::cck::821::/cck::::fulltext:: Dada Saheb Phalke managed to survive the onslaught of the First World War and kept his factory alive. Seeing his resolve and efforts, some people took pity on Phalke and loaned him a good sum of money to do two long films and provide consistent livelihood to his workers. ‘Raja Harishchandra’ in a new […] More
::cck::806::/cck::::fulltext:: Dada Saheb Phalke landed in London and started visiting the shops and addresses mentioned in catalogues he had collected earlier in India. The claims and counter claims of these dealers left him quite confused. He also met the Editor of ‘Bioscope’ weekly magazine Mr. Cabourne who discouraged him initially, citing examples of several failed […] More
::cck::788::/cck::::fulltext:: It was the 7th of July 1896 at Watson Hotel in Esplanade Mansion of the museum area of Bombay that the first moving images were projected or shown in India. It was the third such event in the world after the first projection of Lumiere’s International debut in Paris on 28th December 1895 and […] More
::cck::776::/cck::::fulltext:: A Parsi theatre company had two or three writers, backstage technicians, managers, costume and setting teams, musicians, actors and couple of directors (very often called dialogue coach) on monthly salaries. Parsi theatre became a confluence of various theatre streams. Several artists and writers from various cultural and linguistic backgrounds came together and created a […] More
::cck::742::/cck::::fulltext:: The French Revolution of 1789 and then the revolution of 1848, led to the emergence of a middle class as the decisive force in society in Europe. The core of this middle class came from the semi educated products of the national school university systems initiated by Napoleon in France and followed by other […] More
::cck::728::/cck::::fulltext:: Indian films right from its inception have been influenced by the Rasa transmission theory in its execution. The entire effort is to evoke the desired Rasa or mood in crucial moments within various situations in a film for the audience to absorb. Very often it’s the emotional impact that decides the fate of a […] More
::cck::707::/cck::::fulltext:: Towards the end of Gupta Period (4th Century AD to 8th Century AD) in Central India, the official patronage to the Sanskrit and classical plays suffered, resulting in the ruling class supported theatre activity dying a natural death in several urban centres of that era. The practice of this kind of theatre managed to […] More
::cck::641::/cck::::fulltext:: Not only in theatre but any assessment in painting, music, dance, literature or cinema would also refer to this Rasanubhav (experience of the emotional impact) as the epitome of desired impact and aesthetic evaluation of all art forms in India. Essentially a manual meant for stage craft, the Natya Shastra is very often regarded […] More
::cck::500::/cck::::fulltext:: Nor aught nor naught existed; yon bright skyWas not, nor heaven’s broad woof outstretched above.What covered all? what sheltered? what concealed?Was it the water’s fathomless abyss?There was not death – hence was there naught immortal,There was no confine betwixt day and night;The only One breathed breathless in itself,Other than it there nothing since has […] More