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2019 Day 3

Patta, Nimittamatra by Rangabhasha (Pune, India)

The Marathi performance was an interaction through letters sent and received in the year 1980 by the renowned Marathi writers G.A Kulkarni and Sunita Deshpande. With a light-colored set, the performance was a treat for bibliophiles as well as theatre enthusiasts. The performance showed the very special friendship between the two authors. The performance managed to create warmth in the audience. With a few heart-touching moments and a few fine funny ones, the letters show the friendshipbetween the two, in its truest forms. The taunting, scolding, and admiration shows us the heartfelt love that they shared for each other. The friendship between the authors is relatable yet unique and hence managed to bring the audience a bit closer to these authors. All in al,l the performance seemed like a heartfelt dedication to the authors because of how the director had handled this very personal interaction without damaging the delicate and beautiful relationship that the two authors shared.

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2019 Day 3

Abhivyakti, Lekhan ani Natak Workshop by Abhiram Bhadkamkar (India)

This workshop on playwriting was the fourth in the workshop series at IITF 2019. Understanding playwriting requires understanding the character to the core. A writer needs to take care of the many factors affecting the character and also consider the backstory of the character. The participants were thoroughly engaged in the interaction session with the facilitator. Understanding the basics of writing without having to be told how to write and what pattern to follow but explore were some of the things the participants enjoyed. The workshop was a medium for the aspiring playwrights to explore their inner self and understand how the time and space unbound plays are written. They were given the scope of finding their own style, reason, and way of writing a play while they were guided in terms of how to go about this exploration.

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2019 Day 3

Folk Art for the Modern Actor Workshop by Gauri Dewal and Happy Ranjeet (India)

The first session on the third day started with an informative interaction between the facilitator and the participants. The folk forms of India and their various connections with the culture of their geographical base was explained. The workshop was a session filled with understanding the nuances of the diverse folk form that the country (India) has and their deep-rooted traditions. A folk art form no matter where it comes from has a unique and close relationship with the culture, traditions, geographical land, etc. Apart from that, a folk form is raw and flexible which is its beauty. It is accepting towards changing times, people, and places and hence more relatable for the people. The workshop made the participants realize the enjoyment of getting to know our traditions while living in modern times. Being able to identify with the different cultures from different lands is something necessary for an actor.