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Urubhangam
''Urubhanga'' or ''Urubhangam'', (Devanagari: ऊरुभङ्गम्), ( en, The Breaking of the Thighs, italic=yes) is a Sanskrit play written by Bhasa in the 2nd or 3rd century CE. Based on the well-known epic, the ''Mahābhārata'', by Vyasa, ''Urubhanga'' focuses on the story of the character Duryodhana during and after his fight with Bhima. Although ''Urubhanga'' contains the same core storyline as that in the ''Mahābhārata'', Bhasa's altering of certain aspects results in a different presentation of the story. The most extreme of these alterations is Bhasa's portrayal of Duryodhana, who, in the ''Mahābhārata'', is viewed as a villain, but in ''Urubhanga'' is given more human qualities. Bhasa's presentation of Duryodhana's side of the tale adds certain tragic elements to the play. Synopsis ''Urubhanga'' is derived from the famous epic ''Mahabharata''. Although portrayed as a villain in the original play, the protagonist Duryodhana is presented in a different lig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ratan Thiyam
Ratan Thiyam (born 20 January 1948) is an Indian playwright and theatre director, and the winner of Sangeet Natak Akademi Award in 1987, one of leading figures of the "''theatre of roots''" movement in Indian theatre, which started in the 1970s. Cody, p. 1348 Also known as Thiyam Nemai, Ratan Thiyam is known for writing and staging plays that use ancient Indian theatre traditions and forms in a contemporary context. A former painter, and proficient in direction, design, script and music, Thiyam is often considered one of leading contemporary theatre gurus. He worked as Chairperson of the prestigious National School of Drama from 2013-2017. He had also worked as Vice-Chairman of Sangeet Natak Akademi before joining NSD. He has also worked as Director of National School of Drama from 1987 to 1989. He is also the founder-director of ''Chorus Repertory Theatre'', formed on the outskirts of Imphal, Manipur in 1976. He was awarded the Sangeet Natak Akademi Award in Direction in 1987, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sanskrit Plays
Sanskrit (; attributively , ; nominally , , ) is a classical language belonging to the Indo-Aryan branch of the Indo-European languages. It arose in South Asia after its predecessor languages had diffused there from the northwest in the late Bronze Age. Sanskrit is the sacred language of Hinduism, the language of classical Hindu philosophy, and of historical texts of Buddhism and Jainism. It was a link language in ancient and medieval South Asia, and upon transmission of Hindu and Buddhist culture to Southeast Asia, East Asia and Central Asia in the early medieval era, it became a language of religion and high culture, and of the political elites in some of these regions. As a result, Sanskrit had a lasting impact on the languages of South Asia, Southeast Asia and East Asia, especially in their formal and learned vocabularies. Sanskrit generally connotes several Old Indo-Aryan language varieties. The most archaic of these is the Vedic Sanskrit found in the Rig Veda, a collec ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Plays
Indian or Indians may refer to: Peoples South Asia * Indian people, people of Indian nationality, or people who have an Indian ancestor ** Non-resident Indian, a citizen of India who has temporarily emigrated to another country * South Asian ethnic groups, referring to people of the Indian subcontinent, as well as the greater South Asia region prior to the 1947 partition of India * Anglo-Indians, people with mixed Indian and British ancestry, or people of British descent born or living in the Indian subcontinent * East Indians, a Christian community in India Europe * British Indians, British people of Indian origin The Americas * Indo-Canadians, Canadian people of Indian origin * Indian Americans, American people of Indian origin * Indigenous peoples of the Americas, the pre-Columbian inhabitants of the Americas and their descendants ** Plains Indians, the common name for the Native Americans who lived on the Great Plains of North America ** Native Americans in the Uni ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sanskrit Drama
The term Indian classical drama refers to the tradition of dramatic literature and performance in ancient India. The roots of drama in the Indian subcontinent can be traced back to the Rigveda (1200-1500 BCE), which contains a number of hymns in the form of dialogues, or even scenes, as well as hymns that make use of other literary forms such as animal fables However, Indian drama begins its classical stage in the 3rd-4th century BCE with the composition of the Nātyaśāstra (''lit. The Science of Drama''). Indian classical drama is regarded as the highest achievement of Sanskrit literature. The Buddhist playwright, poet and philosopher Asvaghosa, who composed the ''Buddhacarita'', is considered to have been one of the first Sanskrit dramatists along with Bhāsa, who likely lived in the 2nd century BCE, and is famous for writing two of the only surviving tragedies in Sanskrit drama. Despite its name, a classical Sanskrit drama uses both Sanskrit and Prakrit languages giving i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhyamvyayoga
'' Madhyamavyayoga'' or ''Madhyama Vyāyoga'' (Hindi: मध्यमव्यायोग), (''The Middle One'') is a Sanskrit play attributed to Bhāsa, a famous Sanskrit poet. There is no consensus regarding when the play was written, and it has been dated variously from 475 BCE to the 11th century CE. The Sanskrit poet Nannaya, who lived around 400 AD, has mentioned Bhasa in his works, and this suggests Bhasa may have lived around 350 AD. However, many scholars disagree, and opine that Bhasa lived around the 7th to 8th centuries CE, placing the play's creation within the same time period. Madhyama Vyayoga focuses on the name confusion between the priest Keshav Das's middle son and the middle Pandava prince Bhima. Also, the reunion of Bhima and Ghatotkach as father and son take place. While the characters in this tale are taken from the ''Mahabharata'', this particular incidence is solely a product of Bhasa. Madhyamavyayoga falls under a particular type of Sanskrit drama calle ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mattavilasa
''Mattavilasa Prahasana'' (Devanagari:मत्तविलासप्रहसन), ( en, A Farce of Drunken Sport) is a short one-act Sanskrit play. It is one of the two great one act plays written by Pallava King Mahendravarman I (571– 630CE) in the beginning of the seventh century in Tamil Nadu.Bhat and Lockwood, pg. 51 ''Mattavilasa Prahasana'' is a satire that pokes fun at the peculiar aspects of the heretic Kapalika and Pasupata Saivite sects, Buddhists and Jainism. The setting of the play is Kanchipuram, the capital city of the Pallava kingdom in the seventh century. The play revolves around the drunken antics of a Kapalika mendicant, Satyasoma, his woman, Devasoma, and the loss and recovery of their skull-bowl. The cast of characters consists of ''Kapali'' or Satysoma, an unorthodox Saivite mendicant, ''Devasoma'', Satysoma’s female partner, a ''Buddhist Monk'', whose name is Nagasena, ''Pasupata'', a member of another unorthodox Saivite order and a ''Madman''. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mahabharata
The ''Mahābhārata'' ( ; sa, महाभारतम्, ', ) is one of the two major Sanskrit epics of ancient India in Hinduism, the other being the ''Rāmāyaṇa''. It narrates the struggle between two groups of cousins in the Kurukshetra War and the fates of the Kaurava and the Pāṇḍava princes and their successors. It also contains philosophical and devotional material, such as a discussion of the four "goals of life" or ''puruṣārtha'' (12.161). Among the principal works and stories in the ''Mahābhārata'' are the '' Bhagavad Gita'', the story of Damayanti, the story of Shakuntala, the story of Pururava and Urvashi, the story of Savitri and Satyavan, the story of Kacha and Devayani, the story of Rishyasringa and an abbreviated version of the ''Rāmāyaṇa'', often considered as works in their own right. Traditionally, the authorship of the ''Mahābhārata'' is attributed to Vyāsa. There have been many attempts to unravel its historical growth and c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maya Rao
Maya Rao (2 May 1928 – 1 September 2014) was an Indian classical dancer, choreographer and educator, in Kathak dance. She is known for her pioneering work in Kathak choreography, especially in dance ballets, and is credited for bringing Kathak, a North Indian-dance style to South India, when she opened her dance school, Natya Institute of Kathak and Choreography (NIKC) in Malleswaram, Bangalore in 1987. She was also the founder director of her dance company, "Natya and Stem Dance Kampni", an amalgam of NIKC and the STEM Dance Kampni ( founded by her daughter Madhu Nataraj) based in Bangalore. After her early training under Guru Sohanlal of Jaipur Gharana, followed by Guru Sunder Prasad also of the Jaipur Gharana, and went to train under Guru Shambhu Maharaj of Lucknow Gharana at National Institute of Kathak Dance in Delhi. She was awarded the Sangeet Natak Akademi Award, given by Sangeet Natak Akademi, the National Academy for Music, Dance and Drama in 1989. In 2011, the Aka ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thang-Ta
Huyen langlon is an Indian martial art from Manipur. In the Meitei language, means war while or can mean net, knowledge or art. consists of two main components: thang-ta (armed combat) and sarit sarak (unarmed fighting). The primary weapons of huyen langlon are the ''thang'' (sword) and ''ta'' (spear). The spear can be used in its non-missile form while in close or thrown from afar. Other weapons include the shield and the axe. Unarmed combat incorporates hand strikes, kicks, and grappling (''mukna''). Because of Manipur's cultural similarity and geographical proximity with Myanmar, is closely related to Burmese bando and banshay. The thang-ta aspect of can be practiced in three ways: ritual, demonstration, and combat. The first way is related to tantric practices and is entirely ritualistic in nature. The second way consists of a spectacular performance involving sword and spear dances. These routines can be converted into actual fighting practices. The third way is the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
