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Subrat SaurabhAuthor of Kuch Woh PalVijay Padaki is a Theatre Educator based in Bangalore. He has worn two caps all his life with equal facility. He has been active in the theatre for over sixty years. He has been a management professional for over forty-five years. Vijay joined Bangalore Little Theatre in 1960, the year of its inception, and later served the company in many capacities – as actor, director, trainer, writer, designer and administrator. In 2008, Bangalore Little Theatre Foundation was restructured as a Public Charitable Trust. It was done with the purpose of reinforcing the organisation’s commitment to social Read More...
Vijay Padaki is a Theatre Educator based in Bangalore. He has worn two caps all his life with equal facility. He has been active in the theatre for over sixty years. He has been a management professional for over forty-five years.
Vijay joined Bangalore Little Theatre in 1960, the year of its inception, and later served the company in many capacities – as actor, director, trainer, writer, designer and administrator. In 2008, Bangalore Little Theatre Foundation was restructured as a Public Charitable Trust. It was done with the purpose of reinforcing the organisation’s commitment to social development goals beyond performance. The Trust requested Vijay to provide the leadership to a newly-created Academy of Theatre Arts in its formative years.
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Beginning with a one-off production in 1966, The Ungrateful Man, there was a steady build-up of projects and activities in Bangalore Little Theatre to comprise a full-fledged programme thrust committed to schools and young audiences. The five plays in Volume 8 bring us to the year 2021 in the Children's Theatre programme. Volume 3 was the first compilation of Children's Theatre plays. The two Volumes include only the plays presented as performances in the prog
Beginning with a one-off production in 1966, The Ungrateful Man, there was a steady build-up of projects and activities in Bangalore Little Theatre to comprise a full-fledged programme thrust committed to schools and young audiences. The five plays in Volume 8 bring us to the year 2021 in the Children's Theatre programme. Volume 3 was the first compilation of Children's Theatre plays. The two Volumes include only the plays presented as performances in the programme series. They do not reveal a lot else done in parallel in reaching schools. There are also the plays developed specifically for the Theatre-in-Education programme. We will see some of that work in Volume 9.
The plays in this Volume, and A Bellyful of Paradise in particular, reiterate BLT's position that children are capable of far higher levels of comprehension than we care to recognize. (Indeed, they have often absorbed play scripts that went over the heads of adult audiences.) Children's Theatre is too often equated with fun and froth on stage, dumbing down the storyline, and actors talking down to the children. It need not be so. Going by the credo of Theatre for Young Audiences (TYA) it must not be so. The plays by BLT are designed to tour schools. They include schools in rural areas and schools reaching underprivileged communities. The response of the children to the plays is the greatest testimony to what we have set out to do in Children's Theatre.
The principle of economy of force applies even at the stage of conceiving a play. Many good ideas can be put across on the stage in a short play or a one-act play. They need not be put on the rack and stretched to a full length script. (It is cruelty to the audience.) This is the reason so many full length plays in English in India are bright and attractive in the first half an hour and run out of steam after the intermission. Not surprisingly many movie scrip
The principle of economy of force applies even at the stage of conceiving a play. Many good ideas can be put across on the stage in a short play or a one-act play. They need not be put on the rack and stretched to a full length script. (It is cruelty to the audience.) This is the reason so many full length plays in English in India are bright and attractive in the first half an hour and run out of steam after the intermission. Not surprisingly many movie scripts are the same.
We have avoided the label 'one-act plays, preferring to call this compilation short plays. One-act plays had a historical context in the West, and served that context well. The context is different today, especially in countries like India where the 'ecosystem' of theatre performances makes its own demands on the performers. The short play has a legitimate place here. A one-act play will qualify as a short play, but not all short plays are one-act plays. And then there are the sketches. How does one define a sketch? Theatre folks have not found a satisfactory definition yet! The last sketch in this Volume, Ringaling, has no spoken word. It is done entirely with moves and sound effects - a wide variety of ring tones of mobile phones.
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