thespo 13 PR Team: Manan Mehta on +91 9769952050 and Ishani Chatterji on +91 9920767209



Thespo 13 – Workshops Schedule

No
Title
Workshop Leader
Description
Date, Time & Place
1
Us and Them
David Hirst
Walls may divide 2 groups, but they also formalize a relationship between them. How does one overcome these boundaries and find one’s identity.
3 sessions from 30 Nov to 5 Dec 2011.

Performance on 13th December, 8pm at Prithvi and 17th December, 6pm at NCPA
2
Creating Theatre - a practical exploration of plot / character / genre and text
Bernie Byrnes & Jim Fowler
A unique opportunity to create a piece of theatre in just three hours! Come, tell your story.
13th December, 10am to 1pm, Prithvi House
3
Physical Theatre
Faezeh Jalali
 Explore physical movement through Laban movement and gain an understanding of how they can be useful in a scene.
13th December, 2pm to 5pm, Prithvi House
4
The Exploration of the Physical and Emotional in Theatre
David Hirst


A study of body and emotion as tools to explore character and communication.
14th December, 10am to 1pm, Prithvi House
5
Theatre for Children - a practical exploration
Bernie Byrnes & Jim Fowler
Dramatise your favourite children’s story, nursery rhyme or poem and entertainment the most difficult group of audience members!
14th December, 2pm to 5pm, Prithvi House
6
Forum Theatre (Boal) - a practical exploration
Bernie Byrnes & Jim Fowler
Learn how Boal's notions of Forum Theatre can be used in Drama Therapy, Conflict Resolution and Personal Development.
15th December, 10am to 1pm, Prithvi House
7
The Exploration of the Physical and Emotional in Theatre
David Hirst


A study of body and emotion as tools to explore character and communication.
15th December, 2pm to 5pm, Prithvi House
8
Creating On Air characters
Rohini Ramanathan


Discover what it takes to create memorable characters on radio.
16th December, 10am to 1pm, Prithvi House
9
Absurdism - a practical exploration
Bernie Byrnes & Jim Fowler
Create your own piece of absurdist theatre – clichéd, comic or cyclical. Anything is possible!
16th December, 2pm to 5pm, Prithvi House
10
Shakespeare: Alive and Kicking!
Alyque Padamsee
An insight into Shakesperean Theatre.
TBC


To register call Ishani- +91 9920767209 or Anjali- +91 9619633090
For more details: www.thespo.org / thespo13@gmail.com