rabijita gogoi

Wednesday, September 8, 2010

rabijita gogoi: Play-Kanyadaan

Saturday, September 19, 2009

Play-Kanyadaan

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

Sunday, August 9, 2009

Play-Gaatha-the 1st text

From gaatha-the 1st text

Gaatha -the 1st text/2003to 2007/Performance Art/30 performances all over India
Production: Jirsong Theatre
Installation: Dilip Tamuli

Concept, Device, Design & Direction: Rabijita Gogoi

Play-Memsaheb Prithvi

From memsahab prithvi

Memsaheb Prithvi/2006/ Hindi/New Delhi, India
Production: National School of Drama Repertory Company
Script:Himanshu B. Joshi
Music: Zubeen Garg
Installation:Dilip Tamuli
Costume Design: Amba Shanyal

Saturday, August 8, 2009

Release of play text collection

From book relieze

In the occasion of celebrating 10th year of Jirsong Theatre’s existence in the field of Theatre, We have published a play text collection called Nikhar Ragini Aru annanya Natak of five selected play texts of the group that are staged by them in Assamese Language. That collection includes these three plays in Assamese translated by me · J.M. Synge's- The Riders to the Sea (Adaptation), · Marguerite Duras's -La Musica (Tran creation) · Herold Pinter's The Dumb Waiter (Translation) And other two production script are written by veteran Assamese writer Basanta Das specially for the productions based on two different karbi Folk legends. · Rangpherpi Rangbe· Thong Nokbe

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.

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.