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by:Two Eight     2019-08-01
History of Indian English dramaLecturer in English, RAM sharmasenio.V.P.College G, Barot, Bagpat, United States of AmericaP.
India has a rich legacy of drama since ancient times.Indian drama begins its journey with Sanskrit drama.A.L.The famous historian Basham expressed his view in this way, "the origin of Indian drama is still vague.However, it is certain that even during the Vedic period, some kind of dramatic performance was performed, and the reference in the early Resources pointed to the call of the religious legend Festival, perhaps only the dance and mime '1 Indian traditions are retained in "Natyasastra.The oldest text in drama theory ,.The play claims that drama is the divine origin and has a close connection with the sacred Vedic scriptures themselves.The origin of Indian English drama can be traced back to the ancient rules and seasonal festivals of the Vedic Aryan people.The theatrical performances of these times mainly include such events, compared with the description of daily life events with music.Some people in the tribe act like wild animals, while others are hunters.People who play animals such as goats, Buffalo, reindeer and monkeys are chased by these people, playing the role of hunters, and conducting simulated hunting.In the time of the Vedic Aryan, the play was staged in such a rough and simple way.Later, it was chosen and dramatized in the presence of the people, unlike the Ramayana [Ram Leira], the Mohab phabardo, and the BhagavadThis kind of performance is still very popular in India, especially during the dusehra period, in different parts of India, "killing Lawana".There are refrences TV series in patanghali's Vyakarna Mahabhashya and the love of Vatsyayan, kautilya' arasstra Panini 'Ashtabhyam.Therefore, the origin of Sanskrit drama can be traced back to 1000 B.C.All the literature in Sanskrit is divided into dricia (which can be seen at the exhibition) and Slavia (which can be heard or recited ).It can be said that all forms of poetry belong to the latter, while drama belongs to the latter.The drama in Sanskrit literature is covered under the broad umbrella of rupaka \ ', which means that actors who play various roles portray all aspects of life in various forms.There are ten categories of "Rupaka", the most important of which is "nataka" (Drama), meaning all theatrical performances.Sanskrit drama revolves around the three main components of Vastu (plot), Neta (hero) and Rasa (emotion.The plot can be either major (adhikarika) or auxiliary (prasangika ).The former involves the main characters of the theme and runs through the whole drama.The latter further complements the main topic, involving subordinate figures other than the main characters.This is further divided into banners (pataka) and events (parkari ).The former is an episode that shows, describes, improves and even blocks the main plot to create extra excitement.The latter includes secondary characters.As defined by Natyashastra, Neta or hero is always described as modest (Vinita), sweet temper (Madhura), sacrifice (Tyagi), ability to belong to a noble family (taptaloka) private Conversation (priyamvada), Pure (suchi) clear mouth (vagmi), consistent (Sthera), Young (yuva), with wisdom (buddhi) enthusiasm (utsaha), good memory (Smrthi) aesthetics (Kola), pride (ma strong (dridha), energetic (tejaswi), learned (pandita) and pious (dharmika ).The main category that Sanskrit drama Heroes usually fall into is "dheerodatta", the person who is both brave and noble.Bharata's Natyasastra is the most important piece of Indian poetry and drama.It describes in detail the creation, production and enjoyment of ancient drama, as well as the rich information of drama type, stage equipment, production and music.Legend has it that when the world transits from the Golden Age to the Silver Age, people are addicted to the pleasure of lust, filled with jealousy, anger, desire and greed.The world is so inhabited by gods, demons, forks, rakshasas, Naga and gandharvas.The god among them was Lord Indra who led them, approached the Brahma, and therefore asked him --"Please give us something that will not only teach us, but also be pleasing to the eye .".Bharata regards drama as a sacred origin and considers it the fifth vedic.It seems to have originated from religious dance.According to Bharata, poetry (kavya) dance (nritta) and pantomime (nritya) in life can generate emotion (bhava), but only drama produces flavor (rasa ).The play uses eight basic emotions of love, joy (humor), anger, sadness, pride, fear, disgust and curiosity to try to address them in the ninth sense of overall peaceThus, when the art of drama is well understood, natyaveda performed during the celebration of Lord Indra's victory over azuras and dawavas.There is a poem in chapter 6 of Natyashastra that can be cited as Bharat Muni's own summary of his theory of drama.\ "The combination called natya is rasa, bhavas, vrittis, pravrittis, siddhi, svaros, abhinayas, dharmishouse\'.The most famous playwrights in ancient times were ashwaghosh, Bhasa, Shudraka, Kalidas, Harsha, Bhavabhuti, Visha-Khadatta, Bhattanarayana, Murari and Rajeshkhora enrich the Indian theater in their words, such as Madhya-Mavyaayoda, Urubhangam, Karnabharan, Mrichkatikam, abhikyana Shakuntalam, Malankagnimitram North Ramacharitam, Mudrarak, Shasa, Shah, mattaavilasa, etc.There is no doubt that the highest achievement of Indian drama lies in Kalidasa, often referred to as the Indian Shakespeare.Until the 12 th century, when Muhammad's invasion changed the Sanskrit stage, Sanskrit drama flourished in India.But until the 15 th century, on the stage of Tamil Nadu, Kerala, Karnataka, Andhra Pradesh, full and Gujarat, Sanskrit traditional dramaSince the 17 th century, Loknatya (People's Theater) has been noticed in every state of India.We see in Bangladesh, Madhya Pradesh, Kashmir, bhandya thar and "Yatrakirtaniya", "Paol" and "Gaan" in Gujarat in northern India, the form is "Bhavai" and "Ramleela ".There are "Nautanki, Bhand, Ramleela and Rasleela in Maharashtra," Tamasha "in Rajasthan ", punjab's "Raas" and "Jhoomer" aasam are "Ahiyanat" and "Ankinatya" in Bihar state, "Videshiya" and "Chhari" in West Bengal and Bihar state ".The rise of modern drama dates back to the 18 th century when the British Empire strengthened its power in India.As Krishna kripri points out, the first boom in modern Indian drama is attributed to the grafting of foreign countries.With the influence of Western civilization on Indian Life, Indian art, including drama, has begun a new revival.In addition, English education provides motivation and motivation not only for Western drama, but also for the critical research of Indian classical drama.The British and Italian theater troupes toured India and performed many British dramas in cities such as Mumbai and Madras, mainly in Shakel Pere.The Portuguese brought a form of dance drama on the west coast.Russian music director Rebedoff is said to have produced the first modern drama in Kolkata at the end of the 18 th century.Therefore, the influence of the West awakened the critical impulse of the country to sleep, let Indians face new life and literary forms, and for the fruitful crossOn 1765, Horasin Lebdef, a Russian drama enthusiast, and Qulokhnath, a Bangladeshi drama enthusiast, staged two British Comedy Disgaig, love is the best doctor.But the real start was in 1831, when prashana Kumar thakul established the "Hindu Rangmanch" in Kolkata and staged Wilson on Bhavabhuti vanThe social drama of Girish Shangda Gosh, the historical drama of D.L.The artistic drama of Roy and Rabindranath Tagore (mukhatajara, chandalica) continues to be on the stage of the realist drama during the worst of times --Famine in Bangladesh and World War II.In 1852-1853, the famous Parsi theater was launched in Mumbai, which soon affected the whole country.Postagi Pharmji is a pioneer in setting up Parsi theater company in India.During the development of the Pasi theater in India, many new theater experiences were brought onto the stage.On the other hand, amateur theaters have also developed with the work of Bharatendu Harishchandra, known as the father of Hindi drama.In 1837, Krishna Mohan bannaji wrote "the persecuted," and the Indian English drama began.The real journey of Indian English drama begins with Michael madusan Duterte's "This is called civilization."1871 appeared on the horizon of literature.Two great saints, Tagore and Sri o'robindo.The Indian poet is the first Indian playwright to write in English.R.N.Tagore mainly writes in Bengali, but almost all of his Bengali plays have English renderings.His most famous plays are the ones of "strange la", "Post Office", "Sacrifice", "Red oledes", "chandalica", "muktahara", sanyasi and mother pray.These plays are firmly rooted in the spirit and morality of India in themes, characters and treatment.R.K. Ramaswamy found the depth and seriousness of the goal in his dramatic art--Most importantly, he has shown this way in terms of thought and method, Sri o'robindo is an outstanding playwright of Indian English drama, through him, the soul of India can be realized and revealed in the field of drama creation and performance.In addition to his six incomplete scripts, he wrote five complete blank poetry scripts.His full play is the delivery of perthews, the vasawa Dotta, the radoguna, the viszic of Basola and EricHis incomplete plays are the witch of ilney, The Witch of Achab and The Witch of Esarhaddon, the maid and the mill, the House of brute,The length of these incomplete plays ranges from one scene in fifty-two lines to three acts.The remarkable feature of Sri o'robindo's drama is that they portray different cultures and countries of different eras, filled with a wide variety of characters, emotions and emotions.The deliverer perthews is based on ancient Greek mythology, and the vasadudata is a romantic story of ancient India.Rodonghurna is a romantic novel in Syria, and The Wiz in Basola is a romantic comedy that takes us back to the great era of halon Rashid, and Eric is the story of love and war between skanodin and Thor's children.We play heroes, tragedies, comedies, slapstick in "Robin Hood.O'robindo was influenced by Elizabethan drama in plot building and character building.The use of blank verses in English is perfect in Robinhood, consistent with characters and situations.We also found the effects of Sanskrit playwrights such as Bhasa, Kalidas, and Bhavabhuti on kabbindo., as Dr.K.R.S.Iyenger observed, "but all five plays are involved in poetry and romance, reviewing the unique type of drama presented by Bhasa, Kalidas and Bhavabhuti in different waysOf course, everyone has the background of o'robindonian.Another playwright who has made a significant contribution to the development of English Drama in India is Harindranath chattapai.He started his career as a playwright at Abu Hassan (1918.It was his credit that seven poetic dramas were published under the title of poetry and drama (1927), all based on the lives of Indian saints.His five plays (1929) were written in prose.Windows and parrots deal with the lives of the poor.However, the Sentinel's lantern is a symbolic display of the expectations of the new era of the oppressed people.Sidhartha: the man of peace is an adventure that dramatizes Budha's life.The next great name is.S.P.Ayyar, who wrote six scripts.The Devil's clutch (1926) was his first drama, and the last was the trial of the murder of man by science..P.A.Krishna nasvami is also a name in the history of Indian English drama. his fame is mainly due to his unusual verse playing Krishna's flute.Another striking voice on the stage of Indian literature is T.P.Kailasam.He writes in English and Kanada.Although Kailasam is regarded as the father of contemporary Punjabi drama, his genius is fully embodied in the burden of his English drama, etc. (1933), execution (1933), purpose (1944), Karna (1964) and Keechaka (1949 ).He has a true genius and love for the play.S.Moore has a high opinion on T.P.Kailasam.Amor comments correctly-----"As a talented actor performing on amateur and professional stages, he brings a familiarity with drama to drama creation.It is for this reason that his plays have a unified technical advantage, both in Kanada and in English.Bharati Sarabhai is a modern female playwright during the colonial period of Indian English drama.She wrote two plays, the well of the people (1943) and two women who were quite successful.In both dramas, the former is symbolic and poetic, and in addition to its significant contribution to Gandhi's social order, the letter is realistic, writing in prose, exploring the private world of sensitive individualsM.Lobo Prabhu is the last great name in pre-Independent English Drama in IndiaHe wrote more than a dozen plays, but only "mother of New India": the drama of the village of India in three acts (1944), and the death of death before independence (1945 ).The script he collected was published in 1956.Lobo Prabhu was able to write a conversation with felicity, and situation creation was admirable, but his character didn't look like life and was soothing and convincing to the audience.In the post-independence era, the mainstream of English Drama in India as a creative expression cannot flourish.Although the pre-independence Indian English drama is known for its outstanding poetry, diversity of themes, craftsmanship, symbolism, and commitment to human and moral values, in general, it is not suitable for actual stage production.The post-Independent Indian English drama has benefited from increasing foreign interest in Indian English literature, especially Indian English drama.Many of the UK and the United States successfully held in Indian playwright Currimbhoy Assisi, platapur Sharma Gurucharan DasS.A.However, the dilemma of Indian English drama is that there is no formal Indian English drama academy established in China.This is mainly due to the encouragement of drama received from several quarters after gaining freedom in India, but it is monopolized by drama in the Indian regional language, while Indian English drama continues with its rich cousins tableThese plays are written in prose, but they are also poetic in the post-colonial era.M.K.Naike thinks "...that Tagore-Aurobindo-Kailisam's poetic tradition continues, but the differences in the hands of the poetic drama continue, but the differences in the hands of manjerry Isvaran continueV.Desani, Lakhan Dev and Pretish Nandy."7 Manjeri Isvaran's Yama and Yami (1948) are the dialogues in the prose of poetry, with an opening statement and a tomb-General about Yami's incest of her brotherG.V.Desani's Hali (1950) is a completely different drama, highly praised for its originality, symbolism and rich imagery.Information about the drama Harry M.K.Naike commented, "Harry believes that mankind must transcend human love, transcend life and death, and even abandon his limited divine concept to develop into a god in himself --Like love and separation, Lakhan Dev's Tiger Claw (1976) is a three-act historical drama about Shivaji's controversial murder of Afzal Khan.His two plays are Vivekananda (1972) and the murder at the prayer meeting (1976 ).The use of the blank verse is perfect, and the last play forces us to remind T.S.Elio was killed in the cathedral.Other poetic dramas of this period included P.A.The flute of Krishna (1950) M by Krishna Rami.Gold fabric for Krishnamurti (1951 ).S.D.The immortal song of LautKarm and killer (1959) Satya Dev Jaggi is the highlight of the gift ceremony (1967) at Preis Nadi (1969 ).Vikramjeet (1970) of Hushmat Sozerekashme, purple weavers of Sree Devi Singh (1970)S.Sunflower (1972) and S of Vasudev.Karme of Raman (1979 ).Compared with poetic playwrights, the number of prose playwrights is larger.The most prolific playwright in ancient timesThe period of independence was Asif kurimboi, who wrote more than 30 scripts and published them.Some important plays are tourism Meeca (1959), Restaurant (1960), Dolle (1960), captive (1963), Goa (1964), Monsoon (1965) the truth of the experiment (1969) refugees of Inquilab (1970) (1971) sonar Bengali (1972) Angkor (1973) and Dessident M. L. A (1974 ).Although Currimbhoy's dramatic art is comprehensive, it has always been the object of criticism due to the lack of structured plot, dotted language and balanced character shaping.His dialogue reflects the extreme poverty of the invention, and his language is not suitable for capturing the internal drama of the conflict of motives. But the biggest limitation of his technology, especially in his later plays, among them Currimbhoy seems to confuse dramatic techniques with theatrical deception and stage gimmicks with dramatic platapur Sharma experience '9 writing two articles in faint brightness (1968) the professor has a war slogan (1970 ).His plays have even been successfully staged abroad, but they have not been staged in China.Moreover, sex remains the main theme of his drama, but Plata Sharma shows a keen sense of the situation, and his dialogue is usually effective.Prof M.K.Naike appreciated his dramatic art with his keen sense of the situation and effective dialogue.In the field of Indian drama, Ezekiel is famous for its unique poetic creed and rare drama emotion.Three Plays by Nissim Ezekiel (1969), including narini: comedy, marriage poem: Comedy of sorrow and dreamers: India-The American farce is considered a welcome addition to Indian English drama.The song of deprivation (1969) is also a short play of Ezekiel.Larins Sahib (1970) of Gurucharan is a historical drama dealing with Henry Lawrence of Panjab.The drama's marriage poem presents a conflict between a middle-class husband who is caught in a conflict between marriage promises and love desires.Dreamers are a shift in national bias and prejudice.Despite Ezekiel's strong sense of drama, he was unable to translate his poetic talent into an appropriate one.His drama is rich in irony and can enjoy the symmetrical structure.They revealed his keen observation of human life and abnormal behavior.Ezekiel's theory of poetry has shaken his credo of drama, but his drama is pleasant.This is considered to be "in his irony of the current fashion, in his exposure of prose and presence, Ezekiel is very close to the spirit of some British theatrical society satirists ".Contemporary Indian drama deviates from classical and European models and is experimental and innovative in terms of theme and technical quality.This is not the spring of any particular tradition, it has laid the foundation of unique traditions in the history of world drama by re-investigating history, legends, myths, religious and folk love and contemporary social backgroundPolitical issues.Mohan Rakesh, Badal Sirkar, Vijay Tendulkar and Girish Karnad have gradually formed a cumulative theatrical tradition, ready for the background of contemporary Indian English drama.As a writer, director and actor, GirishKarnad has made a great contribution to enriching the tradition of Indian English drama.His dramatic emotions were shaped by Natak company, which toured the show, especially under the influence of Yakshagana, which was not accepted as a pure art form at that time.His famous plays are Yayati (1961), Tughlaq (1962), Hayvadana (1970), Nagmandala (1972 ).He borrowed his plot from history, myths, and ancient legends, but he tried to determine their relevance in contemporary society with complex symbolismPolitical conditions.The drama "Yayati" reinterprets an ancient myth from the modern concept of Mohab pohardo.The plot of haavadana was adopted from the ancient Sanskrit story collection Katha Saritsagar.Tughlaq is the best historical play in canard, who combines facts with novels.Canard projected curious contradictions in the complex personality of Sultan Mohammed --bin-Tughlaq.In Dandan's story, he discovered the important relationship between contemporary society and literature.He used mythology as a structure and metaphor in the drama, giving the post a new meaning from the current vantage point.In the drama "long Mandala", there is a conflict between the parents and the mother arch.This is about Rani's life, a typical Indian woman in a male-dominated society.She married the rich country youth Apuna.The show focuses on sexual freedom between men and women.To counter the Mail dominance, Karnad adopted a strange device in which King kobrey had sex with Rani and eventually she was pregnant.Like his other heroines, encourage her to experience the torment of chastity.Regarding Rani's position, Smita Nirula believes that "Rani has never been free to express himself and be himself.She is either a daughter, a wife, a lover or a mother.She always plays a role imposed on her, except in a dream that devours her lonely night.She's an abused woman.She can be both a prostitute and Devi.Her "12 Karnad's theatrical art lacks stability, but his success lies in conducting technical experiments in the form of local drama.The collective efforts of Karnad and Karalam Narayana Pannikar are of great significance for them to combine traditional Indian forms of drama with modern drama.Vijay Tendulkar was born in 1828 and started his career as a journalist, but from Grihasth, the first drama in 1955, to Safar in 1992, his plays have brought richness to the Indian theaterLeading the Vanguard-Garde Marathi Theatre Vijay Tendulkar symbolizes the new understanding and attempt of Indian playwrights in this century to human suffering, suffocation and crying, focusing on middle-class society.In all his plays, he has the theme of isolating individuals and confrontation with hostile circumstances.Influenced by Artaud, Tendulkar linked the pain issue to the subject of violence in most of his plays.He does not believe that the occurrence of human violence is disgusting or disgusting, as pointed out in human nature.He said, "unlike the Communist Party, I don't think violence can be eliminated in a society without classes, or in any society for that matter.The spirit of aggression is inherent to human beings.It's not that it's bad.People may become vegetables without violence."When depicting violence on stage, Tendulkar will not dress it up with any fancy traps to make it delicious, but rather keep it continuous and natural.Chimanicha Ghor Hote Menache (1960) Kalojanchi Shalai (1968), Ek Holti Mugli (1967)Silence in the play!The court is in session (1968) and Ghasiram Kotwal (1972) with the subject of oppression dominating.Sakharam Binder (1972), a study on human violence, made a strong and dramatic statement.Kamala (1982) and Kanyadaan (1982) are written according to the tradition of naturalism.Kamala is a study on marital status and exploitation.Kanyadaan is a complex drama about family culture and emotional turmoil.Tendulkar is associated with the new drama movement in Maharashtra.He shows a fictional reality in which the reality of life gains a sharp focus character with rare dramatic power.Badal Sircar is also a prestigious name in the field of contemporary drama.He represents the new drama movement in India.He created a proper "Peles theater", a theater supported and created by people.His drama career began with a humorous drama like solution X.His early script was Evan Inderjit (1962) and there was no ending (1964) in other history (1971 ).All these plays are based on political, social, psychological, and survival issues.Evan Inderjit is the story of a playwright who struggles in vain to write a play.In this play, there is no need for Selkar to make the argument that "we are all accused" and to share the burden of guilt.Later, he wrote about Parry Kolodin, Jadi Auer ekbar, parapop and pagra Goda.His later dramas, the parade, boma and the old news, were all based on the concept of the third theater.The drama Parade is about finding "real homes" in a new society based on equality ".It presents people with a "real way" in which people do not have to exploit others, but should work according to their own needs."Obama" is a drama about the lives of oppressed farmers in sex India.The analysis of these three plays shows that Sircar's concept of "true home" has changed significantly, a new society based on equality and freedom from exploitation of terror.Tendulkar established his troupe "Satabdi" in 1967 ".The first contact between Sircar and Grotowski's "Bad Theater" greatly affected his design of the third theater.In Indian English drama, the influence of Mohan Rakesh cannot be ignored.Hr writes in Hindi, but his plays are translated into English and other regional languages due to dramatic relevance.He published the he of the largest play ashadh card 1958 Ek ingot leharon Ke rajhansa appear in 1969 1963 Adelaide and adheere held for the first time.After the death of kamleswar, the play "Ki Zamin" was completed and published in 1974.As a playwright, his main focus is to describe the crisis that contemporary human beings are in the network environment and the continuing threat to human relations.Mohan Rakesh sees drama as a complex art that includes a unified contribution of actors, landscape effects, lights and music, and effective stage directions.Laksh Mohan extensive experimental theater.He uses not a dialogue or a direct statement, but a suggestion tool to express meaning beyond the meaning of the language.In ashdeca Ek Din, he highlighted the dangers of sycophancy faced by white people of his time in their desire for an official position with dignity.In leharun Ka lagerhans, he reflected on the issues of the relationship between men and women, self-conflict, self-division and the continuation of fantasy and nothingness.The self-conflict between AdheAdhuredeals couples, the disintegration of family relations, the prominence of personal interests and family commitments.In addition, the female playwright also tries to enrich the soil of Indian drama by projecting the inner world of the female mind in the drama.The women's theater, combined with the street theater movement, uses the same techniques in performance and production.It can be considered a "theater for protesters" because female armed men express their resentment over the politics of exploitation based on gender discrimination.They also re-restored the traditional myths of Sita and Savitri and tried to re-interpret the epic from a female perspective.The Dramatic Works of Usha Ganguli and Mahasweta Devi can be placed in their category.MahasWeta Devi is a playwright who has been working to explore new and challenging things.His five plays are "mother of 1084 children", "ajar ushakhi o'rouney", "Byen" and water.Mother 1084 tells the story of the pain of a depoliticised mother who witnessed the horror of the Nazarite movement.At Aajir, Mahasweta Devi deals with the rapid deterioration of values and their impact on society, especially illiteracy.Urvashi o'johnny is a drama written for an emergency about Johnny's relationship with the doll Urvashi who spoke at the meeting.The show tells the cruel reality of a woman living in rural India.Playing with water is a professional water story-Master, horse guess is a boy who cannot be touched.Her drama expresses deep concern for the plight of humanity and sincere hope for a better future for humanity.Mahesh Dattani is one of the best playwrights ever in the country.Dattani, born in Banglore in August 7, 1958, has a preference for English as a medium of expression, and after globalization, he is almost obsessed with representing the soil and emotions of India.His famous drama is the notes and references of "have the will, have the final solution, dance like a man" and "Tara-A.L.Basham: Miracle of India, Rupa & co, New Delhi, 1987, pp434-4352-Dramatic at Gupt, drama concept: Greece and India-A study of "poetry" and nattia ShastraK.World of printing, page 1994863-A.B.Keith;Sanskrit drama, Delhi, 1992, p-124-4.Kirplani, Krishna, Modern Indian Literature, New Delhi: National Library Trust, 1982] p-405-Tagore, sasterri, Ramaswami;Kolkata poet's playwright: Oxford University Press, p. 1948476-K.R.S Iyenger-English writing in India, New Delhi, Sterling, 1985, p-2267-G.S.Amur-Kailasam's pursuit of greatness [critical article on Indian English writing] Macmillan, Madras, P. 19771868-M.K.Naik-History of English literature in India, New Delhi, Sahitya Akademi, 1995, p-2569-ibid p-25710-ibid p-Nissim Ezekiel, New Delhi: Arnold Heinman, 26011, p-197412612-Narula, Samita-Pioneer of "mixed feelings of evolution", 11 sep t, 198813-Sididanand Mohanty: Drama: reaching out to people, New Delhi, February, p. 199514-Ayyar, Raj-Mahesh Dattani came today for a "vulnerable gay film-8,48,200415-Maynon, rajiff and K.S.July 2, Hyderabad, Prakash Theatre, Hindu, 200316 Padamsee, Alyque, "notes on drama", Drama Collection15617-Uma mahadewan da spuptaThe moment I wrote the script, I wanted to direct it.Vardhan Manisha, "I'm not a crusader," I'm a theater manMartin Eslin, field of drama: how the symbols of drama create meaning on stage and on screen, London and New York;Methusen, 1987, p-
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