Ishq Aaha

In a self-referential moment, Ms Saraf complains about her limited part, and is promptly cast as Punnu, but it would seem that Sassi remains a giggly damsel in distress for perpetuity. But this is meta theatre that works. The play makes several such nods to female empowerment, which sometimes smacks of tokenism. But it is also a good thing because semi-mainstream Hindi theatre is notoriously wedded to the status quo.

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(from left) Namit Das, Sujay Saple, Rachel Dsouza and Puja Sarup

The Paradox of Mass Hypnosis

These are not pathetic clowns with great sad eyes or little dawdling duck-like movements, working up a lather of emotion for the whole dichotomy of a clown’s existence, ever ready to shoot upwards into bathos. No, we don’t have crying clowns here. Bonhomie is the creed. No circus clowns either, with large red noses or flying trapeze acts. They are not fleet-footed except when engaging in repartee.

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Quasar Thakore Padamsee on Mother Courage

An interview with Quasar Thakore Padamsee, in which the director talks about his latest work with Aadyam — a production of Bertolt Brecht’s Mother Courage and Her Children

You’ve added the tag line, Everybody Loves a Good War. The irony seems almost self-explanatory.

Toral (Shah) suggested it (It’s a reference to P Sainath’s book). I think it’s something the play does. It talks about the so-called benefits of war, the madness of it, and how everyone is looking to survive. If you actually take a look at it, all fascist agencies ‘love a good war’, because it breeds nationalism, and economically it simulates industry in many ways.

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