1. After Dussehra celebrations in October last year, and marathon this year, it might be third public event i attended.
2. While I was working in Bangalore I used to see advertisements for theatre shows which used to have tickets worth 1000 rupees to 2000 rupees. Even when I watched some movies after paying that amount, I was reluctant to spend that much on theatre.
3. This one was written by Manav Kaul and directed by Shantanu Pandey.
4. Despite my suggestion they used ‘Udhaaran’ instead of ‘udaaharan’ as proper pronunciation of the word. When I suggested them that during their rehearsal they either didn’t understand or didn’t want to understand. Moreover the director seemed disgruntled with my use of word flatmate for his flatmate.
5. They didn’t credit the music they used-to create captivating emotional background.
6. The auditorium has 230 seats for audience. There are 13 portraits and three scenaries at back.
7. While coming downstairs i observed a few gutka pouches. They weren’t too many.
8. The pick points which engage audience here are essentially : expressions of characters who are annoyed or desperate.
9. In some ways: people laugh at or enjoy watching troubled people.
10. All emergencies, disasters and tragedies are to see others suffering. Theatre and cinema is merely mimicry of life.
11. It implies : the role of darkness or suffering in making our existence meaningful.
12. Not for a single moment any of us wants any discomfort for ourselves. We don’t want to trade places with our selves in time or space because their destinies are so uncertain. Only in case of acute trouble we might wish to reset or exchange our lives with another.
13. There’s a reference to exodus in this play.
14. In one of the dialogues, one character tells another: ” whenever people are forced to migrate from their place to another–they are not able to accept the other place as their own. ” This made me think about true home. It’s often called as the heart. The spiritual heart. The Self.
15. To see raw emotions: anger, comedy and such: you don’t really need to visit theatre. Just take a walk through the town or stay put in your house and you will have plenty of it. Why then, do you need to imitate what’s already out there?
16. It’s essentially merely to increase our awareness. We don’t listen to our friends and family and the same things, when they’re spoken by a celebrity or leader or on stage: we consider them to be big things or real deal.
17. Add time to it: the prime ignorance. Aging is because of time. Time is psychological death. Essentially time is change but even the perception of change is dependent on some impressions which are created by certain energy patterns.
18. If I tell you about certain flaw in your persona you might immediately resort to its being ancient to downplay it. Or generalize it across a data space. If you don’t understand it: I would give an example if you need.
19. I had clear deja vus of being inside that premise. I told about it to the person about whom I mentioned in my last post and who came to sit besides me as we talked for a while. Then I moved back to top row. Front rows are considered luxury in theatre as you get to see expressions of characters. I chose topmost to stay away from the noise.
20. Earlier I was convinced about deja vus being indicators of something important but now-a-days they’re there almost always whenever I visit a new place. To see a play in an auditorium in my hometown is a new experience for me.
21. If it takes countless lifetimes to master each and every knack and there are countless streams of mastery: there are countless births or no liberation, no peace.
22. Every experience: big or small, is made up of experiences. And every experience in the end is revealed to be empty of any inherent value. Seeking experiences is drive of life and it seems to be without beginning.
23. Park has three characters, three benches in a park. Struggle for space.
Event courtesy: Narmda foundation/IPTA Chhatarpur.
Featured image: Gandhi Smarak Nidhi Chhatarpur