Critical Appreciation Of The Play Skandgupta

The play illustrated by Adu-Gyamfi & Schmidt (2011), “Everyman” written by an anonymous writer late in the fifteenth-century (p. 265-287), interconnects religious allegories with worldly moral lessons on several main reasons that good deeds and works are required and needed, but they do not save humanity from spiritual death. The play conveys a story about Everyman’s (representing human individuals) natural life journey to death. The morality of the play helps the audience appreciate the history of Christianity. The focal point throughout the play is about humanities, life plan and a journey that requires every man to construct an unworldly firm foundation built up strong to help overcome any uprooting storm within a lifetime. Its personification comes in the form of the characters Everyman, Goods, and Goods Deeds, who embodied the concept of teaching lessons to humanity of the significance of living a Christ-centered life and learning to allow the heart restored and guided by God to help aid good judgement (Adu-Gyamfi & Schmidt, 2011). Thomas F. Van Laan (1963) describes Everyman’s play, “The human action and its allegorical significance together form a distinct structural pattern which not only imposes discipline but also contributes its own intrinsic meaning”. From the start of the first phase 5-6, the first point of view of the play engages, “…That of our lives and ending* shows / How transitory we be all day.*…” (Adu-Gyamfi & Schmidt, 2011). The play displays how

Indian theatre is one of the longest and amplest theatres in the world; it dated back to around 5000 years, as the other theatres in over the world Indian theatre emerged in the seasonal celebration and religious ritual. Bharata's Natya Shastra was regarded to many Indian writers as the oldest and most detailed in the dramaturgy context, where the origin of word drama in Sanskrit was derived from the word “dance”.? . The history of Indian theatre was existed in the excavations and historical records in the ancient time; in one of the excavations there were two enormous epics which are The Mahabharata and The Ramayana. So; the ancient tradition whether in the Western or Eastern world has the same picture of performance in theatre which represents tradition though the philosophy in Western world has the belief that there is no life after death whereas in Eastern world especially in India life has the continuity even after the death there is existence of life. Indian theatre illustrated idealistic view for life while the theatre in the West portrayed life as it is.

Throughout time, Buddhism has had a significant influence within Indian art. The evolution of Buddhism can be examined through the use of Buddha in Indian Art. Through detailed research and analysis, the influence Buddha portrayed can be examined through the various pieces of Indian art. Within some of the earliest works of Indian art, Buddha was not shown in the human form. Much of his appearance was shown through a pair of footprints or an empty seat. (Heilbrunn Timeline of Art History) Within the first century AD, Buddha was shown to truly conquer the artistic scene of Indian art. (Heilbrunn Timeline

The Play of the Unmentionable, a critically hailed exhibition, was a creation of the conceptual artist and curator Joseph Kosuth. The show comprised more than 100 works of art that Kosuth picked from the permanent collection of the Brooklyn Museum. Some of these creations could have been rendered objectionable when they were composed due to issues of political, religious, and social contexts. Nonetheless, The Play of the Unmentionable was a project that moved beyond the traditional definition of aesthetic and what made up art. The installation simulated a traditionally curated display. Mr. Kosuth juxtaposed the art works with texts he had selected from a variety of sources. According to him, an artist ought to make meaning and not just fashion objects. Therefore, the exhibition was meant to addresses present issues of concern.

The play Xanadu, put on by the Arizona Theater Company, was an extraordinary play, with a few different cultures mixing to make a creative, fun production. This play was a mix of 80's music, apparel and art, along with a magical side with ancient Greece. Ancient Greece brought Greek mythology, which is what brought magical characters into the play. This play uses different cultures to escalate the plot, all while creating an awesome play.

‘Sita Sings the Blues’ is an animation movie created by an American woman, Nina Paley. The three strands that make up the warp and woof of the narration are: the personal story of Nina Paley’s betrayal by her husband; heartfelt- blues, the sentimental songs of Annette Hanshaw; and the larger-than-life canvass of the epic Ramayana. The movie, prima facie, is the story of the Director’s failed marriage as is evident from the official tagline of the movie ‘the greatest break up story ever told’. But the overarching depiction of Sita’s plight in the Ramayana, parallel to her own, assumes great significance. The portrayal of the travails and tribulations of Sita in the movie instead of the usual glorification of Rama, lends this movie

This novel has a deep philosophical and moral significance. According to Naik and Meenakshi Mukherjee this novel has recreated the ancient Puranic myth of Mohini and Bhasmasura in a modern and interesting form. We find the universal theme of conflict between the good and the evil in this novel, which is represented by Nataraj and Vasu respectively. In beginning evil seems indomitable, but it always carries with itself a seed of self-destruction, and in the same way goodness seemingly weak is ultimately victorious. The novel begins with Nataraj who is the owner of a printing press in Malgudi. He is shown as a simple and pure-hearted man who has never made any enemy. On the other

In one of William Shakespeare’s most notorious plays, Hamlet, Shakespeare uses multiple scenes filled with drama to add a certain extreme dimension to the play. In a story filled with drama, such as Hamlet, an author attempts to use intense dialogue and actions in order to invoke personal emotions and feelings in the hearts of the audience. Shakespeare attempted to have the audience feel the pain that Hamlet experienced, sense the feelings of revenge that were deep in the heart of the prince, and be able to place themselves inside the play, as if they were there while the whole thing was taking place. From he first time that we are introduced to the character of Hamlet, we automatically get a sense of his intensity as a human being, yet his professional elegance as a prince (Mabillard, Amanda). In this story, we witness the actions of one young Prince Hamlet as we see his reactions to the news that his uncle not only killed his brother, King Hamlet, but then married his wife to take the crown. Shakespeare’s work shows us how drama can be used to elevate the intensity and interest of an audience in a play.

Dattani sees Tara as a play about the gendered self , about coming to terms with the feminine side of oneself in a world that always favours what is ‘male’ , but many people in India see it as a play about the girl child. The modern Indian drama concentrates on the several current issues and the real life problems. Some of the modern drama writers include Badal Sircar, Mahesh Dattani and Manjula Padmanabhan etc. The topic of discussion here is Mahesh Dattani’s “Tara”(1990). Tara” was first published in 1990. This plays is talks about the family tragedy in which the members of the family are suffering. It shows gender difference in Indian society. Throughout the play Dattani has used this difference of male and female.

The Taming of the Shrew by William Shakespeare will appeal to Kalidasa because most of his plays are based on Puranas and this play can be used to show the values of Hindu Puranas and respect toward the deities. Hindu Puranas, ancient Indian literature about myths and legends, like Mahabharata teach the society about deed, religion, respect, knowledge, and royalty. Kalidasa can use Shakespeare’s play to reteach Mahabharata’s values, since the play presents themes of wealth, gender role, religious belief, respect, status, and fashion, which are very closely ideal with the Puranas’ concept and teachings.

When embarking on a study of the representation of political violence in drama, it is essential first of all to establish some agreed-upon terms and frames of reference, and some reasonably stable understanding of the object of study. Political violence as a subject for dramatic representation can be seen as a special category of what is called "political drama" more generally. Political drama can be understood to include such ingredients as the clash of political philosophies and strategies in concrete situations, the struggle for political power through democratic or extra-democratic means, the maneuverings, triumphs and defeats of parties, groups and classes in pursuit of their political goals, and the ceaseless weighing of ends and means in that pursuit. As a field of human activity and commitment, politics, broadly defined, has furnished material for a huge number of plays, engaging audiences in the recurring variations of personal and political dilemmas. Some of these plays can be seen to have the overt aim of changing or reinforcing the spectators ' understanding and political alignment; others present the spectacle of human behavior in the political realm in an ostensibly neutral way.

In Rabindranath Tagore’s play, Raktakarabi (Red Oleanders, 1924), set in an imaginary town called Yakshapuri ruled under capitalism, minorities are dehumanized and exploited into becoming a source of gold digging machines by a brutal King whose ever growing obsession with wealth had turned him despicable until salvation became apparent in the hands of a woman named Nandini. Nandini is the protagonist and the King is the antagonist of the play. Yakshapuri in Hindu mythology is referred to as the abode of the god of its hoard of treasure. In the play, the King symbolizes the oppressor of both humans and nature by fear and power and Nandini symbolizes the nature that restores its equilibrium by shaking everything into its righteous place by beauty, love and strong character. What’s left in between are the oppressed: the miners along with their families who are undoubtedly and hopelessly stuck in a rollercoaster where their freedom is nowhere to be apparent. Tagore shows his concern over the materialistic industry-oriented mentality of men and the lust of controlling the resources of the earth as well as the inhabitants by exploiting, estranging and circumscribing the underdogs.

The Ramayana is more than just a religious text. While it is blatantly rooted in Hindu culture and practice, a myriad of lessons and points from the Ramayana apply to human life on a much more general scale. Narayan’s piece portrays the complexity of human relationships, moral decisions, and the blurring lines between what is considered ‘good’ and what is considered ‘evil’. Numerous elements of the Ramayana exemplify these common themes but it is particularly noticeable in the relationships between siblings. Rama and his brother Lakshmana have a deep, yet sometimes morally contrasting, relationship while Ravana and Vibishana represent another side of the moral spectrum and brotherly conflict. The four of them together embody the complications of both dharma and sympathy, and the universal prominence of conflict between brothers.

Karnad , the writer as a creative genius and a cinematographic artist. He does not simply make us see, but makes us through camera. The difference between a cinema and a literary form, is seen obviously through medium viz. verbal and visual. The approach in Karnad’s play is essentially a visual where his inclination towards visualization of the scenes and settings create a cinematic interest. The regular adaptations from Indian literature in several languages for Indian cinema , no doubt , brings curiosity of interlinking of some of the past and traditional Indian implications of the Indian past and her glory. The preconceptions and belongingness to the theory of the principles of Indian origin or heritage certainly creates among audience the proud feeling of cherishing, respecting and reviving the ancient past of the primitive identity. As Flaubert says, “derive(s) almost voluptuous sensations from the mere act of seeing”. Karnad seems creating memorable situations through the convincing setting. He also applies full visual imagination and powers of description. He tried to direct the events with a keen determination to record fully and accurately a specific moment of perception. Arun Sajnani, the Director and the Screenplay writer Anil Mehta, have equally tried to judge Karnad’s determined principles of creating persons, scenes, setting and the motif as well. Sajnani, even been sensitive to the

Miniature Painting, with its ancient origin, bears focal significance in the history of regional art. The discipline of Miniature Painting germinates from the early rock paintings or petroglyphs (images produced by removing rock surface), found in locations like Bhimbetka and Daraki-Chattan rock shelters in Madyha Pradesh, India, nearly 30,000 years old. Later the Buddhist writings indicated the use of paintings by military elites and the noble class, however, the paintings of the Ajanta Caves (200 BC to 500 AD), Maharashtra, are considered most noteworthy. This period may have had manuscripts and smaller paintings, however, the earliest surviving examples were found during the middle ages (500 AD to 1500 AD). There was a blend of Persian miniature and the ancient Indian traditions that emerged as Mughal painting, which after the 17th century was adopted by most royal courts of the region, evolving newer local styles. Though