Baban prabhu biography of william shakespeare

  • And Baban Prabhu, who experimented

    • I, that am curtail'd of this fair proportion,

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    The speaker laments being ill-suited for frivolous pleasures like amusing ladies in chambers or courting reflections in mirrors. While war has given way to delight, the speaker's rude form means they cannot join in lighthearted diversions but rather wants for love's grandeur. They are curtailed of fair proportion and not shaped for sportive tricks or amorous games.

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    The speaker laments being ill-suited for frivolous pleasures like amusing ladies in chambers or courting reflections in mirrors. While war has given way to delight, the speaker's rude form means they cannot join in lighthearted diversions but rather wants for love's grandeur. They are curtailed of fair proportion and not shaped for sportive tricks or amorous games.

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    The speaker laments being ill-suited for frivolous pleasures like amusing ladies in chambers or courting reflections in mirrors. While war has given way to delight, the speaker's rude form means they cannot join in lighthearted diversions but rather wants for love's grandeur. They are curtailed of fair proportion and not shaped for sportive tricks or amorous games.

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    Download as DOCX, PDF, TXT or read online from Scribd
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    0 ratings0% found this document useful (0 votes)
    17 views2 pages
    The speaker laments being ill-suited for frivolous pleasures like amusing ladies in chambers or courting reflections in mirrors. While war has given way to delight, the speaker's rud
  • As Parsi theatre progressed,
  • Bhave: In your generation, farce

    • Veteran journalist, writer Baban Prasad Mishra no more

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    Senior journalist and writer Baban Prasad Mishra passed away in Raiput on Saturday evening. He was 78. 

    Image Credit: YouTube screengrab

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    Senior journalist and writer Baban Prasad Mishra passed away in Raiput on Saturday evening. He was 78. 

    While participating in a panel discussion at a literary programme at Vrundavan Hall in Raipur, Mishra suddenly complained of ill-health and was rushed to a hospital, where he was declared dead upon arrival.

    Mishra is survived by wife, three sons and two daughters. His last rites would be performed tomorrow afternoon. 

    Born in Balaghat district in 1938, Mishra started his journalistic career in 1962 and was editor of 'Yugdharma' and a Hindi daily 'Navbharat'. Chief Minister Raman Singh condoled the death of Mishra.
     

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    History of Maratha Theatre

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    Marathi theatre originated in the mid-19th century and flourished in the 1950s-60s. It includes forms like musical drama and folk dances. Several pioneering playwrights and directors established Marathi theatre between the 1880s-1920s, including Annasaheb Kirloskar who staged the first musical drama, and Govind Ballal Deval who wrote pioneering social dramas. Later influential figures included Shripad Krishna Kolhatkar, Krishnaji Prabhakar Khadilkar, and Ram Ganesh Gadkari, who wrote plays addressing contemporary social and political issues that were popular with audiences. Contemporary Marathi theatre continues to have a strong presence in Mumbai and Pune

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    Marathi theatre originated in the mid-19th century and flourished in the 1950s-60s. It includes forms like musical drama and folk dances. Several pioneering playwrights and directors established Marathi theatre between the 1880s-1920s, including Annasaheb Kirloskar who staged the first musical drama, and Govind Ballal Deval who wrote pioneering social dramas. Later influential figures included Shripad Krishna Kolhatkar, Krishnaji Prabhakar Khadilkar, and Ram Ganesh Gadkari, who wrote plays addressing contemporary social and political issues that were popular with audiences. Contemporary Marathi theatre continues to have a strong presence in Mumbai and Pune

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    Marathi theatre originated in the mid-19th century and flourished in the 1950s-60s. It includes forms like musical drama and fol
  • It is even staged

    • Indian Theatre in the Past Tense: Contextualizing Language and Culture

    Dr Nilanjana Chatterjee

    Indian theatre is now influenced by occidental sources and avantgarde experimentations. Linguistic expressions and cultural heterogeneity are injected into Indian plays considering them as something new, unique, and transcultural. However, it is necessary to understand that Indian theatre, since the classical times, has presented regional and indigenous cultures in regional languages or/and indigenous dialects. Moreover, its rich and diverse branches have not disintegrated Indian audience(s) but have connected them down the ages. This is because the chief sources of theatrical representations were chiefly borrowed from Indian mythologies, epics, and oral traditions. Historical erasures and cultural violence by colonial agents and monopoly of cinema couldn’t impact the regional theatres in India. Rather Indian theatre influenced the European theatre system and in turn got further heterogenized and diversified culturally and linguistically. However, in the present moment of cultural studies, it is necessary to revisit the rich history of Indian theatre by tracing the diverse roots of Indian cultures and languages that have fed the Indian theatre since its inception. For this, the present study is divided into three sections. While the first section introduces the study and proposes a methodology, the second section traces the roots of Indian theatre up to the modern times. The third section thereby makes conclusion.

    Keywords: Indian theatre, language, culture, classical, medieval

    Introduction

    Recent cultural studies have emphasised on the need of (productively) infecting language with regional cultural impurities to sufficiently represent regional cultural groups. However, Indian theatre ‘always already’ has a rich heritage of representing cultures couched in indigenous languages. Medieval theatres of India (for example, Jatra, Ramleela, Sang, D