many colours of karanth

As a tribute to B. V.
Karanth, a veteran of contemporary Indian theater and one of the pioneers of stage music, 20 Bharat Rang Mahotsav of the Indian International Theatre Festival, which began last week, mumbai\'s Kamani auditorium hosted \"Karanth Ke Rang \".
Drama Music is an important part of Indian drama Art. Karanth gives it a new dimension. It transcends the interpretation of lyrics to enrich emotions.
His pursuit is to develop a new drama language with music.
\"Music, I think, is another important aspect of the language of drama,\" he said.
All sounds create this language and the best use of sound is in music.
Music was previously used in our theater to create a suitable atmosphere for action, as well as for creating specific emotions and decorations.
When I made music for \"hayavadana\", I found another use of music, that is, explanation.
In another place, he said, \"music is created not only by the west tower and the violin, but also by stones, glasses, utensils and even bells.
A tribute to the genius\'s music must retain this innovative aspect of his musicology.
Written by Atul Tiwari, guided and conceived by Amod Bhatt, we watch the elaborate presentation of various instruments and singers.
The stage design is beautiful. Singers and instrument players occupy different levels of space, which can be seen by the audience.
Karanth\'s work is much deeper than just singing words.
When Karanth served as the head of the Bhopal Bharat Bhavan theater repertoire company, Amod worked with Karanth as a performer.
The lyrics that make up the \"Karanth Ke Rang\" section come from various works of Karanth, especially the drama of Jai Shankar Prasad, which is considered not
Performed on stage by theater experts at that time.
Initially, the songs performed did not mention their work at different points in time.
However, in the second half we watched a short sequence of some of the earlier works.
\"Mahanirvaan\" has a sequence in which Karanth himself plays a dead man, who revives himself, commenting on his family\'s reaction to his death in an ironic comedy tone, the insensitivity of his neighbors, and the place
Again, there is an interesting sequence of conversations between mothers --in-
The law on the pilgrimage and her daughter-in-
Law in charge of housework without a motherin-law.
The singer was unable to capture the nuances and warmth of Carati\'s music.
Some faded stills show Karanth in different scenes of his work and sit with other characters.
The shows have no subtitles and are associated with the singer\'s lyrics.
If the scene in Karanth\'s iconic work is adapted to the accompaniment of the lyrics, the work will become very important, indicating his pursuit of creating a new drama language through music.
Works as the work of the 21st century
The International Drama Festival should be deeper, more sensitive and more artistic.
Inhuman working conditions adapted from Emile Zola\'s classic French novel \"sprout\" and Ashish Chattopadhyay\'s \"Bol (Bengali)
It is extraordinary in art and has significant contemporary significance.
\"Bol\" took us to an inhuman world of miners who were condemned to work in coal mines.
A new worker joined the ranks of these exploited workers, who were deprived of basic human rights, had a meager salary and often died in the mine without compensation.
The new comer is a woman disguised as a man because a woman is not allowed to be a miner.
She made the workers aware of their rights and the need to resist oppression and fight for them.
The strike occurred as the owner was not ready to hear from the workers.
The greedy and inhuman boss of the coal mine used his muscles and police forces to successfully break the strike.
His work is cleverly conceived and reminds us of the tragic fate of the miners who have recently been trapped in the megharaya rat cave coal mine.
The show shows a contrast between the wealthy world of the owners and the miserable poor world of the workers, who do not have a mechanism to fight for their basic rights.
Director Chattopadhyay has created a powerful visual effect, creating the illusion of flooded mines and trapped workers who desperately want to live.
In the same way, he created a structure that was used as an elevator to take the workers from the mine and bring them back.
Visual effects, stage sounds and lighting effects create an atmosphere that conveys the exclamation of trapped humans eager to liberate them to breathe fresh air and enjoy life on Earth.
Despite the failure of the strike, the workers expressed their hope for a better tomorrow by leaving the music tunes of the oral organ played by the leader of the failed movement in the coal mine.
The tune she played was the mortal song \"ayaga ain Vara\".
As the leaders of the strike, Dipa Brama and shuvik Sakar are staunch supporters and activists.
The Gregoire of Sujit Das highlights the inhumane character of the owner of the coal mine.