The third session has in conversation Prakash Belawadi, Jayant Kripalani and Barun Chanda.
Prakash Belawadi is a theatre, film, television and media personality in Bangalore, India. He is an actor, writer, director and instructor working for the stage and screen.
Jayant Kripalani is an television and stage actor, best known for TV series, like Khandaan, Mr. Mrs and Ji Mantriji.

Barun Chanda is mostly remembered for his role in Satyajit Ray’s Seemabadhha.

I was particularly excited about this session as today, the theatre scene in Kolkata has changed a lot, and for the better. The are many new theatre groups, most of which are youth initiatives. I have quite a few friends in this circuit and thus, I’ve watched a few shows too. And of course, I have had a tiny crush on Barun Chanda, ever since I watched “Chotushkone”.

Barun Chanda, looking great as usual.
Barun Chanda, looking great as usual.
Jayant Kripalani.

Stagecraft involves both “design” and “execution” and there i always overlap between “art” and “craft” and they really cant be separated into different genres. Stagecraft involves expressions, reactions, body language and communication. In the traditional idea of stagecraft, what is written in the text, backdrops etc formed stagecraft. Nowadays, it is mainly about the idea and visual image comprising of make up and costumes that forms stagecraft. The idea is, that the actors and the viewers should be in the same time frame.

It can often be problematic of the director himself is acting in the play because you don’t know what you’re doing, and even if you went wrong, nobody is there to correct you.
Prakash Belawadi spoke extensively about how he translated Tagore’s works, staged it and got applauded.
The context of “scene” in cinema is very different from what in means on stage. A stage is like watching a cricket match at the stadium and cinema is like watching in on television. At the stadium, that is, technically on a stage, you feel the excitement and the moments but while watching it on TV you can judge all the tiny flaws and the same energy is not present.
This session, interspersed with humour, anecdotes and personal experiences enriched my knowledge of stagecraft.


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