colombo international theatre festival 2012 ( info booklet)
DESCRIPTION
Colombo International Theater Festival will be held from 26th March - 2nd April 2012 at the British School Auditorium.TRANSCRIPT
Main Performance
Venue : THE BRITISH SCHOOL IN COLOMBO
3.30 /7.00 pm
26th March (Germany)
changeABLE cohesion -Director - Choreographer: Gerda König
Concept: Gerda König and Gustavo Fijalkow
DIN A 13 tanzcompany
27th March (Iran)
The old man and the sea - Director - Zahrasadat Aziminia
Iran’s Sayeh Theatre Group
Passengers (Sri Lanka) Director: Ronika Chamali /S.Leelawathi
Janakaraliya - Theater of the People
28th March (Indonesia)
SITOBO LALANG LIPA - Director - Muh. Saeful
UKM SENI dan BUDAYA TALAS
29th March (India - Delhi)
CHHUTTI (Story-telling theatre) Director: Dr. Ashish Ghosh
ANANT Theatre Group
30th March (Australia)
Talk is small: a play with Scrabble Director - Brendan O’Connell
by Big One Little One
Elfi (Sri Lanka) - Director: S.Dayalan
Inter Act Art Black Box Theater
31th March -(Pakistan)
Akhiyan Walio (people with eyes) - Director: Aamir Nawaz
Maas Foundation-Pakistan
01st April (India - Pune)
Dangalnama Director: Pro. Vidyanidhee Vanarase
FLAME School of Preforming Arts
02nd April
Caged - Dance Theater (Sri Lanka) - Director: M.Safeer
Inter Act Art Black Box Theater
Workshops
March 27th 2012 | 10am - 3pm
Dance Workshop
DIN A 13 tanzcompany
Mixed-Abilities
Gerda König (Choreographer,
Director) and Marc Stuhlmann
(Dancer, Assistant Director)
March 28th 2012 | 09am 2pm
Contemporary Plays
Discussion
international co productions
including the role of the networks
like ASSITEJ
Facilitator : Prof. Dr. Wolfgang
Schneider
March 29th 2012 | 09am 2pm
Story-telling theatre
Facilitator : Mr. Imran Khan
March 30th 2012 | 09am 2pm
‘Object Theatre’
Facilitator : Ms Choiti Ghosh
March 31st 2012 | 09am 2pm
The Phakama Way (Participatory
theatre making processes for young
adults)
Facilitator : Prof. V idyanidhee
Vanarase
April 01st 2012 | 09am 2pm
Stage Lighting for a theatre
Performance
Facilitator : Mr. Aamir Nawaz
Paper Presentation: 28th
2.30 -4.00
Theatre as a Pedagogic tool :
Possibilities and Challenges
Presenter: Ms Smriti Sharma
29th 2.30 -4.00
“Participatory theatre and its
development across the past decade”
Presenter: Brendan O’Connell /
Penelope Kentish
30th 2.30 -4.00
‘Who decides about what is best for
the child and the young: Posers for TYA
practitioners
Presenter: Dr. Ashish Ghosh
31st 2.30 - 4.00
What is the role of technology in
theatre in coming years? How would
it influence the process of theatre
making? What are today’s realities?
What kind of theatre would that be?
Presenter: Prof. V idyanidhee
Vanarase
01st April 2.30 - 4.00
Situation of Theatre for children and
young audiences {TYA} in South Asia
Presenter: Imran KhanOrganiser: Inter act art Theatre in
collaboration with ASSITEJ (International).
02nd April 9.00 - 3.00
Sri Lankan Dance Theater
its achievments & crisis
Presenter: Ravibandu Vidyapathi
FESTIVAL ADVISERS
• Pro. Tissa Kariyawasam• Pro. S.Maunaguru
• Dr. Sunil Wijesiriwardana• Dr. Sunil Jayantha Nawarathna
• Dr. Asoka Jinadasa• Ravibandu Vidyapathi
• Sanath Gunatilaka• Pradeep Jayathilaka• Gamini Rajanayaka
• Ravindra Guruge• Lionel De Zoysa
FESTIVAL DIRECTOR
• M.SAFEER
FESTIVAL SECRETARY
• JAYALATH S. GOMES
FESTIVAL ORGANIZING COMMITTEE
• Parakrama Niriella• Anoma Rajakaruna
• Situmina Rathnamalala• Udeni Alwis
• Hemantha Prasad• Weerasingha Jayasundara
• Sudesh Mantilaka• Lohan Gunaweera
• Chamika Hathlawathta• S. Dayalan
• Nadeeka Tharangani• Tiwanka Ranasingha
• Hasindu Randil Abeywickrema• Lakmal Watuyaya
FESTIVAL WORKING COMMITTIES
Reception
Hemantha Prasad
Jonathan Ellison /Dulaj Jansz
Lakmal Wathuyaya /Ruwan Jayakody
Thiwanka Ranasingha / Hasindu Randil /
Manoj Priyadharshan / Aruna Priyantha /
Ilmi Hassim/ Shashima
Publicity (Pub/Booklet /Design)
M.Safeer
W.Jayasundara
Shamika Dilshan
Workshop
Lohan Gunaweera
Sudesh Manthilaka
Technical
S.Dayalan
Nadeeka Tharangani
P.G.Priyadharshan
Box Office
Warren de Hoedt
Secretariat
Jayalath S. Gomes
S.Dayalan (Asst.)
Photo & Video
Udeni Alwis
Naween Marasinghe
FESTIVAL ADVISERS MESSAGE...
M.SAFEER
FESTIVAL DIRECTOR'S MESSAGE...
To have an international theatre festival in my country was
a dream I had as a dramatist. I initiated this extremely difficult task of
organizing an international festival, an experience denied to all theatre lovers
of Sri Lanka for a long time. Only then I realised that it is not a simple or a
comfortable task.
The organizing was done under tremendous pressure for almost
two years with the expectation that I will be supported by others. But
organizations and people shied away for some unknown reason. I used to
take risk throughout my life and I took this as a challenge which should be
made a reality some how. I went after organizations and people over and
over again since I believed that it was a worthy cause. The letters written
would have exceeded thousand, the places to which I went over hundred,
but the results were in decimals.
Any way I have come very close to a gigantic dream which is to
become real, the 1st ever Colombo International Theatre Festival. Finally
some organizations, (not all) came forward with the honest intention to
help me out and with their help the CITF takes shape on the 26th of March
2012.
This is not the actual dream I had, but it is a part. Still I am proud of
the achievement. The sacrifices made to reach even this far are enormous,
and it was not a cake walk.
I strongly believe that one must take risks to make changes to the
existing systems in a country. I am proud to have sacrificed, and still
sacrificing, the best things in my life to become a “sweet vagabond” to
achieve results for over 2 decades. I was able to makea dream come true
what all dramatists in Sri Lanka dreamt for a very long time. Believe me, It
was not a easy or a pleasant task at all.
I am proud about the young team members who backed me even
without proper meals or accommodation throughout this whole endeavour.
The organizations and prestigious people who assisted me from
the start should also be remembered. They were behind me and encouraged
me to make this event a success. This CITF opens today due to their efforts
too.
I feel that as a Sri Lankan I have contributed something for the
betterment of the local theatre. This may not be the best festival, but I
assure you the next year will be much better than this one.
Organizing this festival has taught me how to be patient and how to face
challenges. Yes, it is an achievement to be proud of.
M.Safeer
Festival Director
FESTIVAL SECRETARY'S MESSAGE...
As a HR Manager and a Charted Textile Technologist, I was enjoying
my retirement doing odd jobs like translating documents, to past my time,
when I was asked to translate some German drama scripts by the Inter Act
Art. This was a challenge, as I was purely a guy interested in technical sub-
jects. Art and theatre were fields unknown to me. But when those scripts
turned out as productions I was happy to be a part of it. Then I was asked to
join in organizing the Colombo International Theatre Festival.
An international event is a forum where experts of a particular field
will meet face to face to discuss and to share experience. The objective of
this CITF is to build a bridge between the local and the international cre-
ators of theatre. It will be a great opportunity for the delegates and the
participants to understand the difference, learn, respect and accept the
diversities of various cultures. It is also an opportunity to learn and gain
experience of the latest trends, methodologies and usage of advanced tech-
nology in the theatre arena.
Now I understand the weight and the risks involved in organizing
an international event. I had my doubts whether we will be able to do such
a massive event. The number of letters we wrote to various institutions and
organization requesting for assistance would have exceeded thousand. (They
might regret - may be next year) Even while I am writing this message I still
feel very insecure as we still don’t have a single sponsor to assist us finan-
cially.
But one thing is true. The festival is on B’cos of the courage and
encouragement the festival director gave the committee throughout the
organizing work, and his effort not to let down the other’s commitments, is
what made this event a reality today.
Its a pleasure and a real experience to work with M.Safeer, as he
refuses to gives up.
I wish to thank all the teams for the trust they kept on us and
their corporation throught.
THANK YOU VERY MUCH - ALL THE BEST - AND ENJOY SRI
LANKAN HOSPITALITY.
Jayalath S.Gomes (CText ATI)
World Heritage and Wonder of the World
Theatre is truly a living tradition— all over the
world. The performing arts have been part of cultural
life for thousands of years. The act of watching theatre
is itself an art, which must be learned. Listening must
be practiced in order to begin to understand. Theatre
for young audiences has something to show,
something to say, something to communicate:
impressions and expressions, attitudes and actions,
experiences and insights. Onstage, stories may be told,
but their images and meanings can arise only when
an audience is there to perceive them. This is a
mystery! For this reason, theatre is not simply a world
heritage; it ought to be recognised as the ninth wonder
of the world. And actors, playwrights, directors,
musicians, dramaturges, educators, technicians,
costume and set designers continue to cherish all of
these wonders for the next generation. It must it
become possible for all children and young people to
partake in this legacy. Therefore, I address the
Colombo International Theater Festival 2012 in the
hope that politics, civil society, and global markets and
local businesses will give special attention to theatre
for young audiences; that they will enable it to
guarantee that every child in every kindergarten, and
every schoolchild in every school year, may go to the
theatre at least twice. For play-acting can only become
a true play when an audience is there to play along.
Wolfgang Schneider
Honorary President of the International
Association of Theatre for Children and Young
People, Chairman of ASSITEJ Germany, Professor
for Cultural Policy at the University of Hildesheim
In theatre we come together and together we
celebrate...
Creative, Truthful, Spontaneous, Energetic, Vibrant, Playful,
Joyous, Naughty, Innocent… these are some of the usual terms that
come to one’s mind while talking about children. You would agree
that these are the traits we would all love to imbibe in ourselves.
Strangely enough, we all have it in ourselves when we start the circle
of life, but as we grow older by the years, we tend to forget all these
characteristics. We begin doubting all the things and people around
us, we don’t react to our instincts any longer and rather get involved
in deep analysis of the situation – WHY? Because we have lost the
CHILD IN US.
Theatre is rightly considered as the mother of all art forms –
it is an amalgamation of various art forms – from music to dance to
visual arts and many others. It connects with people and brings them
together and encourages them to collaborate. I am reminded of my
teacher who once said “In theatre we come together and together
we celebrate”. So to me theatre is actually a celebration of life!
Now just imagine, putting the two together - the energy,
creativity and innocence of childhood married with the magic of
theatre – imagine the kind of celebration we can generate. Colombo’s
International Festival of Theatre for Children is expected to bring these
energies together. This is not only for the children by age but also to
children at heart. I am looking forward to this festival to provide a
platform to increase the regional exchange through theatre for
children in South Asia amongst artists. I wish all the organizers good
luck and hope that the festival is a huge success. Let us all relive the
CHILD IN US!
Imran Khan
Storyteller, Actor, Director. Executive committee member
ASSITEJ
Secretary General, Assitej India
26th March (Germany)
changeABLE cohesion
Director -
Gerda König and Gustavo Fijalkow
DIN A 13 Tanzcompany
Six dancers, two women and
four men. three with and three without
physical disabilities: Six people born into
a time in which daily grind can lead
through hidden corners into unpredictable
ends, in which familiar structures can turn
threatening and danger a thrill.
Unspoken beauty reveals itself
when certitudes are turned upside down
and the fragility of existance becomes
evident.
The DIN A 13 tanzcompany, one
of the few mixed-abled dance companies
worldwide, starts its new project,
changeABLE cohesion, in Sri Lanka.
After a production process of eight weeks,
changeABLE cohesion will be
premiered at the Colombo International
Theatre Festival.
changeABLE cohesion II & III will
take place in Venezuela and Libanon and
all three productions will be part of a final
performed installation in Germany in
2014.
with the kind support of:Goethe-Institut Sri Lanka, Ministry of Family,
Children, Culture and Sport of the State of
North Rhine- Westphalia, NRW
Kultursekretariat Wuppertal, Schmitz
Foundation, Department of Culture of the City
of Cologne, Kämpgen Foundation and Sunethra
Bandaranaike Trust.
Choreography: Gerda König
Assistance Choreography:
Marc Stuhlmann
Dancers: Suranga Bopitiya,
Venuri Perera,
Saman Pushpakumara
Nadeeka Tharangani,
Mahesh Umagiliya,
Thusitha Wimalasuriya,
Music: Harsha MakalandeVideo: Vishnu VasuProduction Direction:
Gustavo Fijalkow.
Based on the Concept Upheaval byGerda König and Gustavo Fijalkow
© photography: Gustavo Fijalkowgraphics: schragola.design
ABOUT THE THEATRE GROUP:
DIN A 13 tanzcompany is world wide
one of the few dance companies working
artistically with dancers with different physicalities.
Funded by Gerda König 1995 in Cologne /
Germany, it has ever since added new aesthetic
categories to the world of modern dance and
dance theatre, challenging current visual habits in
the world of contemporary dance. Supposed
barriers between physical impairment and dance
performance melt into a language of poetic
imagery, asking provocative questions and calling
on an artistic dialogue.
In 2005 Gustavo Fijalkow took over the
company’s production direction.
Since then, König and Fijalkow have
worked together towards developing both
international co-productions and networking. In
this course, the company has created dance
productions with local and international artists in
countries as different as Brazil, Ethiopia, Ghana,
Kenya, Senegal, South Africa and Sri Lanka (now
in production), always in close partnership with the
Goethe-Institut (the German Cultural Institute)
and has been invited over the past years to
numerous national an international dance festivals
in the USA, UK, Sweden, Poland, Brazil and South
Africa.
At the same time, DIN A 13 stages the
first German platform for mixed-abled dance: the
biannual Crossings Dance Festival, into which it
invites mixed-abled dance companies and visual
artists from all over the world.
changeABLE cohesion, the
company’s new project, is an international dance
theatre project comprehending three countries -
four if we consider Germany - and to be carried
out in three years. The project, starting in Sri Lanka,
will be pursued in Lebanon, Venezuela and
Germany.
Upheaval has the aim to work with
dancers living in societies, which have gone
through profound social changes and reflect the
impact these changes have had on their lives.
Invited to work in Sri Lanka by the
Goethe-Insitut Colombo, DIN A 13 tanzcompany
is proud to present its work opening the
International Theatre Festival of Colombo InterACT
Arts.
27th March (Iran)
The old man and the sea -
Director - Zahrasadat Aziminia
Iran’s Sayeh Theatre Group
Cast
Zahrasadat Aziminia
Director,Set, Costume and puppet
Designer
Afsaneh Ayani/ puppeteer
Nazanin Sadraei/ puppeteer
Roodabeh Hosseinnejad Kashani:
puppeteers and illustrator
Bahar Sadafi: puppeteer
Saeed Shokrnia/
lighting design, set assistant and
photographer
ABOUT THE PLAY.......The Old Man and the Sea tells the
story of Santiago, an aging Cuban
fisherman, who alone in his small boat
faces the most difficult fight of his life
against an enormous marlin. At the
beginning of the short novel, Santiago
has lost his fisherman’s luck; he has
gone eighty four days without catching
a marketable fish. Even his closest
friend, a village boy he taught to fish,
has left him to work on another boat.
The local fishermen make fun of
Santiago or feel sorry for him, but he
himself remains hopeful and
undefeated. Every day he rises early,
prepares his skiff, and rows…
ABOUT THE THEATRE GROUP:Iran’s Sayeh Theatre
group is a young and experimentaltheater group that wasestablished in 2001.
All the members of thisgroup are well-educated abouttheater . They are gathered herefrom different cultures of differentareas in Iran. By having variouscultural backgrounds that eachmember of the group has and bystudying their own home towncustoms and interacting withother members of the group in thisregard , they have attempted tofigure out what they have incommon with each other fromdifferent Iranian folks and theyhave followed new ways ofperformance in theater andcommunicating with othercountries’ cultures. By doing sothey have come up with someplays and have performed themin international and domesticfestivals.
27th March
Passengers (Sri Lanka)
Director: Ronika Chamali /
S.Leelawathi
Janakaraliya - Theater of the People
THE PLAY
A blind and a lame man journey
together – with the latter sitting on
the former ’s shoulders- to a
mansion where a beautiful princess,
believed to be asleep for a hundred
years is about to awaken, All who
she looks upon will be freed from
their miseries.
Walking towards a common goal as
one body they suffer from
differences, which make the
journey difficult. They cannot use
their combined strength wisely due
to their suspicions of each other.
Jealousy, distrust and treachery
overwhelm them as both try to
mislead each other. Finally, even
though they reach their destination,
the journey ends on a tragic note
as the psychological injuries they
inflict on each other and suffer
themselves, take a toll and
culminate in sorrow.
THE GROUP
Janakaraliya is a mobile cultural
organization that uses a mobile
theatre and travels in Sri Lanka. It
uses drama and theatre as tools for
social harmony and tries to
contribute to human development
starting at the grassroots level.
Consisting of Sinhala, Tamil and
Muslim youth and surmounting the
obstacles and barriers confronted
during the past, Janakaraliya has
become a symbol of multi – ethnic
collaboration for Sri Lankan society.
It has succeeded in creating a
common and shared performance
space where it performs plays in both
Tamil and Sinhalese, thereby
breaking the language and cultural
barriers between members of both
communities, which makes it
revolutionary in nature.
Based on these
characteristics. Jankaraliya has
emerged as a unique and
contemporary theatre organization
in Sri Lanka.
THE PLAYWRIGHT
Dr. Dharmasena Pathiraja as an
accomplished and reputed Sri Lankan film
director and script writer. He is recognized
as a artistic film director and has
produced films like Ahas Gawwa, Para
Dige, Soldadu Unnahe, Bambaru Ewith in
Sinhala and Ponmani’ in Tamil, that were
received national and international
accaim. The tele-dramas produced by
him, Ella Langa Walawwa and Kadulla
gained immense popularity and won a
number of national level awards. Dr.
Pathiraja is currently a professor at the
Sri Pali campus of the University of
Kelaniya, Sri Lanka.
DIRECTORS NOTEThis drama attempts to represent the
expectations, dreams and aspirations of
all people in this world, through the
characters symbolically, It also tries to
portray the inherent characteristics of
millions of human beings through the
same characters. The script of the play
aims to creatively reveal contradictory
behavior patterns and hidden habits. The
process of making this play was an
exceptional one, full of challenges,
because of the deep subtext that we were
trying to present before the audience,
and witch was woven into the script.
Payanihal was produced for Jankaraliya
in accordance with its policy of producing
Sinhala plays by Sinhala producers in
Tamil, and Tamil plays by Tamil producers
in Sinhala. This policy is based on the
groups aim to promote inter communal
understanding and cultural inclusiveness
among communities.
CAST & CREDITSPerfumers
Thiyagaraja Sivanesan,
Rasaiah Lohanandan
Stage Manager Inoka Lankapura
Lighting Technician M. Ajanthan
Shanathakumar
Make-up Palitha Abelal
Costume Design Inoka Lankapura
Executive Director
Parakrama Niriella
Translator - Rasaiah Lohanandan
Playwright
Dr. Dharamasena Pathiraja
THE DIRETORSBoth Ronika Chamalee and Selvaraj
Leelawathie were born in Sri Lanka, the
former into a Sinhala Family, and the latter
into a Tamil one. Both of them have acted
in school dramas and won awards for their
talents. Neither of the two knew how to
speak or write the other’s language when
they joined Janakaraliya in 2004.
However,while living under one roof and
participating in theatre exercises drama
rehearsals and drama performance, they
learnt each others’ languages and now
works in both languages with equal
competence and creativity. They have
travelled throughout the country with the
group. At the National Youth Drama
Festival and the State Drama Festival in
2009 and 2010 respectively, Ms. Chamalee
was awarded Best Actress and Best
Supporting Actress while Ms.Leelawathie
secured awards for Best Make –up and
Best Stage Management.
28th March
SITOBO LALANG LIPA (Indonesia)
Director - Muh. Saeful
UKM SENI dan BUDAYA TALAS
The story is about the
noblest principal called Siri ’Na
Pacce1, symbolizing the life of Bugis
and Makassar tribes of South
Sulawesi Province, Indonesia. The
people living amongst the highest
rank in the tribes called Karaeng. One
of the most sacred and preserved
traditions in Bugis and Makassar
tribes is matchmaking. As an
example, a woman who is a
descendant of a Karaeng family can
only marry a man from another
Karaeng family.
Andi Basse Salama Karaeng
Rewa is a young woman of the
Karaeng Rewa descent. Her parents
are highly respected in her village and
still uphold the traditions inherited
from the previous generations of the
family. However, Andi Basse Salama
Karaeng Rewa then violated the Siri’.
She fell in love with a man named
Daeng Kulle, who is not a descendant
of Karaeng. The romance then
brought a disaster into the family of
Karaeng Rewa, since the couple
prefers the wrong way that in the
tribe’s custom called Silariang or
elopement2.
Cast
MUHAMMAD ARIEF RIZANDHI
MUHAMMAD SAEFUL
WILDHAN BURHANUDDIN
DARMAWAN
ZULKIFLI
HASNI
RAY ARYANSYAH
AYU FATMALA
AZHAR
DWI AYUDIAH RAHAYU YOEDIANTO
HILDAWATI
MUSTAWAF ANSAR
RUSLAN
ISMAIL
MUSTAQIM MUSMA
IQBAL HAMZAH
ABOUT THE THEATRE GROUP:TALAS makassar theater was established on 8 September 1999
on the campus of University of Muhammadiyah Makassar. It’s located in
Makassar of South Sulawesi Indonesia. TALAS’ name was taken from a
location on the campus of University of Muhammadiyah Makassar
Talasalapang Road, is the name of the nine trees talasalapang
(Makassarise) palm tree which is still standing strong with the growth of
a hundred years old, and if interpreted in Makassar TALAS (talasa ) means
Life. TALAS Theatre is the forerunner of the formation of the art institute
campus on 29 September 2000 which is now called the Unit of Student
Activities Arts and Culture TALAS University of Muhammadiyah Makassar
pioneered by Muh. Tahir M, S.Pd, Muh. Zia Ul Haq, S. Pd and Faidul Aziem,
SE. TALAS consists of seven areas of work of art, including theater,
literature, dance, music and voice, film, photography, and fine & design.
Since its establishment, TALAS Arts & Culture proactive towards
organizing various activities such as art regeneration through recruitment
of new members in the form of Arts Workshop [basic training in the arts],
research and development of human resources areas of art. In addition
to these activities, is now a lab or space TALAS faculty adviser apprecia-
tion courses and assessment of both poetry and literature of Indonesian
literature and language and literature both in the scope of internal of the
University and external of the campus. In addition to the above routine,
TALAS is proactive coaching and mentoring activities of theater groups in
the area-many students in South Sulawesi province. TALAS in addition to
having the function of education also has a social function such as inde-
pendence efforts for the development of well-being of members of both
active and retired alumni to develop a civil society-based entrepreneur-
ship, landscape, advertising, gardening, and other business that contrib-
utes social nature. TALAS is eleven years old now. At the age of TALAS
that has grown up more mature in the work as evidenced by some of the
achievements of both local and national. Cultural Arts TALAS continue to
improve itself in order to introduce the Arts & Culture of South Sulawesi
in Indonesia, especially in the international level.
“Art and Culture is like water flowing grow to fill any vacuum at
all times in a principled determination” is the motto of this sentence
TALAS and also the spirit of its members to continue to work hard to
preserve the art and culture of Indonesia.
29th March
CHHUTTI (Story-telling theatre)
Director: Dr. Ashish Ghosh
ANANT Theatre Group
Synopsis
Life is a story, and stories are told
in so many different ways. CHHUTTI is a
delightful retelling of four stories in
theatrical format. The stories have come
from tribal, folk, and literary sources.
A greedy merchant with many
tales in his belly; but refuses to tell them.
The stories push their way out through
whatever outlet they can find. The servant
accompanying the merchant listens to them
and help spread the stories among people.
Condition is – you can’t keep the
stories to yourself. Listen to their tales; and
spread them as far and wide as you can.
For their release and yours. CHHUTTI !!!
Behind the stage
Script Evolved in ANANT Workshop &
written by
Maneesh Manoja
Puppets
Anurupa Roy
Shahla Hashmi Garewal
Paintings -Joyoti Roy
Light - Imran Khan
Sound recording - Hassan Siddiqui
Sound Execution -Smriti Sharma
Music & Direction -Ashish Ghosh
Light- Imran Khan
On stage
Puppetiers Roopak Chauhan &
Choiti Ghosh
Story one: Ruma Ghosh
Story two: Animesh Guha
Story three: Ashish Ghosh, Smriti
Sharma, Utkarsh Chauhan
About ANANTANANT was initiated in 1989 by Dr. Ashish
Ghosh - writer, director, singer, actor,
teacher and a well-known name in
children’s theatre. Registered as An
Association for Nascent Art and Natural
Theatre, the group committed itself to
creating in children’s theatre a space
for wide and rich exposure, capacity
enhancement, self learning &
realization, and a platform for self
expression.
The children’s repertory produced
many acclaimed plays over the years-
Raja Ki Khoj, Gadbadjhala, Kisse,
Chhutti, Daon Pench, Khel Khel Mein,
Nanha Nakalchi, Gopi Gaaiya Bagha
Bajaiya, Liyaram Diyaram,- all
productions unique in their simplicity of
presentation, elements of fun and
spontaneity, and with deep anchoring
in cultural traditions of India. In doingso, ANANT has created a niche for itself
in the world of children’s theatre.
From the beginning ANANT has been
conscious of the need to include within
this space the disadvantaged –
mentally, physically, economically &
socially; for raising issues of their
concern and for creatively responding
to their reality. A major section of our
work is in this sphere.
In 2004, ANANT became a founder
member of ASSITEJ-India affiliated to
ASSITEJ International, a global
organization on theatre for young
audience.
Dr. Ashish Ghosh
Actor, director, singer and a
leading children’s theatre activist. The
plays directed by him have been
acclaimed as trend setters. He has
worked with many institutions of
repute—Sahitya Kala Parishad,
National Bal Bhavan, NCERT, CCRT,
Sahmat, NTPC, DPEP, etc.
A teacher of Political science
to undergraduate and post-graduate
students, and drama in relation to
education to B. El. Ed. students, all in
Delhi university, Ashish also has
conducted workshops, training
sessions and orientation courses all
over India and abroad.
He is the founder-President of
ANANT (Association for Nascent Art
and Natural Theatre), a group
essentially formed by his students who
joined his drama workshops as
children and had grown to be
dedicated theatre persons.
He was the convener of the
1st National Conference on “Theatre for
Young Audience, attended by over 150
delegates from all over India and
abroad in India International Centre
from 4-6 August, 2011.
30st March (Australia)
Talk is small: a play with Scrabble
Director - Brendan O’Connell
by Big One Little One
Synopsis: Talk is small: a play with Scrabble
is a new audio-theatre work which can be
performed by anyone. Audience members
take a friend to a designated café, sit down
either side of a Scrabble board and put on
headphones. Each set of headphones
transforms the listener into a character,
revealing their disjointed relationship
sparked by a recent tragedy they share. The
characters’ inner voices tell them what
words to play on the board, how to interact
with the other player, and the hidden fears
and doubts eating away at their
subconscious, as they manipulate each other
into revealing information. Whoever gets a
triple word score will no doubt win more
than just the game.
‘She’ is feeling weak and confused.
She doesn’t remember the Scrabble game
starting or remember coming to the café.
She’s not even entirely sure who the man in
her company is. As she places more and
more tiles, small memories come back to
her. She was standing at a postbox at a
junction near her house. Something
happened here, but she’s not sure what. The
man is asking her what she knows, over and
over again. A recipe for a cake is rattling
around in her mind.
‘He’ is fed up. He just wants
answers and then they can part ways. But
she won’t co-operate. She is acting strangely.
The Scrabble game should be calming her
down, but it isn’t. He is starting to feel guilty
for how he has treated her. He is aware that
people are staring at him. There is nothing
normal about this scene. Why won’t she just
tell him what she knows?!
She’s remembering something.
The shopping list. The cake recipe. There was
supposed to be a party but… Back to the
postbox at the junction. It began to rain. It
stormed. Everybody ran for cover but she…
he… She was pushed into a dark car and
blacked out.
He decides if she wins the game,
he will let her go. She doesn’t seem to have
a chance. But she is remembering what
happened to her – he is holding her hostage
in this public space, pretending they are
normal.
He thinks he has the game won,
but, with the word ESCAPES, she has a triple
word score. She grabs the handcuffs on the
table and cuffs him to his seat. Game over.
Cast and Crew:
Penelope Kentish (writer),
Brendan O'Connell (director),
Sarah Coffee (sound designer).
Director’s Note: Talk is small: a play
with Scrabble marks an important point
in my career, as it represents a turning
point in the type of work I make – I have
found that over the past three years, I
have become more and more
stimulated by work that defies
expectations through the degradation
of the traditional spectator/performer
relationship. The work has no audience
and no actors – rather it situates the
spectator as the primary realiser of the
work, and enables each participant to
utilise their own creative skills to bring
to life the character they are playing.
I commissioned Penelope to
write this play in 2010, when she was
engaged as a participant in Tantrum
Theatre’s Emerging Writers Program
while I was Artistic Director. Her brief
was to make an audio theatre work for
two participants as performers – no
other instructions were given. I was
surprised and excited when I first read
the work that she had produced. It was
an intriguing and playful text that offered
opportunities for the audience to
literally immerse themselves in the world
of the piece. Above all, it was unique,
surprising and completely memorable. I
couldn’t not bring it to life.
About Big One Little One:As we wrote our biographies some
months ago, details have been changed, so I
provide for you updated versions:
Brendan O’Connell and Penelope
Kentish are Big One Little One, an emerging
Melbourne-based live art collective. Their most
recent live art works include: 'Blind Date', a one-
on-one performance in which participants are
blindfolded and led on a sensory journey
throughout a city’s CBD; 'Talk is small: a play with
Scrabble', an audio theatre experience for two
people in which they play a game of Scrabble while
being instructed to say and do things by a voice in
the headphones they are wearing; 'Eyes Wild
Open' and 'Crowds Above You', two instructional
audio theatre experiences for one audience
member (the former premiered at Harvest Festival
2011 and Southbound 2012; the latter at St Kilda
Festival 2012); and 'Sunny you should say that...',
an intervention of Newcastle’s ClimateCam
electronic bi llboard, in collaboration with
Newcastle L!vesites and the City of Newcastle
(premieres mid-2012). Big One Little One will
travel to Kenya in July 2012 to undertake a month-
long residency at Lake
Victoria Arts Centre, where they will
develop a new large-scale participatory audio
theatre work.
Penelope Kentish is a playwright and theatre
maker. Her first play, 'We Suck Young Blood', was
produced in 2008 by CYCLE Productions in
Bathurst, NSW. She has written three plays for
Newcastle, NSW based youth arts organisation
Tantrum Theatre, 'The Women of Doom' (2009
with the company’s Junior Ensemble), 'Talk is
small: a play with Scrabble' (2010, which
earned her a CONDA nomination for Best New
Play) and 'Diving into boxes with great
abandon', a Choose-Your-Own-Adventure play
which premiered at the Theatre With Guts
Festival in 2011. With Big One Little One she
has written 'Eyes Wild Open' (Harvest Festival,
2011, Southbound Festival, 2012), 'Crowds
Above You' (St Kilda Festival, 2012) and 'Talk is
small: a play with Scrabble' (Colombo
International Theatre Festival, 2012). She
recently undertook a two week residency with
Canberra Youth Theatre for a development of
new work 'I might just take you on the
AstroTurf'.
Brendan O’Connell is a theatre
maker, producer and arts worker who is
currently Acting Associate Producer at
Adelaide Fringe. He was most recently
employed as Artistic Director of Tantrum
Theatre, a youth arts organisation in
Newcastle. His past work as an artist spans site
responsive, immersive and contemporary
drama, often blending in unexpected ways. He
is especially drawn to the experience of
performer and spectator working together to
co-create work within performative
encounters. Brendan is focused on creating live
art experiences and working alongside
emerging artists on the development of genre-
defying art. Prior to working at Tantrum,
Brendan worked freelance as a director and
assistant director (including Sydney Theatre
Company), and was Artistic Director of The
Keyhole Project, an artist co-operative founded
to present dynamic new Australian work. He
is currently undertaking a Master of Arts and
Cultural Management through the University
of Melbourne. Brendan, a directing graduate
of the prestigious Victorian College of the Arts,
is the winner of two City of Newcastle Drama
Awards. Brendan most recently directed the
creative development of Michele Lee’s audio
work Talon Salon, as part of Next Wave's
KickStart program.
30th March (Sri Lanka)
Elfi - Director: S.Dayalan
Inter Act Art Black Box Theater
Girl – Niranjani Shanmugaraja
Boy1 – R.Vasanthan
Boy2 – R.Nesaraj
Magic man – Ilmy Hassim
business Women- Jenifa Fernando
Zoo officer - Ilmy Hassim
Princes - Jenifa Fernando
Stage manager – Thivanka
Ranasinghe
Ass Chamal Virantha
Hasindu Randir
Manooj Priyadharshana
Lalindra dissanayake
Aruna Shantha
Aruna Priyantha
Lighting Designing - M.Safeer
Set Designing - M.Safeer
Costume – Nadeeka Tharangani
Adaptation –S. Dayalan
Directed - S. Dayalan
Presented By – Inter Act Art
Black Box Theater
Tel - +94 773 129 749
Email - [email protected]
web -
www.interactart.wordpress.com
This is an experimental drama
which takes the child’s mind beyond
normal dimensions of a story. The
speciality is the use of modern
technology to create the feelings and
behaviours of a child mindset.
The story is of three children
who finds and looses a white elephant
who talks. It tries to depict the social
factors that changes the inner feelings
of the chidren. It also tries to explain
how the decisions taken by adults
affects the childs world of thoughts.
This is an experiment which
uses modern technology. We feel that
drama based on dialogues is a
hindrance to go international. We
think that we have overcome that
difficulty to some extent. Also, by
producing the same drama in both
major languages helps the audience to
enjoy the drama.We have done that.
In the same festival, same team have
produced and performed the same
drama in both languages. Our
ambition is to change he thatrea art
for the betterment of it, and we feel
we have contributed towards our goal
to a certain extent.
What is IAA?
Inter Act Art is a cultural organization registered with the
Ministry of Cultuaral Affairs of Government of Sri Lanka. The country “with
its long history has been an important convention point for world’s arts
and cultural affairs, both oriental and occidental society”
IAA which was inaugurated in 1990 has completed many
activities for the last two decades. Basically, IAA is involved in theatre and
Performing art. Also, IAA is a multi ethnic, multi language and a multi
religious group. It’s decision making activities are conducted by a committee
comprising of Sinhala, Tamil and Muslim representatives.
By identifying and studying the modern trends of the theatre
art we have achieved a lot. We have being the pioneers to introduce Black
Box Theatre to Sri Lanka, as a different dimension to Sri Lankan theatre,
located in Sri Jayawardenapura, capital of Sri Lanka. (Theatre includes a
Library and an Academy). We have trained young creators, school teachers
and university students island wide in modern trends and techniques, as
our main objective. We have a publication section which deals with thatre
art. Few books published by our organization have been prescribes as
reading materiel for A’ Level students who are following performing art as
a subject, by the national institute of education. We have also given the
opportunity for young people with creative idealogies to work part time to
fulfill their objectives by providing basic facilities. Most of their creations
have won awards at the national level.
We are having the first Black Box Theatre in Sri Lanka and the
second in South East Asia. We have held two alternative national level
theatre festivals namely.
a) Sri Lankan theatre festival
b) Black Box short play festival
which are annual events at present.
We are doing all this with much interest and commitment for a
better theatre in Sri Lanka. Even though we get some help from certain
institutions we feel we are marching alone to achieve our objectives.
Even though we are a small organization we have built a
considerable relationship with the international institutions too.
Welcome,
one of the life’s universal truth
is that it is the perceptions of common
man that shape the future. Pakistani
common men are no exception and
their views,beliefs and values have
unfortunately taken a severe battering
in the past year. Our this theatre
therefore, has a deeper meaning and
relevance this time around. This
year,through our theatre plays, we are
bringing a message of hope to common
man and the wonderful response we
have had from you in our previous
performances all proves that despite the
politics of hate and division among
Pakistani society, issues of security &
economic crunch damages,common
man still possess a fighting spirit and
enduring love for Peace & harmony.
We are proud to say that with
the help and hard work of you,me a
common man, we continue year after
year to create an awareness through
theatre among nation about our social
issues and this colorful event will be a
positive addition in this campaign.
Finally i’d like to welcome you
once again on this exciting journey with
us to the wonderful and spellbinding
sphere of the theatre & for you to open
your hearts and minds to the talent of
Pakistan.
See you There.
Aamir Nawaz
President & Director
Maas Foundation
31th March -(Pakistan)
Akhiyan Walio (people with eyes) -
Director: Aamir Nawaz
Maas Foundation-Pakistan
Synopsis of the Play“ Akhiyan W alio” is the story
of three blind people fromdifferent communities of life. Theyare trying to remove a stone in thepathway. Writer symbolize thisstone with the hurdles of life. Asthey are trying to remove thesehurdles they are facing a bigproblem, non corporation from thepeople with eyes. Althoughnormal people are disturbed bythis stone and they get hurt butthey never try to remove itseriously. Infect every one try tomake it a big issue and try to playpolitics on it.
At the end of the day threeblind people decide to remove thisstone themselves.
MAAS FOUNDATION
Maas Foundation is a theatrical
organization based at Lahore from 2002.
Maas Foundation is entered into a new
phase by establishing it self in few days of
its birth. It has always been its endeavor to
try and to do something, which leads into
experimentation and to break away from the
given and explore possibilities where a
common man can be involved into the kind
of theatre which generates interest and
ultimately the young bold and common
people take the initiative to develop serious
and meaningful theatre.
It’s a great achievement of Maas
Foundation that it has been successful in
generating interest of youth and specially
the students from different institutions to
perform in Maas Foundation’s plays.
In this context we experiment and
explore all form of theatre may it be folk,
regional or contemporary because theatre
for Maas Fundation is a very strong medium
for social change and learning from
experiences is a vital part of it.
The purpose behind Maas
Foundation has always been to bring
awareness in different communities of
society about their rights. It also bring
people from different socio economic back
ground to create a movement and make
them work as one team by providing them
an opportunity to explore their potentials
and giving them a direction.
Maas Foundation had performed
nationally and internationally number of
time. Maas Foundation had performed at
India and South Korea.
Also Maas Foundation had honor
that its play was selected as best play in
world performing arts festival 2008 at
Lahore.
Maas Foundation had performed
in front of President of Pakistan and also
Governor Punjab number of times.
Language - Punjabi
Duration : 70 Min
playwright : William Perviaz
Director: Aamir Nawaz
Group: Maas Foundation-Pakistan
Cast
Aamir Nawaz s/o Muhammad Nawaz
( Director & Actor)
Muhammad Abid Hussain s/o Abdul
Hameed ( Actor)
Muhammad Rashid Gull s/o Shafat
Ahmad (Actor)
Maas Foundation
(9/A-3 Ahmad Block
New Garden Town Lahore Pakistan)
Ph:+924235862454, +923334260831
01st April (India - Pune)
Dangalnama
Director: Pro. Vidyanidhee Vanarase
FLAME School of Preforming Arts
About DangalnamaIndia has been going through a lot
of internal turmoil since 1984. It was the timewhen the then Prime Minister Indira Gandhiwas assassinated at her residence. Thisinitiated a lot of political rivalary between theSikhs and Hindus. This was the first majorinternal instance that evoked riots in Indiaafter the partition in 1947. The politicalpowers realized that religion can becometrump card in the power politics within thecountry. Divide and Rule became the policyfor the parties and it was executed verysubtly at the initially and directly at a laterstage. This followed the riots in 1989 arisingout of the Mandal Commission Reportregarding the reservation policy in India, Fallof Babri Masjid in 1992, Bomb Blasts inMumbai in 1993, occasional terrorist attacksin different parts of the country, Attack onAkshardham Temple, the Godhra episodeand the Mumbai terrorist attack.
During all these years, commonIndian people have suffered to the hilt. Thissufferance is expressed by many artists,poets, journalists, etc through various artisticmediums.
DANGALNAMA is a productionthat investigates this sufferance of commonpeople in India. It documents various eventsfrom different perspectives, looks at thecomplex secular structure India wishes tofollow, the undercurrents within the religions,the cast system in India and creates anexpression which would go beyond theboundaries of cast, religion, even the countryand would try to look at the humanity as thepoint of focus. The production is an outcomeof the collaborative process amongst peoplefrom various walks of life such as journalists,photographers, poets, writers, dancers andtheatre actors who came together to createan artistic expression about how they feelabout the last three decades.
Director s NoteLocal to Global and V ice VersaWhy do I do theatre?What is the meaning of the entire effort oftheatre making?What would happen if I don t do theatre?
Practicing theatre professionalfaces such fundamental questions many atime. And every time the answer is new. Asone tries to get answers, the broader questionarises: What is the function of art? Is itentertainment? Is it religion? Is it a need tocommunicate? Or is it something else?
In the light of these questions whenI think of any international festival, I find thatthese questions are expanding their scale andthere is a great scope for developing newperspectives!
When it comes to representing theculture and communicate across the cultures,some formulations are identified as hallmarksof a given culture. In the process, one needsto take cognizance of the variations within theculture and create a room for the awarenessof alternatives. The global connection wouldbe established when the local truth iseffectively expressed and communicated.
Since 1984, India has seen achange in the mindset of people who makeimages, particularly the political ones. Therhetoric has changed, the orientation haschanged, and so have the destination and thedirection. Whether it was the Sikhs becausea sikh security guard assassinated our Primeminister, or Muslims because the terroristattacks were perpetrated by the Islamicorganizations or the Christians because theywere always under the cloud of suspicionbecause they believed and worked forconversions to Christianity or Dalits becausethey sought equal rights and showed the willto climb up the social and economic ladder,the wave of hatred surged and warped thetolerant, integrative accommodative fiber ofIndian cultural ethos. And still, the resistanceto hatred in plurals persists. The value andthe everyday action have to see each otherface to face and a new search has begun, notwith the big brothers of the community but withthe meek common people. Shall the Meek
inherit the great culture? They have created it,sustained it, and lived it. A strong commitmentto humanitarian credo was the goodness theyinherited and they believed in the good beingthe True and the Beautiful too. They hadlearned to see and accept differences withouthaving to win over and/or annihilate theopponent. The common man was willing tofollow the saint when they saw one, and yetthe new drive for hating in plurals - wiping allshades and differences engulfed them.
In India, every sensitive person fromwhatever walk of life has sensed it, haswondered and suffered the loss of the strengthof the Tolerant Culture. This production willbring the experience and the argument toperformance, seeking to pave a path to worldcitizenship, a path to locally rooted and globallysupported identities so that we can find waysof getting along even when we differ sharply.
The search begins with the question:Do we believe that it is right and good to hatesomething? Some group? For reasons beyondtheir control? It will trace a process ofconfession where one has preferred to hateand then look at the consequences withoutshame and with love. It would be our ownanxiety or insecurity or limitation or ego… Thegroup will decide what else. There is no pre-designed message except the spirit of search– a candid and determined investigation ofmany things we seek to shove under thecarpet. Again, there are consequences andchoices. What kind of guiding light do we haveto come to terms with what man has made ofman! There are many perspectives and myriaddetails when one starts looking at reality as itis perceived. Hundred Thousand dead in 10seconds is a fact. Closer home, the BabriMasjid was demolished by unruly crowds is afact. Putting someone to death has beenexplored by the human mind in its crookedmodes with great variety. There are many such.And there is the evidence. The audio, thevisual, the reportage, the chronicle, the spokenword of those who were part of the atrocity andthere is hearsay…There is plenty to work ononce the search begins.
Without this relentless drive to faceit all, the wheel of vendetta will continue toattract glory, we will continue to raise and raze
statues of great enormity. It has become aneed of common man to see clearly, heardistinctly and feel good to seek forgiveness,feel whole.
Respecting diversities and findinga common ground for communication implieswider understanding of nonviolence,tolerance and forgiveness. In the moderncompetitive context, Gandhian self searchtends to stand apart from the self seekingdrive in competit ive, market drivenatmosphere. I firmly believe that feeling oftogetherness, feeling of belonging andwillingness to acknowledge the differencescan be generated after understanding thesevalues. In this context, the creativeexpression would need to develop anunderstanding of tolerance as a way ofdealing with the multiple perspectives,understanding of nonviolence as the regardfor the right of the other and yet assertingone's own vision of truth; and understandingof forgiveness as giving others an opportunityto learn.
Today, India is thrilled by an ideaof becoming a superpower by 2020. The realquestion we need to ask is “Why do we wantto become superpower ?” and “Do we haveto become a super power ?” Power-gamesare attractive and make a material differenceto life. But each war, each battle and eachvictory raises the same question Was it worthit?
Vidyanidhee V anarase (Prasad)
Cast
Bankapure Kaustubh Sadanand
Talreja Himanshu
Koticha Shalin Sameer
Simha Swati
Kamath Devika Harish
Goenka Drishti
Ahuja Sapna
Nikhil Gadgil
02nd April
Caged -Dance Theater (Sri Lanka)
Director: M.Safeer
Inter Act Art Black Box Theater
CAGED
The man in his day to day
life experience and get trapped in
various social happenings. The
relationships, love, marriage and
education traps the man within
certain limits and boundaries.
This act is performed by
10 artists. They are all dressed in
identical costumes. The upper
parts is a tight red dress while the
bottom is white color and loose
fitting. The music also is provide
by the artists themselves. Various
natural sounds effects made by
human and breathing sounds are
made use of in this act. Torch
lights of different intensities
provide the lighting also by the
artists.
This is an experimental
modern theatre art act. Originally
this was designed to be staged in
a limited space and to a limited
audience. But later was modified
to suit the mostly available
Proscenium theatre.
The closeness of the act to
the audience enhances the
communication ability of the act.
“CAGED” Cast
Bride - Nadeeka Tharangani
Bride groom - Hilmi Haseem
Society Woman -Lalindra Udeshani
Book Girl
Chair - Aruna Shantha
Book Holder -Hilmi Haseem
Hunters - S. Dayalan
Shamika Dilshan
Frame man - Hasidu Randil
Boys - Hilmi Haseem
Chamal Virantha
Thiwanka Ranasinghe
Light mans - Aruna priyantha
Manoj Priyadarshana
SET /COSTUME
& DIRCTORED BY - M.Safeer
Directors Note…
“Caged” is a
result of team work. An
experiment to evaluate the skills
and creativity of few selected
youth who attended my
workshops. The basis for this
production originated from a
collection of videos of the
famous dancing veteran Pina
Basu. With the gained
knowledge about dance theatre
I suggested “caged” as a nucleus
as a new concept. Through
dialogue, discussions this
concept was developed in to a
creation. Of course, it took a
long time for them to transform
this concept in to what it is now.
I only mediated by giving the
concept and providing the basic
needs. They had an objective
and moved towards the
objective. They were fortunate
to obtain knowledge and
experience from foreign and
local experts on the field of
dance theatre.
The real owners
of this production are these
youth. The result of their
experience, knowledge and
commitment is the emergence
of a successful experimental
creation. They have finally come
to international level….
(Caged - Experimental Dance Theater
Team)We joined German Cultural Institute to
study the modern trends in the Theatre and the
Black Box Theatre concept. We studied in detail,
for about 6 months under the guidance of Mr. M.
Safeer who introduced Black Box Theatre to Sri
Lanka and the creator of the one and only Black
Box Theatre in Sri Lanka. We are proud to say that
those who attended this workshop came from
various parts of the country and now are working
as an active strong team. We are proud to say we
are the first batch of different layers of society and
who use different languages to study Black Box
Theatre, and we have produced five experimental
creations so far. These productions were presented
at a festival named “Box without Locks” on the
24th of June 2010 held at German Cultural Institute,
Colombo.
When we were looking for a new venture,
we came across a novel event “modern Dance
Theatre” a poetical dancing concept. Modern
dance goes beyond the traditional dancing art. In
this sort of Dancing you can break the limits and
boundaries of traditional dancing to express your
views and ideologies. Expressions are used in
addition to the body movements. It is not wrong
to say that Modern Dance is telling a story using
body movements. The vast knowledge of our
leader Mr. M.Safeer and the VHS cassettes on the
Dance Theatre helped us to learn the art. After
studying Modern Dance up to a certain level we
thought of a new creation. We were fortunate to
attend the workshops conducted by American
lecturer on Choreography & Performing Art Carol
Dilly held with the curtsy of the German Cultural
Institute, at international level and is a Director at
Bates College in America for over 25 years. She
possesses a large No of Modern Dance creations
and she has presented the same all over the world.
The knowledge we gained from her and from Mr.
M.Safeer were almost equal and gave us
experience for our creations. We found the basic
ingredients for our creation. With the help of all
these people we believe we have done something
new. We invite you to check whether it is so.
