“Apni Basti Mela 2017” : Celebrating 700 years of living heritage of Hazrat Nizamuddin Basti
Schedule :
MELA
Open activities and displays signifying the richness and diversity of the oldest settlements in
Delhi
SAIR (Walk)
Meander through 700 years history as it stands woven in the architecture and culture of the place.
Conducted by heritage volunteers from the community.
*Daily at 10.00 and 04.30 pm. (Pre-Registration required)
ZAIQA
Learn to cook local cuisines from Master Chef Mohd. Naseem and Jawed Qureshi of Hazrat
Nizamuddin Basti
*18-19 November, 3.00 pm (Pre-Registration required)
SHAM e MEHFIL
Venue: Chausath Khamba
Time: 06.00 pm
Hazrat Nizamuddin Basti
Friday, 17 November 2017 , 06.00 pm
Sufiana Qalaam by Mukhtiyar Ali and group
Saturday, 18 November 2017, 06.00 pm
Rahiman Dhaga Prem Ka
Play directed by Nadeem Khan
Sunday, 19 November 2017, 06.00 pm
Classical Music by Ustad Rashid Khan
Workshops:
Kite Making
Jewelry Making
Calligraphy
Conservation Techniques (Incised plaster)
Toy Making
Cartoon Making
Miniature Painting
Stage Activities:
Magic Show
Juggling and Acrobatics
Fancy Dress Competition
Singing competition
Bal sabha
Cultural activities by Children
Traditional Music (Groups from Uttar Pradesh and West Bengal)
Registered Activities :
Sair (Heritage Walk) 10:00 am and 04.30 pm 17,18 and 19 November 2017
Zaiqa (Food Workshop) 03.00 pm 18 and 19 November 2017
Shri Ram Centre For Performing Arts presents Hindi plays to kick-start your new year.
“The Conference of the Spices/ The Masalaa Chronicles” A Performance in three acts, with Puppets, by Varun Narain
India has always been known as the land of spices. And its spices have been associated with cuisine, emotions, health, trade and commerce. The lure of spices has made the subcontinent one of the most sought after, leading historically to trade with the Portuguese, and Persian empires, and even the Dutch, and the British. If we look at the story of every different spice we consume, we experience in them an aromatic historical image and the flavor of many stories of the past and present. The performance is set in India, The spice garden through time…
The different spices used in Indian cooking are characterized as life-sized puppets, which interact with the audience and tell their story to through dialogue, actions, dance and music. These interactions will be scripted to include the history and legends as well as the unique aspects of the particular spice.
Asmita Theatre Group presents ’30 Days in September’ Hindi Play about Child Sexual Abuse
Director : Arvind Gaur
Cast : Amita Walia, Kakoli Gaur, Davinder Kaur, Ishwak Singh
NATSAMRAT presents “15th Natsamrat Natya Utsav”
1. FAUST
Wriiten by Girish Karnad and Directed by Shantanu Bose
On 10 th January, 2018 at 6:30 p.m.
2. NO PARKING
Written by Harshpal Singh & Kulvinder Singh and Directed by Yashmeet Singh
On 10 th January, 2018 at 8:00 p.m.
3. CHAR KOAT
Written by A.V.Kamal and Directed by Sudhesh Vyas
On 11 th January, 2018 at 6:30 p.m.
4. WASIYAT
Written by Bhagwati Charan Singh and Directed by Joy Rangayan
On 11th January, 2018 at 8 p.m.
5. KHOOBSURAT BALA
Witten by Agha Hashra Kashmiri and Directed by Hema Singh
On 12 th January, 2018 at 6:30 p.m.
6. MORE THAN 8X2
Wriiten by Various and Directed by Shubham Aggarwal
On 12 th January, 2018 at 8:00 p.m.
7. ANDHA YUG
Written by Dr. Dharamveer Bharti and Directed by Joy Maisnam
On 13 th January, 2018 at 7 p.m.
8. BALI AUR SHAMBHU
Witten by Manav Paul and Directed by Pawan Chauhan
On 13 th January, 2018 at 8:00 p.m.
9. MISPRINT
Written and Directed by Kuldeep Kunal
On 14th January, 2018 at 6:30 p.m.
10. JO TUM CHAAHO
Written and Directed by Ved Dutt Arya
On 14 th January, 2018 at 8:00 p.m.
“Laajo” Hindustani Comedy play
The play is based on eminent Urdu writer Ismat Chughtai’s famous story ‘Gharwali’.
The play is a Satire on society, people and their illogical practices. The institution of Marriage is been treated as a comical element in the play, Ismat Chughtai has ironically sketched the deformed characters who regulates these laws in the name of values and also made fun of their crippled situations.
Director : Rajesh Tiwari
Cast : Poornima Shettygar, Jitender Hooda, Nikhil Sharma, Shradha Sharma, Amit Tiwari
As part of Nashisht Series.
Based on Anita Mohan Rakesh’s autobiographical ‘Satrein aur Satrein’ and Mohan Rakesh’s diary, his books and stories, the evening attempts to offer a glimpse of his temperament and talent and their turbulent courtship and intense relationship.
It unfolds with a narration of her struggle to cope with a dysfunctional family, her meeting with Rakesh, their correspondence and eventually a rather dramatic elopement later on. The audience gets a taste of Mohan Rakesh’s literary genius against the backdrop of their life in the 50s and 60s.
‘Anita aur Rakesh’ is an enticing journey with both Anita and Mohan Rakesh and a privileged first hand peek into their somewhat complex but very intriguing lives.
Artiste: Kanika Aurora – A multifaceted actor
Concept: Kamlesh Kumar Kohli
Collaboration : Impresario Asia
Asmita Theatre Group presents Swadesh Deepak’s “Court Martial” Hindi Play.
When respect is denied to a man for the only reason that he is borne by ‘low-caste’ parents, the offence cannot simply be termed as a social violence. It assumes larger proportions of crime against humanity and society at large. Yet by the turn in situation the murderer becomes a win…ner whereas the victim is unforgiving.The culprit may receive severe punishment at the hands of the law but, in fact, it is the society which is put in the docks. Court Martial, written by Swadesh Deepak, is a story of recruit Ram Chander who is tried for murdering one of his officers and injuring another.
The Court Martial is presided by a war veteran. Col Surat Singh who has witnessed many ‘life –and –death’ situation. But this trial puts him in a queer position, so far unknown to him, and during the course of interrogation he realize that the issues at stake are much larger than what meets the eye. Realizing that the Indian army is the only government agency in which reservation on caste basis is not permissible. Court Martial presents a combination of legal and poetic justice.
Theatre Olympics 2018
National School of Drama
Date: 6th April 2018
Title: Loka Shakuntala – A Kannad Play
Performing Group: Antharanga Havyasi Nataka Thanda
Director: C R Lambe
Playright: K V Subbanna
Date: 7th April 2018
Title: Aka Nandun – A Kashmiri Play
Performing Group: Ensemble Kashmir Theatre
Director: Bhawani Bashir Yasir
Playright: Bhawani Bashir Yasir
Date: 8th April 2018
Title: Diploma in Corruption – A Hindi Play
Performing Group: T.R.U.S.T Theatre
Director: Rajesh Tiwari
Date: 9th April 2018
Title: The Big Fat City – Hindi Play
Performing Group: SRCPA Students Production
Director: K S Rajendran
Playright: Mahesh Dhatani
Date: 11th April 2018
Title: The Wave – Hindi Play
Performing Group: SRCPA Workshop Students
Director: Tarique Hameed
Playright: Reinhold Tritt
Date: 12th April 2018
Title: Chaar Tang Ka Koyal – Hindi Play
Performing Group: SRCPA Workshop Students
Director: Rajesh Bakshi
Date: 13th April 2018
Title: Muktidham – Hindi Play
Performing Group: META Theatre Festival
Date: 14th April 2018
Title: KARUPPU (Non Verbal Play)
Performing Group: META Theatre Festival
Date: 15th April 2018
Title: COMFORT WOMEN – An Assamese Play
Performing Group: META Theatre Festival
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Upstage Insider & Pratibimb Dramatics Society Present : “Treadmill “ This play shows a relatable, simple and yet myriad story about the cyclicity of life, portrayed through a common man and his nostalgic encounters with certain people in his life. These encounters, though seemingly inane at first, lead the protagonist through a deep understanding of his own condition. We go through an impactful journey where he introspects about his wife, their relationship, and if anything could salvage it. His professional success or the compliance to social norms are the options he has, but he is about to discover a third, much more freeing way. Story structure at its finest, along with bits of enthralling poetry make “Treadmill” a grand mirror; a mirror into which we all must look into.
Terms & Conditions
Please carry a valid ID proof along with you.No refunds on purchased ticket are possible, even in case of any rescheduling.Security procedures, including frisking remain the right of the management.No dangerous or potentially hazardous objects including but not limited to weapons, knives, guns, fireworks, helmets, lazer devices, bottles, musical instruments will be allowed in the venue and may be ejected with or without the owner from the venue.The sponsors/performers/organizers are not responsible for any injury or damage occurring due to the event. Any claims regarding the same would be settled in courts in Mumbai.People in an inebriated state may not be allowed entry.
urangzeb is a well-known play in Hindi theatre which is running from last ten years. Here is a chance to witness it once again.
When Emperor Shahjahan fell ill in 1657, a war of succession broke out among his four sons, Dara Shukoh, Shuja, Aurangzeb and Murad. The main contenders were Dara and Aurangzeb while Shahjahans two daughters Jahanara and Roshanara, supported Dara and Aurangzeb respectively. The Emperor himself lent his support to his eldest son Dara, who alone of the four brothers, was present at Agra and sympathetic to Shahjahans dream plan of building a black-marble-mahal for himself on the other side of Yamuna facing Mumtazs Tajmahal.
The play begins with the conversation between two of Aurangzebs spies in Agra Fort, who tell us of others spying on them, indicating Aurangzebs suspicious nature as well as his attempt to be in control. The play selects, telescopes and fuses events to capture the fissures as well as the peaks of a period of history. The war of succession to throne and issues and ideologies that the major players in the drama represent: Shahjahan symbolizes a decadent, self-indulgent, romantic aestheticism; Aurangzeb articulates and fiercely fights to establish an Islamic fundamentalist state, and Dara projects himself as a philosopher-statesman striving to preserve a pluralist society and nation. Shahjahan dreams about a black-marble-mahal for himself, Aurangzeb dreams of one nation, one language, one religion, while Dara fears that Aurangzeb will destroy the precious heritage of Akbar.
The play has as its theme the struggles of mutually contradictory dispositions of the various characters: Shahjahan and Aurangzeb; Dara and Aurangzeb; Jahanara and Roshanara; and finally Aurangzeb versus Aurangzeb. Shahjahan lives in the past, Dara in the future, and Aurangzeb in the present. Aurangzebs success is the triumph of pragmatism but he has to pay dearly as we find him in the last scene sitting not on his Peacock throne but beside it on the floor. His loneliness becomes his tragedy. The play ends with him asking himself the question: Am I a devout Muslim or a fanatic? He is left awaiting the judgment of history.
