मेघदूत: "नीचैर्गच्छत्युपरि च दशा चक्रनेमिक्रमेण"

समर्थ शिष्या अक्का : "स्वामीच्या कृपाप्रसादे हे सर्व नश्वर आहे असे समजले. पण या नश्वरात तमाशा बहुत आहे."

G C Lichtenberg: “It is as if our languages were confounded: when we want a thought, they bring us a word; when we ask for a word, they give us a dash; and when we expect a dash, there comes a piece of bawdy.”

C. P. Cavafy: "I’d rather look at things than speak about them."

Martin Amis: “Gogol is funny, Tolstoy in his merciless clarity is funny, and Dostoyevsky, funnily enough, is very funny indeed; moreover, the final generation of Russian literature, before it was destroyed by Lenin and Stalin, remained emphatically comic — Bunin, Bely, Bulgakov, Zamyatin. The novel is comic because life is comic (until the inevitable tragedy of the fifth act);...”

सदानंद रेगे: "... पण तुकारामाची गाथा ज्या धुंदीनं आजपर्यंत वाचली जात होती ती धुंदी माझ्याकडे नाहीय. ती मला येऊच शकत नाही याचं कारण स्वभावतःच मी नास्तिक आहे."

".. त्यामुळं आपण त्या दारिद्र्याच्या अनुभवापलीकडे जाऊच शकत नाही. तुम्ही जर अलीकडची सगळी पुस्तके पाहिलीत...तर त्यांच्यामध्ये त्याच्याखेरीज दुसरं काही नाहीच आहे. म्हणजे माणसांच्या नात्यानात्यांतील जी सूक्ष्मता आहे ती क्वचित चितारलेली तुम्हाला दिसेल. कारण हा जो अनुभव आहे... आपले जे अनुभव आहेत ते ढोबळ प्रकारचे आहेत....."

Kenneth Goldsmith: "In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.”1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours."

Tom Wolfe: "The first line of the doctors’ Hippocratic oath is ‘First, do no harm.’ And I think for the writers it would be: ‘First, entertain.’"

विलास सारंग: "… इ. स. 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Monday, August 02, 2010

Two Compositions from Stage: Waman Kendre, Michael Grandage

Waman Kendre (वामन केंद्रे) is supposed to be very good in the art of theatre direction.

I haven't seen anything by him yet for which I feel bad. But what the hell...I haven't still read even one line from Eknath's (एकनाथ) "Bhagwat" (भागवत) . So much to do, so little time...

Do I understand anything called theatre? I think not.

But I like compositions- "The spatial property resulting from the arrangement of parts in relation to each other and to the whole."

I felt moved by following composition from Kendre's play.


from Bhasa’s 'Madhyamavyayoga' (मध्यमव्यायोग) in Hindi, Kendre's first interpretation of a Sanskrit work

courtesy: The Asian Age July 23 2010

It's a great pity that I have neither read or seen a single full length play of great Bhasa who earlier appears on this blog here and there.

Kendre's 'Madhyam Vyayog' brought to my mind when I was last moved by a similar theatrical composition.

When I first saw it, I couldn't take my eyes off the following picture. Even today it shakes me. What are they going to do next?


This is from FRIEDRICH SCHILLER's German epic “Don Carlos” directed by Michael Grandage.

The Economist (Feb 17th 2005) did one of the most impressive art reviews I have read.

"Whatever you do, don't miss “Don Carlos”...“Don Carlos” was written two years before the French revolution, and the good men belong to that time. Carlos, the king's son, and his friend the Marquis of Posa favour humanity, liberty and freedom of speech. Posa almost persuades Phillip of the case for freedom. But, true to history, when the curtain falls, the good men have lost. The dramatic climax is the entrance of the real villain—the imposing, sinister figure of the Inquisitor, clothed in a cardinal's scarlet. When he instructs the king in his duty to God and the Roman Catholic church, Phillip does his bidding—but Schiller has made the case against tyranny. Mr Grandage declares that the message rings no less true, and is no less relevant, on Shaftesbury Avenue in 2005..."
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