rabijita gogoi

performing artist & Theatre Director

Friday, August 1, 2014

PHAKHON - a play in Bodo language





Posted by rabijitagogoi@gmail.com at 9:40 AM 1 comment:

EETI MRINALINEE- my play based on Rabindranath tagor's story in Assamese language





Posted by rabijitagogoi@gmail.com at 9:35 AM No comments:

Baduli- a play based on Anuradha Sharma Pujari's Story in Assamese language


Posted by rabijitagogoi@gmail.com at 9:26 AM No comments:

Tuesday, October 30, 2012

Ok Tata Bye Bye Directed by me and written by Purba Naresh


Posted by rabijitagogoi@gmail.com at 2:18 PM No comments:

Wednesday, September 8, 2010

rabijita gogoi: Play-Kanyadaan

rabijita gogoi: Play-Kanyadaan
Posted by rabijitagogoi@gmail.com at 9:18 AM 1 comment:

Saturday, September 19, 2009

Play-Kanyadaan


From Kanyadan- a play by Vijoy Tendulker


From Kanyadan- a play by Vijoy Tendulker



Kanyadan /2008/Hindi/New Delhi, India
Production: Shri Ram Centre Repertory Company, Delhi
Playwright: Vijay Tendulkar
Light Design: Govind Shing Yadav
Design and Direction: Rabijita Gogoi
Posted by rabijitagogoi@gmail.com at 12:30 AM 3 comments:

Saturday, August 15, 2009

Invisible Space

Posted by rabijitagogoi@gmail.com at 8:34 PM No comments:

Friday, August 14, 2009

Invisible Space-a Documentary on Conflict, Women & Theatre

Posted by rabijitagogoi@gmail.com at 11:28 AM No comments:
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rabijitagogoi@gmail.com
• Performance Maker • Theatre Director • Worked in 6 Indian Languages • Documentary Film Maker • Theatre Skill Builder • Post Graduate Degree ( Design & Direction) from National School of Drama • WORKS: Directed 21 Plays, 8 plays designed- Costume or Stage, 8 either Devised,evolved or created performances, 1 Performance Art, 2 Documentary films, 1 Teli-Serial, 3 Translation works from English to Assamese Language • An Sangeet Natak Academy Ustad Bismillah Khan Award Receiver'06 for her theatre works
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longing belongings
www.rabijitapage.blogspot.com


Identity Market / installation performance/2002/installation:dilip tamuli

Technicolour Dreams/ English/ musical/ 2008-9-10/17 artists/ avalable for touring

From technicolour dreams

Bamboo Flower/2009/Assamese language/ 1-45 Minutes/15 artists

From bamboo flower/09

Kanyaddan /Hindi/ 1.45 Minutes/2008/Sri ram Centre for performing arts/New Delhi

Jyoti belongs to a politically active family and in the society presents herself as a progressive and liberal individual. Arun is a promising poet and for generations, a victim of socio-political and economic suppression at the hands of the superiors of the social hierarchy. So, unknowingly he becomes a part of class struggle. When Jyoti decides to marry Arun, her father Mr. D Nath readily accepts the decision since he himself is a believer of Socialist thought. But mother, Sewa, a social activist too and her brother Jayaprakash a science student, were not keen about the marriage at all. After marriage, Jyoti becomes the victim of domestic violence at the hands of Arun who himself had developed violent and aggressive tendencies after years of political and social oppression suffered by him. Jyoti decides not to take economic and social support from her parents and chooses to remain with Arun all her life, constantly struggling with poverty, domestic violence and Arun’s complex itself. For any individual, to bridge the gap between his ideologies and the practicality of life in itself becomes a challenge. Both Jyoti and Nath had to face this grim reality. Though Jaiprakash succeeds marginally, but his real motivation lay in politically and socially correcting his position in society. Whereas Arun, a product of society’s violence and humiliation, in the process, finds himself a progressive individual, who wants to see himself and his community to be free from all the social barriers. Brought up well with her father’s socialist ideologies and beliefs besides her own strong social views and convictions, she faces the harsh reality that all of them has little meaning and expressions in her own life. In her father’s house, she was influenced by father’s ideology and while practicing the same ideologies in her life. Ultimately she becomes a mere commodity, surrendering herself to Arun’s cynicism.

Gaantha_the first Text/ performance art/2003,04,05/multi lingual/Toured all over India/ 30 show

Kaleidoscope of creativity Saturday, July 30, 2005, The Teligraph ……..That exception, Gantha: The First Text by Jirsong Theatre (Guwahati), at least upheld Ganakrishti?s quest for adventurous new work. It was exciting to see a troupe that originated in the politically disturbed Karbi Anglong district 10 years ago and continues to perform periodically in Karbi. Now led by Rabijita Gogoi, it shows the clear influence of the National School of Drama style that she absorbed as an alumna, but also an original vision that brings postmodern experimentation to Assamese theatre. Gantha wove together 11 performance texts chosen from poems by Sameer Tanty, Megan Kachari and Nilamoni Phukan (one of them an ULFA activist), essays, collectively-developed themes and even an extract from J.M. Synge?s Riders to the Sea. The effect was akin to Robert Wilson?s concept of ?Theatre of Images? ? without narrative, an impressionistic sequence of symbolic scenes and episodes that flit by, creating a kaleidoscope of contemporary Assam. So we see agrarian life and terrorism, nature and politicians, lovers and globalisation, individual angst and ritualistic prayer, education and unemployment, ethnic identity and the mainstream, all jostling one another in the context of Assam. The production was an always-shifting audiovisual treat (of which the photograph left gives some idea), with an installation designed by artist Dilip Tamuli, colourful costumes and set pieces, a satirical magic show, and slides projected on the backdrop. The soundscape, too, was complex, using taped tracks as well as live singing and musicians. ……….ANANDA LAL, Theatre Critic

Memsaheb Prithvi/2006/ Hindi/New Delhi, India Production: National School of Drama Repertory Company

The struggle for identity, resources and portrayal of women’s role in peace has been well reflected in this play. There is a blend of folklore and contemporary issues in the North East region have been shown. Multi stage concept has been put to use and multi themes have also been utilized. The women characters have been portrayed as symbols of sacrifice. The folktale woman who is sacrificing has been glorified whereas the contemporary woman (as compared to Irom Sharmila) in hunger strike has been ridiculed by media. Extractions of resources in the form of oil and water have been symbolically placed to depict the unequal resource extraction from the NER. The issues of migration and missing men have been dealt with the portrayal of single women headed households in the context of conflict. Role of women from the folklore till date hasn’t changed from the sacrificial nature to any other form. But symbolic portrayal of the image of a veil clad identity of state, thought process or person shows the emergence of a situation beyond any gender stereotype.

Memsaheb Prithvi- slide show

Building arithmetic/2004/1.10 mins/ Assamese/Experimental

This play has 5 characters. The contemporary touch to this play is very significant in terms of the stage set up which open frame from 4 sides, use of ropes, ladder, lighting and mirror. There is only one women character is silent and keeps on tying ropes all around the stage boundary. This could be symbolically linked to women’s role behind the scene, silent, subdues yet linking issues, connecting, creating spaces which is significant in a conflict scenario. The issues of feudalism, class struggle, youth frustrations, impatience, oppression, insurgency which has been reflected very clearly through the use of dialogues of the characters. Use of masks and dual characterization can been clearly seen. There are scenes where man to man relations, expression of desires within the minds of the characters have been shown with ease. The eating of one’s own body, hands can be linked to the infighting and damages which the societies go through during conflict.

Building Arithmatic - slide show

In the memory of lost time: A Saga of 30 years

In the memory of lost time: A Saga of 30 years Last 30 Years- Anyway, it was a history of fusing identity of identical movements in Assam! I am sure; everybody understands that I am talking about united Liberation front’s Chairperson Mr. Arobinda Rajkhuwa’s surrender. While the Chairperson of an underground leader is surrendered or arrested, it receives people’s more attention, Media Coverage and political importance. Now, after 30 years of ULFA’s existence, it becomes a tale to tell to the next generation. It will be a folk tale soon as in case of Indonesia. It’s a long history of separatist movements in Northeastern part in India.In the mid of the last century (1950s), identity of India was getting shaped just after the long struggle for its independence. On the other side, voice for separate identities in various places within India was also forming in groups. Small identify holders had fear for vanishing in the canvas of a larger identity. But, people hardly had time to think of it because large section of people was busy in celebrating after feeling free from British emperor. People were busy creating new policies, constructing constitutional laws etc. It is expected that things will be normal in time. But, just after thirty years of Indian independence, few university students start questioning about the foreign migratory to Assam. It’s in 1979.Preparation for the first separatist movement in Assam was talking place. Some of the finest brains and the cream of youths of the land left homes and universities in search of their dreams of the new world. And till now, In Assam all days and nights were stormy. Though the six years Assam agitation took place in a large scale, but, it was a democratic movement. The United liberation front of Assam shortly ULFA become active in mid 80s of the last century which is taken a formal shape on 7th April 1979. Till now they passed 30 years of their existence along with many other separatist movements. Apart from ULFA’s movement in Assam, bulk of young youths of various ethnic groups took arms seeking for a separate state sometimes within India or sometimes outside India in 1980s. Most of these armed movements’ begin out of identical crises caused by dissolving their culture, language and their people into a larger cultural and political identity. In time, it leaded to frequent conflict with the neighboring bigger identity holders and identity finders. The once rocked separatist armed movement of ULFA in late 1980s comes down by end of twentieth century (1999). The state and the central government take up many counter insurgency measures to control the separatist movements. As the main step the government took up the counter insurgency operations by security forces. The first major counter insurgency campaign code named Operation Bajrang on 27th nov.1990 and the next campaign called as Operation Rhino launched on 14th September 1991 mainly against ULFA. After that 6 other major Operations took place as a part of India government’s counter insurgency movements. A major surrendering process took place after the Rhino operation in govt. initiatives. The govt. gave protection and cash payments for rehabilitation. This was the result of two major counter insurgency military campaigns by the Indian Army (Operation Bajrang and Operation Raino) with a series of cleaver political moves credited to the Late Ex Chief minister Mr. Hiteswer Saikia. He used to address the militants as ‘The Boys’ and asked them publicly to come back ‘home’. He declared the surrender scheme in1st June-1992. As a result, today we see more than ten thousands separatist militants thrown their arms and now back at the main stream. In many ways, political life and the life at the streets is better than that period. An influential segment of public opinion in Assam is also formed sided by the government’s position. Now the latest Development is the chairperson of the organization is arrested. People’s or a fraction of citizen’s consciousness about historical structure of domination in the culture and tradition of north eastern part of India ma not ignorable. We cannot ignore the importance of ‘Identity’ against multi faced domination in the world. On the other hand there are a large number of movements based on ethnic identity, religion, language, community and human rights issues. We have examples of Indonesia, Sri Lanka, Afghanistan, Philippines etc. The govt. allocates a huge amount of money and other sources including human resources for arms procurement and development at the cost of essential sectors like health and education on resulting in the increase of the volume of human suffering and pain. But, the common People lives life same as. What happens to common People? Some where a Jamuna or Maloti, the old women waits for sons to come back to home from the mountain (!). Sisters’ waits their brother’s to come back. People remain dumb. They may not be interested to speak or they are too bust within themselves. PUBLISHED IN THE EASTERN CRONICLE, GUWAHATI, ASSAM

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  • ▼  2014 (3)
    • ▼  August (3)
      • PHAKHON - a play in Bodo language
      • EETI MRINALINEE- my play based on Rabindranath tag...
      • Baduli- a play based on Anuradha Sharma Pujari's S...
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