ITF: E-Rang: Issues: Remembering Zohra Segal
Actress Nandita Latest Photo Gallery @ Attakathi Movie Press Meet, Attakathi Movie Actress Nandita Pics, Nandita Latest Spicy White Dress Images, Nandita. this · 1 was here. Media India is a global platform based in Europe and in India that The backstage of Kathakali: Turning serene faces eternally beautiful. Previous: Vishal-Kathakali Movie Press Meet Stills. Related Articles. Nandita Swetha Stills At Sutraa Fashion Exhibition
Papaji never taught anybody anything. He would just correct something and we had to listen carefully and take or own juice from his teachings. And of course watching him… I was there for 14 years, my sister was there for 16 years When we were touring for about sixteen years the theatre had a great impact even in the South, where Hindi was a problem.
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Papaji used to say that the films maybe very bad but they've done one good thing. They've made Hindustani a language which everyone understands. It was also a new thing of doing realistic style of acting. The theatre of course closed down way back inbut even immediately after that there was hardly any mention of this great professional company.
I think the only national professional company.
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And people ignored it. Full of life and mischief by: She made people laugh and some times embarrassed the hell out of them. This was the first fund raiser for Ranga Shankara which was under constructiona project that several theatre people in Bangalore were involved with at that time. It was a star studded cast with Shabana Azmi, Nandita Das, Zohra Sehgal, Mandakini Goswami and Anastasia Flewyn and yet she was the star both on and off stage and most importantly, she knew it!
We were discussing the press conference and Nandita asked if there was enough time for her to quickly go upstairs and change. There is always time for a quickie! She was about 92 and used to wear a hearing aid and whenever rehearsals were being discussed or work. Once she was walking in front of us and Nandita whispered to me that we should sneak out for an Andhra meal.
She turned around and said, "I heard that, and I want to come for the Andhra meal too. At the press conference someone asked her how she felt about working in in the theatre for no money.
I had no idea whether she was joking or telling the truth.
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The shows were a super success and we dropped her back to the airport She was laughing and cracking up till we reached the entrance and then she became all quiet and gloomy and whimpered that she'd like a wheelchair.
We were all worried and asked her if she was unwell. When she walked into to Ranga Shankara, a lot of young people came up to touch her feet, she allowed it for about a minute, and then yelled, "Stop all this, otherwise I will have to beat all of you".
That put a stop to it immediately. Just before the show she insisted that I take her to the disabled loo because "it's urgent" and this was 5 mins before the show. When she asked me to come inside with her, I thought it might be because she needed assistance 94 and all that. She shut the door, opened her pouch took out a kajal pencil, applied kajal, then some roll on perfume. Asked me to smell her wrist. I said it smelled great. Then for 2 minutes she made monkey faces in the mirror and said, "come let's go.
Later when I told her that the money that we raised from The Spirit of Ann Frank was used to build this theatre, she looked pleased, then suddenly she turned grim asked. Did I do a free show? I don't remember doing a free show. It was totally absurd! Theatre writer and producer, Nimi Ravindran is based in Bangalore Tidbits from Facebook Zohra Segal left in a scene from The Spirit of Ann Frank What follows is a collection of Facebook posts from people who knew, worked with or somehow interacted with Zohra Segal, each encounter leaving an indelible memory.
I went to meet her to ask if she would act in my play The spirit of Ann Frank 12 years ago. I reached at 11am and was asked to wait since she was in the middle of her voice exercises.
When she came down she asked me what the play was all about. I gave her a very brief description. She said "Ok, now that you like my face and I like yours, you can leave. I will see you at rehearsals". On the first day of rehearsals she wore a white Mundum-Neriyathum with a kasavu border knowing i was from Kerala. She always made sure that she was the centre of attraction in a star-studded cast.
Always punctual and had a wicked comment if any one came late. Post our run of the shows in the country she organised a lunch at the India International Centre in my honour.
No other actor has ever done this for me. They seldom make people like her and she made the most of her existence. I am sure she has everyone in splits above. What A Life Zohra Segal! As I walked into the room my cascading hair flowing and a big red bindi, she remarked that I looked just like Mummy.
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She then became the head of National Folk Dance Ensemble and ran it successfully for about a year. Then it had to be closed down giving her immense grief. Subsequently, I met her frequently and she did a programme for us 'In conversation with Zohra'. A chutti artist has to learn perfection and then speed. All sections of Kathakali have to go through an Arungatum. Once the course is complete it takes a lifetime to master the chutti and gain enough experience to apply the chutti for performances, I apply the chutti for all the characters on our UK Tours and in Kerala, I am often the only chutti artist applying all the make up.
Did you have a background in stage make-up or costume before this? I trained in textiles and fashion but rejected fashion as I felt it was based on vanity, money and a rat race. I changed this for performance art and eventually theatre where I could express my Living Sculpture ideas on stage through performance.
I had no experience in make up. As the first female chutti artist and costumer, how well were you accepted by the Kathakali community? It took a long time to be accepted and for the first year I was on my own — at that time men and women were segregated in Kerala.
By the second year I was ready to come back to England and explained to my class mates that I was lonely. After that life was much better and we became great friends and are still friends today. To be accepted as a professional chutti artist was another matter. I had to prove I was good enough to apply chutti on the actors faces, know all the chuttis, apply them in time and have the experience to manage the chuttis alone. To be accepted took many years and for Padmashree Kalamandalam Gopi, and all the other top artists, to allow me to do their chuttis is indeed a great honour.
The organizers asked if I could do the chuttis alone — I agreed to try this impossible task that would test my skills and experience to their limits. This is a real credit to my ashan who trained me to such a high standard. What were your aims when you founded the Kala Chethena Kathakali Company? In I was buzzing with the dream of bringing Kathakali to Britain and together with my husband and Kathakali actor — Kalamandalam Vijayakumar, we set about designing workshops, demonstration and methods to make Kathakali as accessible as possible.Pandiraj : Kathakali script made Hip Hop Tamizha unhappy - Karunas Speech at Kathakali Press Meet
We took Kathakali to the people including remote rural areas who would otherwise never see Kathakali. Since we have brought Kathakali to overpeople all over the UK.
What can audiences expect from the Brighton performances? A warm welcome, a feast for the senses performed by highly experienced international artists from Kerala. The story to be performed is a story of love, similar to Snow White and called Hima Sundari. Harmonic singing, powerful drumming and of course stunning costumes and make-up. The play is easy to follow and suitable for the whole family to enjoy togeter. What kind of person will the show appeal to?
Families, people with a connection to India, the Kerala community, students of dance, drama art and music, people who enjoy world art and something different. Young children - we noticed that parents were brining very young children and at first I wondered how they would cope with classical Theatre. They were captivated by the colour, the music, facial expressions and the extreme characters. They tapped their feet to the music, copied the hand gestures and shared their reaction to what they were experiencing with their friends and family — they were totally alive.
People who are profoundly deaf and with learning difficulties — Kathakali uses a 4, year old sacred sign language called Mudras and facial expressions, giving people who are deaf an advantage of enjoying visual theatre.