Fanatika International Theatre Documentary Festival E-Catalogue

Website:

Email:[email protected]

Phone: 079 - 26733800 / 3900Mobile: 0 97 23 45 24 25

Address:French GalleryAlliance Francaise d’AhmedabadHimali Tower Lane, Near Kenyug Cross RoadsShyamal-to-Manekbaug RoadSatellite, Ahmedabad 380 015INDIA

Organized by

in association with

3rd Fanatika International Theatre Documentary Festival • 2014© TransIndus Foundation

My passion for theatre and my belief in its powers have both been nourished with the overwhelming support this festival received in terms of participation and spectators during the first edition February 2012. The 2nd edition of this festival in February 2013 with a larger participation came as a proof of a developing cross-cultural dialogue.

Theatre has always been a very powerful medium of expression. Many have explored it more as a tool rather than simply a form of art or entertainment. Here, we can also see how people have used it as the best resolution. This festival stands also as an initiative to explore the things ‘behind the curtain’! For we always happen to witness the final outcome on the stage, these documentaries also let us acquaint with the unknown parts of the creative process.

I am sure that this festival will not only serve theatre students, amateurs and professionals but will also attract all those sensible and sensitive souls who believe that “all the world is a stage”!

This is perhaps the only festival of its kind in the world. I welcome you all to explore the theatre practices from the different parts of the world.

Chintan PandyaFestival Director and Curator, Theatre Artist

Director’s Note


Explore the Interdisciplinarity of TheatreFITDF is perhaps the only film/documentary festival in the world that is completely dedicated to theatre. Here, we explore theatre beyond our conventional understanding of “theatre”.

Generate an Intercultural DialogueHow can the world speak a global language unless there is a cross-cultural dialogue and exchange? ‘Replication of life’ at large, theatre has the strongest socio-cultural appeal and FITDF becomes the platform to initiate an Intercultural Dialogue in any context.

Encourage the Documentation of Vanishing Performing Arts – our Intangible HeritageThrough FITDF, we wish to inspire and encourage documentary filmmakers to document vanishing performing arts, especially the folk theatre forms from different corners of the world. It is our Intangible Heritage and if we cannot practise them anymore, we can certainly document them for our future generations to come.

Accessibility and Sharing of KnowledgeFITDF is free and open to all. This festival is created on the philosophy of “giving back to the society what it has given to us”. The traveling edition of the festival is to reach out to the maximum number of viewers and share as much as possible.

Create a Bank of ResourcesIt is very difficult for many students and artists in countries with limited resources or little grants to have access to inter-regional or international trainings and exchanges. FITDF becomes a window of international exposure to explore different faces of theatre under one roof.

Festival’s Five Objectives

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LkkxfLkwt rðrðÄ ûkuºkku MkkÚku Lkwt òuzký yku¤¾ðwt.FITDF yu yuf{kºku rVÕ{ VuMxeð÷ Au su MktÃkqýoÃkýu LkkxfLku Mk{ŠÃkík Au. ynª «[r÷ík [e÷k[k÷w {kLÞíkkykuÚke y÷øk heíku Lkkxf Lku òuðk{kt ykðu Au.

rðrðÄ MktMf]ríkyku ðå[u MktðkË W¼ku fhðku.yktíkh - MkktMf]ríkf MktðkË ðøkh {kýMk ‘rðï-{kLkð’ çkLku ¾hku ? Lkkxf yu SðLkLkwt ËÃkoý íkku Au s MkkÚku MkkÚku {sçkqík Mkk{krsf - MkktMf]ríkf yÃke÷ Ähkðíkwt yíÞtík þÂõíkþk¤e {kæÞ{ Ãký Au. FITDF yu ykðk yíÞtík yøkíÞLkk yktíkhMkktMf]ríkf MktðkË {kxu Ã÷uxVku{o Ãkqhwt Ãkkzu Au.

÷wó Úkíke síke ¼sðýeLke f÷kykuLkwt ËMíkkðuSfhý îkhk síkLk MktðÄoLk fhðwtFITDF îkhk y{u ÷wó Úkíke síke Lkkxâf÷kyku ¾kMk fheLku rðrðÄ ËuþkuLkk ÷kufLkkxâ MðYÃkkuLke ò¤ðýe fhðk {kxu frxçkØ Aeyu. yk Lkkxâf÷kyku ykÃkýku y{qÕÞ MkktMf]ríkf ðkhMkku Au yLku ykðLkkhe ÃkuZeyku {kxu f{Mku f{ yuLkwt ËMíkkðuSfhý fhðwt yu ykÃkýe Vhs Au

¿kkLkLkk ykËkLk«ËkLk Lku ðÄw{kt ðÄw ÷kufku MkwÄe ÃknkU[kzðwtFITDF {kt «ðuþ rðLkk {qÕÞu {¤u Au. yLku íku Mknw fkuR {kxu ¾wÕ÷wt Au. ‘ykÃkýLku fIf ykÃkLkkh Mk{ksLku ykÃkýu fIf ÃkkAwt ykÃkðwt.’ yu FITDF Lkku rMkØktík Au. {n¥k{ ÷kufku MkwÄe ÃknkU[ðwt yLku ¿kkLk Lku «[kh «Mkkh yk ð»koLkk VuMxeð÷Lkwt {wÏÞ æÞuÞ Au.

Lkkxâf÷k rðþuLkk ¿kkLk †kuíkkuLkku Mk{]Ø Mktøkún W¼ku fhðku.½ýk ¾hk rðãkÚkeoyku yLku f÷kfkhku {kxu Lkkxâf÷kLkwt ¿kkLk ykÃkíkk hk»xÙeÞ - yktíkh hk»xÙeÞ †kuíkku MkwÄe ÃknkU[ðwt y½hwt Au. FITDF yu ykðk yMktÏÞ ÷kufku {kxu ÚkeÞuxhLke ðirðæÞMk¼h rðþk¤ ËwrLkÞk Lke çkkhe ¾ku÷e ykÃku Au.

VuMxeð÷Lkk WÆuþku

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Broadway: The Golden Age

Directed by Rick McKay

Language: English

Country: The USA

Synopsis:In their own words, and not a moment too soon - ‘Broadway’ tells the stories of our theatrical legends, how they came to New York, and how they created this legendary century in American theatre. This may be the

television, live theatre exists only in the memories of those who were there watching, or more importantly, creating this magic. ‘Broadway’ tells the stories of these legendary performers, composers and writers while illustrating their tales with amazing, rare, archival performance footage and these legends’ own home movies and photos.

the documentary’s production, Broadway: The Golden Age is both a celebration of current Broadway stars and a tribute to Broadway legends past. Through a plethora of interviews and vast amounts of archival footage, McKay presents a variety of factoids, anecdotes, and memories from over 100 Broadway actors, writers, and directors. The careers of Laurette Taylor, Kim Hunter, Jessica Tandy, and Marlon Brando are all animatedly retold, as is some of the Broadway “lore of olde,” such as Angela Lansbury’s struggle to land a role in Mame and the shocked reaction to West Side Story on its opening night. In addition to footage and discussion regarding highly successful Broadway stars, a variety of

amount of critical recognition. The cast includes Shirley MacLaine, Bea Arthur, Edie Adams, Alec Baldwin, and Kaye Ballard, and many others.


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çkúkuzðu : Ä økkuÕzLk yusrËøËþoLk : rhfe {u¬u

¼k»kk : ytøkúuS

Ëuþ : Þw. yuMk. yu.

Mkkhktþ :çkúkuzðu yu ð»kkuoLkk ytíkh çkkË f÷kfkhkuLkk {w¾uÚke s fnuðkÞu÷e ykÃkýk {nkLk LkkxÞ f÷kfkhkuLke ËtíkfÚkkykuLkku ¾òLkku Au. íkuyku õÞkhu LÞw Þkufo ykÔÞk fuðe heíku íku{Lku y{urhfkLkkt RríknkMk {kt yuf ÞkËøkkh MkËeLkwt rLk{koý fÞwO ðøkuhu íkuLke yË¼qík fÚkk yk rVÕ{{kt ðýe ÷uðk{kt ykÔÞk Au. ykðk yLkku¾k f÷kfkhkuLke {w÷kfkíkkuLkwt ËMíkkðuS fhý fhðkLkku yk AuÕ÷ku {kufku Au. fkhýfu rVÕ{ yLku xe.ðe. rMkðkÞ htøk¼qr{ Võík ÷kufku{kt {Lk{kt s Sðe hne Au. çkúkuz ðu yu LkkíGsøkíLkk {nkLk yr¼Lkuíkkyku, Mktøkeíkfkhku yLku ÷u¾fkuLke SðLk fÚkLke yíÞtík Ëw÷o¼ yLku hku{kt[f yuðk Vqxus îkhk ykÃkýe {qfe ykÃku Au.

rËøËþof rh¬e {u¬uyu yk rVÕ{Lkk rLk{koý Ëhr{ÞkLk rðïLkk Ãkkt[ ¾tzku{kt ÷ktçkku «ðkMk ¾uzÞku níkku. Ä økkuÕzLk yus yu yksLkk çkúkuz ðu Lkk rMkíkkhkyku MkkÚkuLke Wsðýe íkku Au s. MkkÚku çkúkuzðuLkk ¼ÔÞ ¼qíkfk¤ Lku yuf ytsr÷ Ãký Au. yMktÏÞ {w÷kfkíkku yLku y÷ÇÞ Vqxus{ktÚke ÃkMktË fheLku {u¬u 100 sux÷k f÷kfkhkuLkk SðLkLkk [kUfkðLkkhk íkÚÞku, «Mktøkku yLku M{]ríkyku rVÕ{{kt ðýe ÷u Au. ÷kuhux xu÷h, fe{ nLxh surMkfk xuLze yLku {kh÷ku çkúktzku Lke fkhrfËeo Vheðkh ÃkzËk Ãkh Sðtík ÚkkÞ Au íkku çkúkuz ðuLkk fux÷eÞu ÷kufS¼u [Zu÷k «MktøkkuLkku Ãký Mk{kðuþ f÷kðko{kt ykÔÞk Au. yne yLkuf MkV¤ rMkíkkhkykuLkkt Vqxus yLku [[ko rMkðkÞ fux÷kÞ f÷kfkhkuLkk Mkkå[e «ríkck {u¤ððkLkk {hýeÞk «ÞíLkku Ãký Mkk{u÷ fhkÞk Au. þ÷eo {uõ÷uRLk, çke ykÚkoh, yuze yuzBMk, yu÷uf çkkÕzrðLk yLku fuÞu çku÷kzo suðk yLkuf f¤kfkhkuLke nksheÚke yk rVÕ{ yrðM{hýeÞ çkLke hnu Au.


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The Reproduction Crisis (Die Reproduktionskrise)

Directed by Jörg Adolph and Gereon WetzelProduced by

Language: German; English subtitles

Country: GermanyCourtesy: Goethe Zentrum Ahmedabad

Author Mirjam Neidhart interviews people about their desire to have children and director Simone Blattner rehearses with six actors at Hamburg’s Thalia Theater in order to make this documentary material come alive on stage. But how much authenticity can a director’s theatre take? A twofold documentary look at reproduction – in life and on stage.

Synopsis:Today there is a social discourse that oscillates between idyllic notions of family and antipathy towards children, between baby crazes and child phobias; a discussion that puts the personal question regarding the desire to have children at the centre of public debate. Frank Schirrmacher & Co. waste no time making the question of whether to have children tantamount to “to be or not to be”.

“What aspects do we actually discuss?” asks author Mirjam Neidhart. “We talk about numbers, we talk about accusations, but we don’t talk about what occupies people’s minds on a daily basis.” This lack of discourse motivates her to conduct interviews with a variety of people, spanning every stratum of consciousness and every age group, about their desire to have children and to present a collection of opinions and stories in her play.

Meanwhile, the theatre carries on its own discourse with the raw material supplied by reality. While working on this piece you cannot help but ask yourself how you yourself feel about children and what the text has to do with your own life. The actors and the director are torn between “taking the stories seriously” and “not getting bored”, between “necessary intimacy” and “false concern”; for individual fates are not very easily

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translated into a theatrical form and the quest for authenticity proves elusive in the process of staging a play.

“The Reproduction Crisis” creates a fictitious dialogue between actors and real people, juxtaposes life in the theatre with real-life stories, reveals the documentary-like nature of theatrical productions and the theatrical nature of the documentary. “The Reproduction Crisis” is the first collaborative effort between award-winning documentarians Jörg Adolph (“Kanalschwimmer”, “Houwelandt“) and Gereon Wetzel (“Castells”). The two filmmakers shared all responsibilities – from conception to camera, sound and editing work – and completed the film in nine months. The Tied & Tickled Trio composed the music score, Ingo Fliess (if… Productions) produced the film in cooperation with Bayerischer Rundfunk (BR) (editor: Petra Felber) and with the support of the Goethe-Institut.

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Ä he«kuzõþLk ¢kRMkeMkrËøËþof : òuøko yzkuÕV yLku suhuykuLk ðuxÍu÷

¼k»kk : s{oLk, ytøkúuS MkçkxkRxÕMk

Ëuþ : s{oLkeMkkisLÞ : øÞwRÚku ÍuLºk{ y{ËkðkË

÷u¾f r{hòík rLkÄkíko Mk{ksLkk rðrðÄMíkheÞ ÷kufkuLke {w÷kfkík ÷u Au yLku íku{Lke MkkÚku MktíkkLk«króLke RåAk rð»ku ðkík[eík fhu Au. Mk{ktíkhu, LkkxÞ rËøËþof rMk{kuLk ç÷uxLkh A yr¼Lkuíkkyku MkkÚku {¤e nu{çkøkoLkkt Úkkr÷yk ÚkeÞuxh ðíke yk zkuõÞw{uLxhe Lke Mkk{økúe ÃkhÚke yuf LkkxÞkí{f «Míkwrík hsq fhðkLkku Ãkzfkh Íe÷u Au. Ãkhtíkw þwt htøk{t[ Ãkh yk {wÆku «{ký¼qík heíku [[eo þfkÞ ¾hku ? yk zkuõÞw{uLxhe çku Míkhu yk «&™ yk÷u¾ðkLkku «ÞkMk fhu Au - SðLk{kt yLku htøk{t[ Ãkh....

Mkkhktþ :MktíkkLk«króLke Ít¾Lkk ytøkuLkku yksLkk Mk{ÞLkku ðkíkko÷kÃk (DISCOURSE) fwxwtçk rðþuLkk YrZøkík ÏÞk÷ku yLku MktíkkLk ÃkuËk fhðk «íÞuLke yhwr[ ðå[u ÍqÕÞk fhu Au. yksLke sYheÞkík Au MktíkkLk«króLke Ít¾Lkk suðk ÔÞfríkøkík «&™Lke Lke ònuh{kt [[ko.. VUf þeh{k»kkh yLku ftÃkLke yk «&™Lke íkkífkr÷f Äkuhýu MktÃkqýo íkeðúíkkÚke ònuh [[ko þY fhu Au. Lk

ykÃkýu ¾hu¾h fÞk ÃkkMkk ytøku [[koyku fhe hÌkk Aeyu ? ykÃkýu yktfzkykuLke ðkík fheyu Aeyu. ykhkuÃkkuLke ðkík fheyu Aeyu. Ãkhtíkw ykÃkýu hkuòuhkus ÷kufkuLkk {Lk{kt þwt yðZð [k÷e hne Au yuLke WÃkh æÞkLk LkÚke ykÃkíkk. yk «&™ ytøkuLke ðkík[eíkLkku MkËtíkh yk¼kð ÷u¾fLku Mk{ksLkk ík{k{ ðøkkuo Lkkt ÷kufku MkkÚku MktðkË fhðk «uhu Au yLku yLkuf ÷kufkuLkk yr¼«kÞku yLku yLkw¼ðku{ktÚke íkuLkwt Lkkxf ½zkíkwt [k÷u Au.

ð¤e, «kó Mkk{økúe MkkÚku fk{ ÃkzðkLke Lkkxf Lke ÃkØrík y÷øk Au. WÃkhktík, ykðe fkuR «Míkwrík MkkÚku òuzkíke fkuR Ãký ÔÞÂõík òýu yòýu ÃkkuíkkLke ík{khe òíkLku Ãký ÃkqAðk ÷køku Au- MktíkkLk«kró rð»ku ÃkkuíkkLkk þwt rð[khku Au yLku yk «MíkwríkLke ¼sðýe ÃkkuíkkLku fR rËþk{kt ÷R òÞ Au. ÃkAe. yr¼Lkuíkkyku yLku rËøËþof Mkk{u çkeS Ãký fux÷ef


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Mk{MÞkyku Au. yu{ýu Mktíkw÷Lk ò¤ððkLkwt Au - Ëhuf ÔÞÂõíkLke yLkw¼ðfÚkkLku økt¼ehíkkÚke ÷uðk yLku ftxk¤ksLkf çkLke sðk ðå[u. Mkk[e MknkLkw¼qrík yLku ÷køkýeðuzk ðå[u. fkhýfu ÔÞÂõíkøkík «&™kuLku Lkkxf{kt Mkh¤íkkÚke ðk[k ykÃke þfkíke LkÚke yLku «{ký¼qíkíkk {kxuLkku ykøkún LkkxfLke ¼sðýe{kt ½ýwt ¾hwt ¾÷u÷YÃk Lkeðzu Au.

‘Ä he«kuzõþLk ¢kRMkeMk’ yu yr¼Lkuíkkyku yLku ðkMíkrðf ÷kufku Lke ðå[u yuf fkÕÃkrLkf MktðkË W¼ku fhu Au.

LkkxfLkk SðLk yLku ðkMíkrðf ÔÞÂõíkfÚkkykuLku Mk{ktíkhu òuzu Au. Lkkxf {kt ykðíkwt ËMíkkðuSÃkýwt yLku ËMíkkðuS rVÕ{kuLke LkkxfeÞíkk Aíke fhu Au. Ä he«kuzõþLk ¢kRMkeMk yu yðkuzo rðsuíkk zkuõÞw{uLxhe rËøËþofku òuøko yzkuÕV yLku suhuykuLk ðuxÍu÷ ðå[uLkwt Ãknu÷wt MkrnÞkhwt MkknMk Au çktLku rËøËþofkuyu fÚkkçkes rLk{koýÚke {ktzeLku fu{uhk, MkkWLz yLku yuzexªøk MkwÄeLke ík{k{ sðkçkËkhe ÃkhMÃkh ðnU[e Lkk¾u÷e- yLku Lkð {rnLkk{kt rVÕ{ Ãkqhe fhe. xkRz yLku xefÕz Lke rºkÃkwxe îkhk MktøkeíkçkØ yk rVÕ{Lkwt rLk{koý RLøkku ^÷eMk íkÚkk çkuhe»kh htzVtf ðzu fhðk{kt ykÔÞwt’ íkwt su{kt øÞwRÚku RLMíkeíÞwíkLkku Ãký MknÞkuøk «kó ÚkÞku’íkku.


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Afghanistan: Reconstructing through Theatre

Directed by Alexandra ParaboschiProduced by Hasard d’Hasard

Language: Dari, Pashtu, English, French; English subtitles

Country: France

Synopsis:Afghan artists, both debutant actors and experimented, carry theatrical art within their heart. The terrible consequences of the war, its devastations, women’s condition, the Taliban regime, corruption... give matter to plays written and performed by local artists.

Afghan actresses soon understood that theatre could have an important part in the country’s reconstruction process. Indeed, it offers means for the human nature to look deep into itself, allowing certain issues and fundamental questions to be debated.

Proud and engaged, these women defeat society’s interdictions. In southern Afghanistan, nearby Kandahar, in a province still controlled by Taliban’s militias, men and women risk their lives every day acting on stage. To them, theatre is far more than just art. It is a mean of Peace.

This documentary shows a different Afghanistan. Perhaps it offers a better overview of what this country has become. In today’s geopolitical context, helping people to better understand what is at stake in this region of the world has become a necessity. We truly hope this documentary will provide better information, and enlighten their judgment.


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yV½krLkMíkkLk : hefLMxÙfxªøk Úkúw ÚkeÞuxhrËøËþoLk : yu÷ufÍkLzÙk ÃkkhkçkkuþerLk{koý : nuÍkËo Ë ‘nuÍkËo

¼k»kk : Ëkhe, Ãkw~íkw ytøkúuS, £U[ (MkçkxkRxÕMk - ytøkúuS)

Ëuþ : £ktMk

Mkkhktþ :LkðkurËík fu MÚkkrÃkík, ík{k{ yV½kLk yËkfkhku LkkxfLkk òËwÚke yr¼¼qík Au. ÞwØLkk ¼Þtfh Ãkrhýk{ku, íkuLkk îkhk ÚkÞu÷ku rðLkkþ, †eykuLke ËwËoþk, íkkr÷çkkLke þkMkLk ðøkuhu MÚkkrLkf f÷kfkhku îkhk ¼sðkíkk Lkkxfku {kxu Mkk{økúe Ãkqhe Ãkkzu Au.

yV½kLk yr¼LkuºkeykuLku çknw ðnu÷wt Mk{òR økÞu÷wt fu Lkkxf ËuþLkk ÃkwLk: rLk{koý{kt yøkíÞLkku ¼køk ¼sðe þfu Au. Lku Mkkå[u s, yu{Lkk rfMMkk{kt Lkkxf yu {kLkð Mð¼kð{kt Ÿzwt òuðk {kxu yøkíÞLkwt MkkÄLk çkLÞwt Au íku «ðíko{kLk Mk{MÞkykuLku ðk[k ykÃke hÌkwt Au. íkku ð¤e rðþË [[ko {ktøke ÷uíkk ÃkkÞkLkk «&™ku Ãký WXkðe hÌkwt Au.

WÒkík yLku ykí{rLk¼oh, yk †eyku Mk{ksLkk YZ çktÄLkku Lku Mknu÷kRÚke ÃkhksÞ ykÃku Au. ftËnkhLke ykMkÃkkMkLkk Ërûký yV½krLkMíkkLk{kt ßÞkt yksu Ãký íkk÷eçkkLk ÷~fhLkwt þkMkLk Au íÞkt yksu Ãký MkUfzku Ãkhw»kku yLku †eyku yr¼LkÞ fhðk síkk ÃkkuíkkLkku Sð òu¾{{kt {qfu Au. íku{Lkk {kxu Lkkxf yu f¤k fhíkktÞ rðþu»k Au. íku{Lkk {kxu yu þktríkLkwt MkkÄLk Au.

yk zkuõÞw{uLxhe yuf y÷øk s yV½krLkMíkkLkLkk ËþoLk fhkðu Au. fËk[ yk zkuõÞw{uLxhe yV½krLkMíkkLkLke ðíko{kLk ÂMÚkríkLkku çknuíkh r[íkkh ykÃku Au. yksLkk hksfeÞ MktË¼o{kt, rðïLkk yk ¾qýk{kt fuðk Mkt½»kkuo Lku fuðe Mk{MÞkyku «ðíkuo Au yu òýðwt MkkiLku {kxu ¾qçk sYhe Au. y{u ykþk hk¾eyu Aeyu fu yk rVÕ{ yu Mk{MÞkyku rð»ku ðÄw Mkkhe {krníke Ãkqhe Ãkkzþu yLku íÞkLke ðíko{kLk ÃkrhÂMÚkíke rð»ku ÷kufkuLku Mkk[k yÚko{kt ðkfuV fhþu.


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Ana

Directed by Antonio VergaminiProduced by Compagnia Finzi Pasca & Atelier SieviCo-Produced by Swiss Television

EnglishLanguage:

Country: Switzerland

Synopsis:At the beginning of the year 2000 Daniele Finzi Pasca suggested that Ana Heredia join his company’s new work as an actress. Before then Ana had lived her whole life in La Paz, Mexico, between the desert and the ocean, surrounded by her nine siblings and tons of nephews and nieces; she had attended special school, silently living her experience of Down syndrome. Ana’s travelling companions know that she will occasionally suffer form a crisis, perhaps she will long to go home, or she mightn’t feel like going on stage on opening time in her life, she will see the snow, she will live in a foreign metropolis where she cannot understand the language, she will enter a theatre through the artists’ door. From La Paz to Mexico City, from Lugano to


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yuLkkrËøËþof: yuLxkurLkÞku ðuøkko{eLkerLk{koíkk: fkuBÃkkrLkÞk VeLÍe ÃkkMfk yLku ykíkur÷Þuh Mkeðe‚nrLk{koý: Mðe‚ xu÷eðeÍ™«fkh: zkuõÞw{uLxherLk{koý ð»ko: 2008

rLk{koý MÚk¤: MðeíÍ÷uoLz

Mkkhktþ :2000Lkk ð»koLke þYykík{kt yuLkk nuhurËÞk zuLkeÞu÷ VeLÍe ÃkkMfkLke ftÃkLke{kt yr¼Lkuºke íkhefu òuzkÞ Au.

yk Ãknu÷kLkwt yuLkkLkwt Mk{økú SðLk ÷k ÃkkÍ, {uÂõMkfku{kt rðíku÷wt Au. hý yLku Mk{wÿ Lke ðå[u, Lkð ¼kR çknuLk yLku yLkuf rÃkíkh ¼kRçknuLkku ðå[u... zkWLk rMkLzÙku{ Lkk{Lkk {kuLkkuhkuøkÚke Ãkezkíke yuLkk {kLkrMkf ËËeoyku {kxuLkkt ¾kMk rðÄk÷Þ{kt Ãký ÃkkuíkkLke ÷zík ykÃke [qfe Au.

yuLkk Lkk r{ºkku òýu Au fu yuLkk Lku øk{u íÞkhu zkWLk rMkLzÙku{ Lkku nw{÷ku ykðe þfu Au. y[kLkf yuLkkLku ½hu sðkLkwt {Lk ÚkkÞ yÚkðk íkku yu Ãknu÷k s ¾u÷{kt s Mxus Ãkh sðkLke Lkk Ãkkzu yu{ Ãký çkLke þfu Au.

yuLkk ÃkkuíkkLke ®sËøkeLkku «Úk{ nðkR «ðkMk fhðk sR hne Au. «Úk{ ðkh yu rn{ ð»kko Úkíke òuþu Lku yuf yuðk {nkLkøkh{kt hnuþu ßÞktLkk ÷kufku, ßÞktLke ¼k»kk yuLkkÚke íkËTLk yòÛÞk Au. yk rVÕ{, yuLkkLke ÷k ÃkkÍ Úke {uÂõMkfku rMkxe yLku ÷wøkkLkkuÚke {kuLxÙeÞk÷ ðå[uLke MkVhLke Íkt¾e fhkðu Au.


DAY

02

¼k»kk : ytøkúuS

The Arbor

Directed by Clio Barnard

Language: English

Country: The UKCourtesy: British Council

Synopsis:Andrea Dunbar was a British playwright whose work reflected the gritty realities of life in working-class Bradford, West Yorkshire. Dunbar knew of what she wrote -- she grew up in a Bradford housing project, had children by three different men, was a victim of domestic violence, and struggled with alcoholism before she died in 1990 when she was only 29. Andrea’s daughter Lorraine Dunbar inherited her gift with language, but also her weaknesses; she also dealt with unhappy relationships with men, worked as a prostitute, became addicted to hard drugs, and served time for manslaughter when her two-year-old son died after drinking her methadone. Filmmaker Clio Barnard set out to tell the story of Andrea Dunbar’s brief, troubled life and the neighborhood where she lived and wrote, and The Arbor is a unique mixture of documentary and narrative filmmaking. In addition to interviews with members of Andrea Dunbar’s family and residents of Bradford’s Buttershaw estates, where Dunbar’s plays took place (which are lip-synched by actors to create a distancing effect), the film includes passages from Dunbar’s first play, also called The Arbor, played out against the real-life locations where the story is set. The Arbor received its world premiere at the 2010 Tribeca Film Festival.


DAY

02

Ä ykçkohrËøËþoLk : Âõ÷Þku çkLkkozo

¼k»kk : ytøkúuS

rLk{koýMÚk¤ : Þw. fu.MkkisLÞ : rçkúxeþ fkWÂLMk÷

Mkkhktþ :yuLzÙeÞk zLkçkkh yuf yuðe rçkúxeþ Lkkxâ÷ur¾fk níke suLkk ÷¾ký{kt çkúuzVkuzo rðMíkkh{kt hnuíkk fk{Ëkh ðøkoLkk SðLkLkwt ðkMíkð Aíkwt ÚkkÞ Au. zLkçkkh ÃkkuíkkLke ykMkÃkkMkLke ËwrLkÞkÚke MkwÃkuhu Ãkrhr[ík níke. íku çkúuzVkuzo nkW®Mkøk «kusuõxLkk ½h{kt WAhe níke. ºký y÷øk y÷øk Ãkwhw»kkuÚke íkuLku çkk¤f ÚkÞk níkk. ½hu÷wt ®nMkkLkku ¼kuøk çkLke [qfu÷e zLkçkkh Võík ykuøkýºkeMk ð»koLke ðÞu {ÄÃkkLkLkk yríkhufÚke {]íÞw Ãkk{e níke. yuLzÙeyk Lke Ãkwºke ÷kuhuRLk zLkçkkh Lku ðkhMkk{kt ¼k»kkøkík fkiþÕÞ MkkÚku yuLzÙeykLke Lkçk¤kRyku Ãký {¤u÷ Au. Ãkwhw»kku MkkÚku Lkk MktçktÄku{kt rLk»V¤ík, yríkþÞ zÙøMk Lkwt MkuðLk, çku ð»koLkk ÃkwºkLkk {]íÞw çkkË ®nMkf økuLøk{kt òuzký ðøkuhu Wíkkh [Zkðku {ktÚke íkuLke ®sËøke Ãký ÃkMkkh ÚkR Au. rVÕ{{ufh Âõ÷Þku çkLkkozo yuLzÙeyk zLkçkkhLke xqtfe Lku ÍtÍðkíke Mkt½»koÃkqýo SðLkLke yLku íku ßÞkt hnuíke níke yu ðMíkeLke fÚkk fnuðkLkku Ãkzfkh Íe÷u Au. Ä ykçkoh yu ËMíkkðuS yLku fÚkLkkí{õíkkLkkt r{©ýÚke h[kÞu÷e rVÕ{ Au. yuLzÙeyk zLkçkkhLkk ÃkrhðkhsLkku yLku çkúuzVkuzoLke çkxhþku ðMíkeLkk hneþku Lke {w÷kfkíkku rMkðkÞ yk rVÕ{{kt zLkçkkhLkk «Úk{ Lkkxf ykçkoh Lkkt ytþku Mk{krðü Au. yk ÿ~Þku ðkMíkrðf MÚk¤ku Ãkh rVÕ{kðkÞk Au. ‘Ä ykçkoh’ rVÕ{ Lke «Úk{ hsqykík 2010Lkk xÙeçkufk rVÕ{ VuMxeð÷{kt ÚkR níke.


DAY

02

Mayabazaar

Written and Directed by K. M. Madhusudhanan

Country: India

Synopsis:“Theatre is our life. We have never been able to think about anything other than theatre, nor done anything other than theatre,” Babji, as R. Nageshwara Rao is fondly known, said, sitting on an old trunk.

The golden hue of dusk on Babji’s dark face made it look almost like a dark-red statue. He said, “The times are changing. Today no one needs theatre. If there’s a cricket match on TV, there won’t be any audience for the play. We have often run shows for no more than 4 spectators.”

This family includes the aged as well as women and children. None of these people know anything other than the theatre. No one went in search of other paths either.Inside the makeshift theatre tent, land was dug out a level lower, to demarcate space for the audience. Right at the front of the audience, segregated with bamboo and boards, the orchestra sits in a compartment that’s a further level lower... an old harmonium, tabla and a keyboard... that’s it. The aalap from Vanarasa Panduranga Rao’s harmonium rises an hour before the performance. The tabla expresses a taal.

was Luva-Kusha. Men, women and children, gathered around the dull bulb hung low and started applying makeup on their faces, becoming new avatars. Originated over a century back, the makeup and costumes

thousands of nights... Mayabazaar. Mayabazaar is technically way ahead of Surabhi’s other plays. While Abhimanyu sings, the diffused image of Sasirekha drowning in the moonlight was as real for the villagers as the wonders of cinema.


DAY

02

{kÞkçkÍkh÷u¾Lk, rËøËþoLk : fu. yu{. {ÄwMkqËLk

rLk{koý MÚk¤ : ¼khík

Mkkhktþ :“Lkkxf yu y{khwt SðLk Au. yLku Lkkxf rMkðkÞ çkeswt fþwt rð[khe Ãký þfíkk LkÚke. ®sËøke¼h Lkkxf rMkðkÞ y{u çkeswt fþwt fÞwO Ãký LkÚke.” yk þçËku Au çkkçkS íkhefu òýeíkk ykh. Lkkøkuïh hkykuLkk, su yuf sqLke MktËqf Ãkh çkuXk ÃkkuíkkLkk Lkkxf MkkÚku Lkk òuzký Lke ðkík {ktzu Au.

çkkçkS fk¤k [nuhk ÃkhLke MkkuLkuhe ÍktÞ Lke fkhýu yu{Lkku [nuhku ½uhk ÷k÷ htøkLke {qŠík suðku ÷køku Au. Mk{Þ ÍzÃkÚke çkË÷kR hÌkku Au. “yksu fkuRLku Lkkxf òuðk{kt hMk LkÚke. òu xe.ðe. Ãkh r¢fux{u[ ykðíke nkuÞ íkku fkuR y{khwt Lkkxf òuðk Lk ykðu. fux÷kÞ ¾u÷ y{u [kh «uûkfkuLke Mkk{u ÞkußÞk Au.” íkuyku W{uhu Au.

çkkçkSLkk Ãkrhðkh - f{ - LkkxÞ{tz¤e{kt ðÞkuð]ØÚke {ktzeLku †eyku yLku çkk¤fkuLkku Mk{kðuþ ÚkkÞ Au. yk ík{k{uík{k{ Mkíkík Lkkxf{kt s håÞk ÃkåÞk hnu Au. ÃkrhðkhLkk fkuR Ãký MkÇÞu ykLkk rMkðkÞ çkeswt fþwt fhðkLkku «ÞíLk MkwØk LkÚke fÞkuo. nhíkkVhíkk íktçkq {kt ¼kuÞ ¾kuËeLku yuf rnMMkku çkLkkððk{kt ykðu Au. ßÞkt «uûkføký rçkhksu Au. ðÄkhk{kt «uûkfku yLku f÷kfkhku ðå[u Úkkuzwt ðÄw Ÿzu ðktMk yLku ÃkkxeÞk ðzu y÷øk fhkÞu÷k ¾kzk{kt sqLkwt nk{kuorLkÞ{, íkçk÷k yLku fe çkkuzoÚke Mkßs yuf ðkËf ð]tË çkuMku Au. ðkLkkhkMkk Ãkktzwhtøk hkykuLkkt nk{kuorLkÞ{{ktÚke rLkÞík Mk{ÞLkk yuf f÷kf Ãknu÷k yk÷kÃk ðkøkðku þY ÚkkÞ Au. íkçk÷k ÃkhÚke íkk÷Lkk çkku÷ Mkt¼¤kÞ Au.

çkkçkS [nuhk Ãkh ¼qhk htøkLkku ÚkÃkkuzku ÷økkððkLkwt þY fhu Au. hkrºkLkwt Ãknu÷wt Lkkxf Au ÷wðk fwþk. ÃkrhðkhLkk yLÞ MkÇÞku - Ãkwhw»kku †eyku yLku çkk¤fku Ãký çkÕçkLkk Íkt¾k «fkþ Lke[u yufXk ÚkR {uf yÃk ÷økkðe Lkðk htøk YÃk{kt Z¤ðk ÷køku Au. yuf MkËeÚke Ãký sqLke yk ðuþ¼q»kk{kt yks MkwÄe ÍkÍwt ÃkrhðíkoLk ykÔÞwt LkÚke.

LkkxfLkwt Lkk{ Au {kÞk çkkÍkh. {kÞk çkkÍkh yu fMkçkLke ÿüeyu Mkwhr¼Lkk yLÞ Lkkxfku fhíkk òusLkku ykøk¤ Au. yr¼{LÞwLkk Mkqhe÷k økkÞLk Ëhr{ÞkLk [ktËLke{kt Lnkíke MkrMkhu¾kLke AçkeLkku òËw yu økk{ðkMkeyku {kxu fkuR rMkLku{kÚke Mknusu f{ LkÚke.


DAY

02

The Last Days of the Ceausescus

Written by Milo RauDirected by Milo Rau and Marcel BächtigerProduced by IIPM - International Institute of Political Murder

Language: Romanian; English subtitles

Country: SwitzerlandCourtesy: Pro Helvetia – Swiss Arts Council, New Delhi

Synopsis:The images of the condemnation and execution of dictator Nicolae Ceausescu and his wife Elena on Christmas Day in 1989 are etched deeply in the collective unconscious of several generations of television viewers. Exactly 20 years after its occurrence, the famous show trial was

the stage production with interviews conducted with eyewitnesses and archive material and takes a look backstage in the Odeon Theater in Bucharest.

The collaborating artists include renowned theatre director Scott Rankin, celebrity actors Kerry Armstrong, Leah Purcell and Lex Marinos, and musician Jackie Orszaczky.

DAY

02


÷kMx zuÍ ykuV MkkuMkuMfÞwÍ÷u¾Lk : r{÷ku hkWrËøËþoLk : r{÷ku hkW yLku {kMkuo÷ çkk~íkesuhrLk{koý : IIPM -RLxhLkuþLk÷ RLMxexÞwx Vkuh Ãkku÷exef÷ {zoh

¼k»kk : hku{krLkÞLk (ytøkúuS Mkçk xkRxÕMk)

Vku{uox : f÷h, çkexkMk{Þøkk¤ku : 92 r{Lkex

Mkkhktþ :Mkh{w¾íÞkh rLkfku÷Mk MkkuMkuMõÞw yLku íku{Lke ÃkíLkeLke níÞkLke íkMðehku yMktÏÞ xu÷erðÍLk ËþofkuLke MkrnÞkhe M{]rík{kt ÿZÃkýu szkÞu÷e Au. çkhkçkh 20 ð»ko çkkË, yiríknkrMkf ðuþ¼q»kk yLku ÃkrhðuþLke {ËËÚke yk ½xLkkLkwt ÃkwLk: {t[Lk ÚkR hÌkwt Au. «Míkwík rVÕ{{kt yk ½xLkkLku Lkhe ykt¾u òuLkkhk MkkûkeykuLke {w÷kfkíkku, sqLke WÃk÷çÄ ÿ~Þ-©kÔÞ Mkk{økúe yLku ykuËuÞkU rÚkÞuxh{kt ÚkR hnu÷ ¼sðýe Lku ¾qçkeÃkqðof ðýe ÷uðk{kt ykÔÞk Au.

DAY

02


900 Neighbours

Directed by Christopher SaundersProduced by Big Hart

Language: EnglishCountry: Australia

Synopsis:In February 2006 Australia’s media was rocked by a headline, Skeleton Man Found In Housing Commission Flat. The man had died 6 months before, and all that remained was his skeleton.

Built in the 1950s in the post-war effort to clear slums and create affordable housing for those in need, Northcott was opened with pride and joy in 1961. It was the largest public housing in the Southern Hemisphere, featuring the latest Swedish design and housing a thousand people.

But now the story is very different. As the public housing system comes increasingly under pressure to house the mentally ill, ex-prisoners, recovering addicts and those battling serious drug and alcohol issues, Northcott is becoming a haven for those in crisis. But Northcott is also the home of some incredible Sydney characters...

Sandy, Mark and Dolly are just three of the tenants involved in a show called StickybrickS - a performance piece put on by the tenants in collaboration with Big Hart - an arts organisation which has been working inside Northcott for 3 years, aiming to give a voice to its tenants.

As part of the illustrious Sydney Festival 2006, StickybrickS unveils Northcott to Sydney’s elite at 75 bucks a ticket! The tenants’ voices navigate us through the fascinating history of the place, enmeshed with life there today, as the drama of the StickybrickS show unfolds in the Northcott car park.

The collaborating artists include renowned theatre director Scott Rankin, celebrity actors Kerry Armstrong, Leah Purcell and Lex Marinos, and musician Jackie Orszaczky.

DAY

03


DAY

03

900 rËøËþoLk : rhfe {u¬u

¼k»kk : ytøkúuSËuþ : Þw. yuMk. yu.

Mkkhktþ :Vuçkúwykhe 2006{k yuf Mk{k[khu ykuMxÙur÷Þk{kt MkLkMkLkkxe {[kðe ËeÄe. Mk{k[kh níkk - nkW®Mkøk f{eþLkLkk yuf V÷ux{kt yuf ÔÞrfíkLkwt nkz®Ãksh {¤e ykÔÞk rðþuLkk. rðþ»k íkÃkkMk{kt òý ÚkR fu ÔÞrfíkLkwt {]íÞw A {rnLkk Ãknu÷k ÚkR [qõÞwt níkwt.

1950 {kt rðïÞwØ ÃkAe økheçkku yLku ÍqtÃkzÃkèe{kt hnuíkk ÷kufku Lku ykuAe ®f{íku {fkLkku {¤e þfu yu {kxu LkkuÚkofkux Lkk{Lke ðMíkeLkwt rLk{koý fhðk{kt ykÔÞwt’íkw. Ërûký økku¤kÄoLke yk MknwÚke rðþk¤ ònuh ðMíke{kt Mðezeþ zeÍkRLkLkku WÃkÞkuøk ÚkÞku’íkku Lku nòhku ÷kufkuLkwt yu fkÞ{e hnuXký çkLÞwt’íkwt.

Ãkhtíkw nðu ÃkrhÂMÚkrík Mkkð s çkË÷kR økR Au. Mkhfkhe ðMkkníku nðu ¼qíkÃkqðo fuËeyku, {kLkrMkf ËËeoyku, ÔÞMkLk{ktÚke çknkh Lkef¤ðk {Úke hnu÷k ÷kufku ðøkuhuLkku Mk{kðuþ fhðku Ãkzu Au. suLku fkhýu LkkuÚkofkux fxkufxeLkku Mkk{Lkku fhe hnu÷k yLkuf ÷kufku Lkwt yk©ÞMÚkkLk çkLke hÌkwt Au. Ãkhtíkw MkkÚku s nðu íÞkt yLkuf r[ºk rðr[ºk ÔÞÂõíkyku Ãký ðÄe hÌkk Au.

MkuLze, {kfo yLku zku÷e yu ykðk s ºký ðMkkníkeyku Au su çkeøk nkxo MktMÚkk îkhk Þkuòíkk MxefeçkúeõMk Lkk{Lkk økúwÃk þku{kt òuzkÞu÷k Au. rçkøk nkxo yu yuf f÷kMktMÚkk Au su LkkuÚkofkuxLkk ðMkkníkeykuLkku yðks Mkki MkwÄe ÃknkU[u yu {kxu ºký ð»koÚke fkÞohík Au.

«ríkrcík ,rzLke VuMxeð÷{kt Mxefe rçkúfMk yuf ¾kMk fkÞo¢{ hsq fhu Au- su{kt ðMkkníkLkku RríknkMk, íkífk÷eLk SðLk, ðøkuhu yuf Lkkxf{kt ðýe ÷uðk{kt ykÔÞk Au. yk fkÞo¢{Lke rxrfxLke ®f{ík Au- ÔÞÂõíkËeX 75 zku÷h !!!!

ðMkkníkLkk f÷kfkhkuLku MkkÚk ykÃku Au - rËøËþof Mfkux huLfeLk, «rMkØ f÷kfkhku suðk fu fuheo yk{oMxÙkUøk, ÷eÞkn ÃkwMkuo÷ yLku ÷u {kheLkku íkÚkk Mktøkeíkfkh sufe ykuÍuofÍfe.


Thespians

Directed by Warren Skeels

Language: English

Country: The USA

Synopsis:Every performer starts somewhere and many of them started in their high school thespian troupe. For kids in Florida- that means possibly ending up performing on a stage for over 7,000 other students who share their passion. Thespians is the story of 4 of those troupes as they embark on the incredible journey of preparing for the largest high school theatre festival in the world. Thespians explores the wins, the losses and the lessons which lead us to understand that the “superior” ratings and accolades are not actually the goal- but it is the journey itself – one which begins as all theatre does- in a rehearsal room somewhere with “two boards and a passion.” It is not ultimately the competition that motivates the students and wins our hearts. It is the recognition that this is every performer’s story- transcending time and place to resonate with that initial spark- that calling and passion which compels all performers to forge through endless auditions and continuous rehearsals just for the chance to stand on a stage and connect; to one another, to the audience, and ultimately to themselves. Or perhaps it is what Michael Higgins, the State Director aptly notes, “the kids who are outsiders everywhere else are insiders here.” And isn’t that what life is finally about? Finding your place. Trusting your gut. Deep breaths and then taking the risk of a lifetime...


DAY

03

ÚkuMÃkeÞLMkrËøËþof : ðkuhuLk MfeÕMk

¼k»kk : ytøkúuS

Ëuþ : Þw. yuMk. yu

Mkkhktþ :fkuR Ãký LkxLke ÞkºkkLke þYykík õÞktf íkku Úkíke s nkuÞ Au, yLku ½ýk ¾hk íkku nkR-Mfq÷Lke Lkkxf-{tz¤e{kt òuzkRLku s þYykík fhe Ëuíkk nkuÞ Au. ^÷kuhezkLkkt Akufhkyku {kxu ykLkku yÚko- ÃkkuíkkLkkt suðe s Äøkþ hk¾íkk çkeò 7000 ÷kufku {kxuLkkt Mxus Ãkh ÃkkuíkkLke f÷kLkwt «ËþoLk fhðwt- ykðku Úkíkku níkku. ÚkuMÃkeÞLMk yu ykðk [kh f÷kfkhkuLke ðkíkko Au su ËwrLkÞkLkk MkkiÚke {kuxk nkR-Mfq÷ rÚkÞuxh VuMxeð÷ {kxuLke íkiÞkhe fhðkLke y¼qíkÃkqðo Þkºkk þY fhðk sR hÌkk Au. ÚkuMÃkeÞLMk yuu nkh-Sík íku{ s SðLkLkk yu ÃkkX [ªÄu Au su ykÃkýLku yu Mk{s MkwÄe ÷R òÞ Au fu feŠík yLku «þÂMík yu ytrík{ {tÍe÷ LkÚke Ãký ÞkºkkLkku s ¼køk Au, yuf yuðe Þkºkk suLke þYykík Ëhuf rÚkÞuxhLke þYykíkLke su{ s ÚkkÞ Au- ûkwÕ÷f ðMíkwyku MkkÚku yuf LkkLkk henMko÷ Y{{kt. yu MÃkÄko LkÚke su rðæÞkÚkeoyku Lku «kuíMkkrník fhu Au yLku ykÃkýk nÙËÞ Síke ÷u Au. Ãký yu ðkík, fu yk ðkíkko Ëhuf f÷kfkhLke Au. Mk{Þ-MÚk¤ Lkkt çktÄLkkuLku yku¤tøke ÃkkuíkkLke ytËhLkk íký¾kLku WòøkËh fhðku. yu ytËhLkku yðks yLku swMMkku, su ðkhtðkhLkk ykurzþLk yLku yøkrýík henMkoÕMk fhkðu Au, {kºk yuf ðkh Mxus Ãkh W¼k hneLku òuzkðkLke íkf {kxu- yufçkeò MkkÚku, «uûkfku MkkÚku, Lku Auðxu ÃkkuíkkLke MkkÚku. yÚkðk íkku {kRf÷ rnrøkLMkLkkt fnuðk «{kýu- “yu çkk¤fku su çkesu çkÄu ‘çknkhLkk {kýMk’ suðwt yLkw¼ðu Au yu y®nÞk ‘ytËhLkk {kýMk’ nkuðkLkku yLkw¼ð fhu Au”. yLku yk{ Ãký, SðLk Au þuLkk {kxu? ík{khe søÞk þkuÄðe. ík{khe þÂõíkyku Ãkh ©Øk hk¾ðe. Ÿzk ïkMk ÷RLku SðLk{kt òu¾{ku ¾uzðk...


DAY

03

Sundari

Directed by Nihar DesaiA National Institute of Design (NID) student film

Language: Gujarati; English subtitles

Country: IndiaCourtesy: NID

Synopsis:Jaishankar Bhudardas Bhojak is a very well-known, yet lost name in rich history of Indian theatre. More importantly, gujarati rangbhoomi [theatrics]. A pioneer of proscenium theatre in India, Jaishankar Bhojak acquired the title ‘Sundari’ when he first played the role of a beautiful young woman on stage in a play called ‘Saubhagya Sundari’. Since then, most of his roles were that of a woman; and his female impersonations received many applauses. Spanning a career of over four decades, Sundari’s directorial stage productions were inspired from Bhavai [a folk dance-drama from Gujarat, India] and the Beijing Opera. He was also deeply interested in literature, and brought to the commercial Gujarati theatre scene highly acclaimed works of respected writers. The list includes Saraswatichandra by Govardhanam Tripathi & many Shakespeare adaptations.

This film looks into his life through the eyes and experiences of his family, while gives a reverential take on Sundari through present day writers and stage directors. It also looks at how Sundari was a professional, and a householder, through the tales of his contemporaries. One of the rarest and well-known jewels of the Gujarati Theatre Industry, Sundari is now a name very few know about.


DAY

03

MkwtËherËøËþoLk : rLknkh ËuMkkRyuLk. ykR.ze. MxwzLx rVÕ{

¼k»kk : økwshkíke MkçkxkRxÕMk : ytøkúuS

Ëuþ : ¼khíkMkkisLÞ : yuLk.ykR.ze

Mkkhktþ :sÞþtfh ¼wËhËkMk ¼kusf yu ¼khíkeÞ htøk¼qr{Lkk RríknkMkLkwt yíÞtík òýeíkwt Ãkhtíkw ¼q÷kR økÞu÷wt Lkk{ Au. rðþu»k íkku økwshkíke htøk¼qr{ Ãkh. sÞþtfh ¼khík{kt «kuMkeLkeÞ{ htøk{t[ {kt «kht¼fíkko níkk. íku{Lku ‘MkwtËhe’ Lkk{ {éÞwt íku{ýu Mkki¼køÞ MkwtËhe Lkkxf{kt ¼sðu÷e MkwtËheLke ¼qr{fk ÃkhÚke. yk Lkkxf çkkË íku{ Lke {kuxk ¼køkLke ¼qr{fkyku †eLke s hne, suLkk {kxu íku{Lku ¾qçk «þtMkk MkktÃkze. [k÷eMk ð»koÚke Ãký ðÄw Lke ÞþMðe Lkkxâ fkhrfËeo Ëhr{ÞkLk íku{ýu ¼ðkR yLku çke®søk ykuÃkuhk Ãkh ykÄkrhík yLkuf LkkxfkuLkwt rLk{koý fÞwO íkwt. íkuyku MkkrníÞ{kt Ãký Ÿzku hMk Ähkðíkk níkk. ÄtÄkËkhe htøk¼qr{ Ãkh Lkeðzu÷e MkkrníÞ f]ríkykuLku ÷R ykðLkkhk íku s Mkðo«Úk{ níkk. su{kt økkuðÄoLkhk{ rºkÃkkXeLke ‘MkhMðíke[tÿ’ rMkðkÞ þuõMkrÃkÞhLkk yLkuf LkkxfkuLkku Mk{kðuþ ÚkkÞ Au.

«Míkwík rVÕ{ íku{Lkk SðLk{kt swyu Au yLku íku{Lkk fwxwtçkesLkkuLkk yLkw¼ðku, yksLke ÃkuZeLkk htøkf{eoykuLkku MkwtËhe «íÞuLkku ykËh¼kð Ëþofku Mk{ûk {qfe ykÃku Au. WÃkhktík, MkwtËhe Lke rþMík, íku{Lke Äøkþ yLku ½hhÏ¾w ÔÞÂõíkíð ðøkuhu Ãký yk rVÕ{{kt MkwtËh heíku yk÷u¾ðk{kt ykÔÞk Au. yuf Mk{ÞLkk yíÞtík òýeíkk yLku Ëw÷o¼ híLk yuðk MkwtËhe Lkwt Lkk{ yksu çknw ykuAk òýu Au yu yuf Ëw¾Ë ½xLkk Au.


DAY

03

Red Nose

Directed by Eldad Prives and Asaf Oren

Language: Hebrew; English subtitles

Country: Israel

Synopsis:Abstract During 2008, under the barrage of Kassam rockets, a clown was wandering around the streets of the city of Shderot. During that year he nurtured special relationships with an Ethiopian kid named Yaa’kov, who because of the encounter with the clown, dreamt to study his art, hoping it will help him to leave the city. The movie escorts the clowns’ attempts to teach Yaa’kov to become a street theatre artist, in spite of the antagonism Yaa’kovs’ friends developed towards him because of his new hobby, until the street theatre show they crated together.

The movie deals with the struggle between laughter and sorrow, the friendship between a kid with a dream and a street theatre artist who was hanging onto hope, and with a man who did not remove his makeup and remained the last one to smile.


DAY

03

huz LkkuÍ rËøËþof: yuÕËkË r«ðu yLku yMkkV ykuhuLkrLk{koíkk: yuÕËkË r«ðu

«fkh: zkuõÞw{uLxherLk{koý ð»ko: 2011 rLk{koý MÚk¤: RMkhkÞu÷

Mkkhktþ :2008 Lkwt ð»ko Au. Lku ‘fkMk{’ hkufuxMk Lkk Mkíkík {khk nuX¤ yuf òufh þuËuhkuík þnuhLke øk÷eyku{kt ½q{e hÌkku Au. ßÞkt íkuLke ËkuMíke ÚkkÞ Au Þkfkuð Lkk{Lkk RÚkeÞkurÃkÞLk çkk¤f MkkÚku... Þkfkuð Lke {níðkfktûkk Au òufh Lke f¤k þe¾ðkLke suÚke yu þnuh {ktÚke Lkef¤e yLÞ fkuR MÚk¤u sR þfu. Mk{økú rVÕ{Lke økqtÚkýe ÞkfkuðLkk þuhe f÷kfkh çkLkðkLkk «ÞíLkku, yuLkk fkhýu ÞkfkuðLkk sqLkk r{ºkku{kt W¼e Úkíke Lkkhksøke Lku Auðxu yu{Lkk s ËTðkhk Úkíkk Mkw¾Ë Mðefkh Lke ykMkÃkkMk ÚkR Au.ÂM{ík yLku yktMkw ðå[u Íku÷k ¾kíke yk rVÕ{, yuf MðÃLkþe÷ çkk¤f Lku ykþkðkËe þuhe f÷kfkh ðå[uLke {iºke íkÚkk [nuhk Ãkh {uf yÃk ÷økkðe Auf MkwÄe nMkíkk hnuíkk yuf {kýMkLke ðkík yMkhfkhf heíku yk÷u¾u Au.


DAY

03

Tambours sur la Digue

Directed by Ariane MnouchkineProduced by Le Theatre du Soleil, Bel Air Media, ARTE France, ZDF Thatrekanal

Language: French

Country: FranceCourtesy: The Embassy of France in India, Institut Français, Alliance Française d’Ahmedabad

Synopsis:“Human puppets” bring to life legendary ancient China in a poetic and philosophical epic that is disturbingly modern-day. Ariane Mnouchkine, Hélène Cixous and the Théatre du Soleil troupe lead the spectator into a waking dream where scenography, acting and puppetry join forces in awe-inspiring harmony.


DAY

03

íkuBçkqh Mkwh ÷k rËøkrËøËþoLk : yuheykLk Lkw[rfLkrLk{koý : ÷u ÚkuÞkºk ËÞw Mkku÷e÷, çku÷ yuh {erzÞk, ykíkuo £kLMk, ZDF ÚkkºkufkLkk÷

¼k»kk : £uL[

rLk{koý MÚk¤ : £kLMkMkkisLÞ : £kLMk yu÷[e f[uhe, RLMíkeíÞwík £kLMk, yk÷eykuLÍ £kuLMkuÍ y{ËkðkË

Mkkhktþ :{kLkðe fXÃkqík¤eyku yu «k[eLk [eLkLke Mk{MÞkyku rðþuLkwt ËkþorLkfíkkÚke ¼hÃkqh {nkfkÔÞ Au, su yksLkk Mk{Þ{kt Ãký yux÷w s «Míkwík Au. yurhÞkLk Lkw[rfLk, nu÷uLku MkeõMkw yLku ÷u ÚkuÞkºk zu Mkku÷e÷ Lke yk MkrnÞkhe «Míkwrík ËþofLku MkrÒkðuþ, yr¼LkÞ yLku fXÃkqík¤ef÷kLkk Mktøk{Úke h[kíke yË¼qík Mk]rü{kt ÷R òÞ Au.


DAY

03

Augusto Boal

Written by Anita Blumer and Simone KriesemerDirected by Anita BlumerProduced by Dschoint Ventschr Filmproduktion AG

Language: English/French/German; English subtitles

Country: Switzerland

Synopsis:The Brazilian theatre director Augusto Boal is one of the most prominent represen- tatives of political intervention theatre in the 20th century. In the 1960s he developed a theatre method which he called the «Theatre of the Oppressed», which results in a socially liberating experience. His method redefined the relationship between the actors and spectators in that spectators are urged to emancipate and liberate themselves from their passive role. The film illustrates what this means in practice using various theatre groups from all over the world, including Switzerland, as an example.


DAY

03

ykuøkMíkku çkkuyk÷÷u¾Lk : yrLkíkk ç÷w{h yLku rMk{kuLk ¢eMke{hrËøËþoLk : yrLkíkk ç÷w{hrLk{koý : Dschoint Ventschr Filmproduktion AG

¼k»kk : ytøkúuS, £U[, s{oLk (MkçkxkRxÕMk - ytøkúuS)

Ëuþ : MðeíÍh÷uLz

Mkkhktþ :çkúkrÍ÷Lkkt LkkxârËøËþof ykuøkMíkku çkkuyk÷ Lkkxf{kt hksfkhýLkkt «&™ku ÷kðLkkhk ½ýk¾hk 20{e MkËeLkkt «ríkrLkrÄyku{ktLkk yuf níkkt. 1960{kt íku{ýu LkkxfLke yuf ÃkØrík þkuÄe suLku “rÚkÞuxh ykuV Äe yku«uMMz” (Ãkerzíkku {kxuLkwt Lkkxf) òuLkkÚke Mkk{krsf MðkíktºÞLkku yLkw¼ð ÚkkÞ Au. íku{Lke ÃkØríkykuLkkt ÷eÄu f÷kfkhu yLku ËþofkuLkk MktçktÄLke Lkðe s ÔÞkÏÞk Q¼e ÚkR, su{kt Ëþofku yu {kºk Mkw»kwó heíku òuÞk fhðkLke çkË÷u Lkkxf{kt n¤ðk - ¼¤ðkLkwt Ãký ykÔÞwt. yk¾k ËwrLkÞkLkkt rðrðÄ rÚkÞuxh {tz¤ku (su{ fu, MðeíÍh÷uLz) Lke {ËË Úke ykðk LkkxfLke Mk½¤e ÃkØríkyku ¾h¾h fuðe heíku ÚkkÞ Au yu yk rVÕ{{kt ËþkoÔÞwt Au.


DAY

03

Ghumantu

Directed by Ajay KannaujiyaProduced

Language:

Country:

Hindi

India

Synopsis:Aptly named Kathputli, the slum area of Shadipur depot in New Delhi, is home to a myriad of third-generation performing artists – puppeteers, dancers, acrobats, snake charmers, monkey and bear handlers, jugglers, folk singers and magicians, to say the least.

At the mercy of rapidly-spreading urbanization and modern legalities, the residents will be resettled in the near future. This has spread much skepticism and anxiety among the slum- dwellers. Will they be given that which they have been promised? Will the change be for the better or worse? Today, these itinerant artists face the imminent threat of becoming

their lives in the face of a rising identity Crisis.


DAY

03

½w{tíkwrËøËþoLk : ysÞ fLkkiSÞkrLk{koý : {wMkkrVh «kuzõþLk

rnLËe¼k»kk :

Ëuþ : ¼khík

Mkkhktþ :Lkðe rËÕneLkkt þkËeÃkwh{kt ykðu÷ ÍwtÃkzÃkèeðkMk, suLku fXÃkqík¤e fnu Au, yu Äýk çkÄkt ºkeS ÃkuZeLkk f÷kfkhku- fXÃkqík¤eðk¤k, Lkk[Lkkhk, çkòrýÞk, {Ëkhe, ðkLkh íku{s hªA Mkt¼k¤Lkkhk, sø÷h, ÷kuføkkÞfku íku{s òËwøkhku- Lkwt ½h Au.

ykÄ w r L kf WÃ kfhýk u yL k u Íz Ã k Ú k e ðÄ e hn u÷ k þn uh efhýL k e ËÞk Ã kh SðL k kh k yk ÷k u f k u y u L kSfL k k ¼rð»Þ{k t s Vh eð kh Â M Ú kh Ú kð w t Ã k zþ u . yk ð k í k u Í w t Ã k z Ã kè e{k t hnuLkkhkyku{kt ½ýe s þtfk yLku ®[íkk søkkðe Au. su {¤ðkLkku yu{Lku ðkÞËku fh kÞ k u n í k k u y u y u{L k u {¤þ u ¾h w t ? s u ç kË÷kð ykðþ u y u M k kh k u nþ u f u ¾hkç k? yks u X u fX u f ký u Vh e L k u f¤k ç k í k kðL k kh yk f÷kf kh k u Ã k h yk Ã kýk M k k t Mf ] r í kf ð khM k k{ k t Ú k e ¼ q t M k kR sðkL k k u ¼Þ í k k u¤ kR hÌ k k u A u . yk rVÕ{ y u M k k i L k e yk u¤¾L k e fx k u fx e Ëhr{ÞkLkLkwt íku{Lkwt SðLk Íe÷ðkLkku yuf «ÞíLk Au.


DAY

03

Verdi’s Macbeth (Documentation of the performance)

Opera by Giuseppe Verde Libretto by Francesco Maria PiaveConductor Giuseppe Sinopoli

Language: Italian; English subtitles

Country: ItalyCourtesy: Istituto Italiano di Cultura, New Delhi

Synopsis:Macbeth was Giuseppe Verdi’s first attempt at music drama and also the first manifestation of his profound love for Shakespeare’s work. Verdi took great pains with this opera, displaying special enthusiasm for it as he concentrated on the main characters of Lady Macbeth, Macbeth and the witches. This recording of Luca Ronconi’s production is conducted by Giuseppe Sinopoli, who brings fresh color to Verdi’s score. The cast, headed by Renato Bruson and Mara Zampieri, are strongly supported by a fine-toned and adaptable chorus who ably meet the demands of Verdi’s great chorus opera.


04

DAY

03


05

ðzeoÍ {ufçkuÚkykuÃkhk : økeMkuÃk ðzeo÷eçkúu¥kku : £kLMkuMfku {krhÞk Ãkeykðuftzfxh : økeMkuÃke MkeLkkuÃkku÷e

¼k»kk : Rxkr÷ÞLk (ytøkúuS MkçkxkRx÷)

Ëuþ : Rx÷eMkkisLÞ : RMíkeíkwíkku Ríkk÷eÞkLkku Ëe fÕ[h, Lkðe rËÕne

Mkkhktþ :{ufçkuÚk yu økeMkuÃk ðzeoLkwt «Úk{ Mktøkeík Lkkxf níkwt íku{ s þuõMkrÃkÞhLkkt fk{ {kxuLkk ÃkkuíkkLkk íkkðú «u{Lkwt «Úk{ ÿüktík níkwt. ðzeoyu yk ykuÃkhk {kxu ½ýe íkf÷eV WÃkkze su{kt íku{ýu ÷uze {ufçkuÚk, {ufçkuÚk íku{ s zkfkýkuLkkt {wÏÞ Ãkkºkku Ãkh ¼kh ykÃke yuf y÷øk s swMMkku çkíkkÔÞku. ÕÞwfk hkuLfkuLke «kuzõþLkLkkt hufkuzeOøkLkwt Mkt[k÷Lk økeMkuÃke MkeLkkuÃkku÷e yu fÞwo Au, su ðzeoLkkt Mktøkeík Lku yuf Lkðe Ÿ[kR ykÃku Au. {wÏÞ f÷kfkhku heLkkíkku çkúwMkku yLku {khk ÍuBÃkeyuhe íku{s çkeò f÷kfkhkuLku MkhMk æðrLk Ähkðíkk yLku yLkwfw¤ yuðk fkuhMkLkku {sçkqík xufku Au, yuðwt fkuhMk su ðzeoLkkt {nkLk fkuhMk ykuÃkhkLke sYheÞkíkku Ãkqhe fhu Au.

DAY

03

CREDITS

Festival Director and Curator:Chintan Pandya

Festival Team:Maïté Courgeon, Mruga Thakkar, Hemang Dave, Bharat Molker,

Rupesh Bavisker, Aman Agrawal

Translations in Gujarati:Sagar Shah, +91-9824061109, [email protected]

Abhimanyu Acharya, +91- 9033000917, [email protected]

Design:Anuja Khokhani, +91-9925051007, [email protected]

OFFICIAL ENTRIES

Alliance Française d’AhmedabadBritish Council

Embassy of France in IndiaGoethe Zentrum Ahmedabad

Gujarati Sahitya ParishadInstitut Français

Istituto Italiano di Cultura, New DelhiNational Institute of Design (NID)

Pro Helvetia - Swiss Arts Council, New Delhi

CURATED or INDEPENDENT ENTRIES

BIG hARTBroadway

Compagnia Finzi Pasca & Atelier SieviDschoint Ventschr Filmproduktion, Schweizer Radia und Fernsehen,

Georg und Bertha Schwyzer-Winker StiftungKarius and Bartus Productions

TigerLily Media

Fanatika International Theatre Documentary Festival E-Catalogue

Documents

Transcript of Fanatika International Theatre Documentary Festival E-Catalogue