Add to Calendar 2017-11-25 08:00 PM 2017-11-26 06:30 PM Asia/Kolkata Oleanna, by Pulitzer prize winner and Tony nominated David Mamet directed by Jagdish Raja Synopsis Premiered in 1992, this two-character play is as relevant today as it was then. In a terrifyingly short time, a male college professor and his female student descend from a discussion of her grades into a modern reprise of the Inquisition. She accuses him of sexual exploitation. By doing so his future is in danger. But is he really guilty? Or is she a schemer? Rebecca and Preetam will have you yelling your opinion out loud as you leave! Director's Note We arrived in Bengaluru in 1974. I directed my first play in 1979 - 38 years ago. The passion for the stage emerged from a desire to tell a story - a spoken story by a playwright that spurts forth from the mouths, the bodies, the gestures, the movements and the interaction of the actors - the storytellers. I am thus blessed: David Mamet is the writer; Preetam and Rebecca render it, to make you think; take sides; ponder, change sides, and finally wield your power to judge. You must decide. Please come and DECIDE.. From the Actors Preetam Koilpillai One of the themes that Oleanna deals with is something very close to my heart: Education; and within this theme, the theories of how we learn, how children learn and what we learn. In so many systems, including our own, education has been reduced to a mindless regurgitation of facts and figures. This kind of education produces a particular kind of individual; an individual incapable of independent thought and deed; and a society in which dogma, authoritarianism, and even extremism, become the norm. Oleanna might have been written in a different time and place, but it confronts us with questions that are as relevant today, if not more, as they have ever been. Rebecca Spurgeon I begin my journey to play Carol with belief. I trust her Faith, I feel her Fear. Carol's arguments may seem lacking in reasoned objectivity and serve as a vicious response of a student spurned. But I also see that her arguments are important and worthy of discussion today. I believe, that the events in the play and the way it ends would not serve as retribution for her. Nothing can. For her Faith is shaken. Something inside her, a belief in the world and the future, that she nurtured all her life is taken from her. And in the place of that Great Faith is... Nothing. I think often of Carol and what she might be doing 10 years on. Who is she now? Has she regained her Faith? Can she live without Fear of being robbed of it again? Bangalore Jagdish Raja vtmani@dnm.in false MM/DD/YYYY
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Add to Calendar 2017-12-01 08:00 PM 2017-12-03 06:30 PM Asia/Kolkata Bonding With Ruskin About The Play: The Play which has a feast of colour and sound, looks to recreate the innocence and irreverence of Ruskin Bond’s stories on stage. As it is with most retellings of famous writers’ on stage, Ruskin Bond himself plays a pivotal character in most of his stories. The greatest attribute of the stories threaded together as a play you will see, is the range of his writing – in terms of plot, landscapes, characters and genre. From his love for the quiet hills of Deoli to the haunted mansions in Dehra. From innocent tales of unrequited love to terrible stories of violence in marriage. We as an audience journey into each story as his characters journey through a train - and at each stop – a different tale awaits. The play attempts to weave together a variety of musical & storytelling techniques with the text of bond providing a completely different yet honest perspective of the writer’s best stories. Bring your entire family and relive the stories of a legendary writer! About The Writer: Ruskin Bond is a well known Indian Writer in English. He has written more than hundred short-stories, six novels, three collections of verse and over thirty books for children. Ruskin Bond received Sahitya Academy award for his book “Our Trees Still Grow at Dehra” in 1992, and was honored with title “Padma Shree” in 1999, for his life time contribution to Indian literature in English. He has been writing for the last fifty years in different genres of literature. 3 generations of Indians all over the world have grown up reading his stories. The stories you will see have been weaved together from his writings over the years into short episodes of music & theatre as a glowing tribute to a man who makes even the mundane interesting with his writing. About The Director: Dushyanth Gunashekar, Founder & Creative Head – has directed 4 plays in his 12 years as a Theatre artiste - apart from having acted, produced and written as well for stage but primarily working with theatre in education. He believes in making theatre a communion and that which must reach out to masses especially the young and Dushyanth has trained several youngsters to take up the craft seriously and embrace its many benefits. This is his second directorial venture for The Madras Players after “Bhopal” in 2011 which at that point in time made him the youngest ever director in their history. Dushyanth directed plays of note like “Ratan Thiyam’s Chakravyuha”, “Rahul Varma’s Bhopal”, “Mahesh Dattani’s Snashots of A Fervid Sunrise” and now “Bonding With Ruskin” Composed by: Mohamed Shameer Guitar: Sree Dev Tabla: Vivek Pal Vocals: Bhavani Anantha Subramanian, Nikitha Venkatesh, Lijo K Jose & Krishna Arcot Bangalore Dushyanth Gunashekar vtmani@dnm.in false MM/DD/YYYY
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Jagriti

Jagriti is a Performance Arts space dedicated to Theatre, Music, Dance and Comedy. Founded in 2011 by Arundhati and Jagdish Raja, the space has hosted several productions from India and around the world. A 200-seat theatre, built around a full-thrust stage, it is fully equipped to cater to both artistes and audience. The main stage is designed for intimate performances, with adjoining spaces for informal lectures and gatherings, and an attached restaurant. Jagriti is owned and operated by the not-for-profit ART Foundation, a registered charitable trust.

The Rooftop - above the main auditorium is an open-to-sky space with a staging area that can accommodate about 50 people. A raised and walled off platform can work as a perfect area for puppet theatre. The Rooftop has a restroom and a pantry. 

The Terrace - alongside the auditorium, the Terrace can accommodate about 20 people as an informal gathering area.

Lumbini - extending out from the foyer, Lumbini has a stage and an open-to-sky terraced space for about 80 people.