Bin Kamache Sanvad (Useless Conversations)


Cast-Credit List

Actors:


Abhay Mahajan
Bhosanka
Omkar Gowardhan
Aabeka
Suvrat Joshi
Comya
Pushkaraj Chirputkar
Mopremi Madhyam
Dhanraj Narayankar
Oot
Laxmi Birajdar
Lolly-Lolly
Veera Saxena
Anchor
Tushar Tengle
Actor/Audience
Siddhesh Purkar
Boy
Akshaya Deodhar
Girl

Music: Saaket Kanetkar
Set Design: Ravi Choudhari
Costumes: Kalyani Kulkarni-Gugle
Make-up: Ashish Deshpande
Light design: Aniket Kale
Stage Management: Girish Joshi, Shirin Tikhe, Abhilash Mhatre, Akshay Khaire
Publicity Design & Paintings: Suneet Wadke
Special Thanks: Parna Pethe & Hrishikesh Nagaonkar
Management Assistance: Prashant Vaishampayan
Production Manager: Soumitra Gapchup

Diretor: Alok Rajwade
Writer: Dharmakirti Sumant

Produced by: Natak Company, Pune
Useless Conversations - Binkamache Sanwad
By Kalyani Gadgil

Bhosanka's old Nokia 3202 gets smashed underneath a train and so he wants to buy a new smartphone. But when he swipes his card to get a new one, he suddenly enters an alternate reality where he meets an old, nostalgic college friend Abeka, porn star Loly Loly, rationalist ‘Mopremimadhyam’, right wing enthusiast ‘Oot’, R.K. Laxman’s/ ‘Wednesday’ (film) fame ‘Common man’ meaning ‘Comya’ and the wrestling Anchor.  The play talks about the void between the euphoria of Acche Din and the mind-numbing silence inside us. The writer-director pair of Alok Rajwade and Dharmakirti Writer: Dharmakirti Sumant have come up with the perfect balance between the current social state and inner conflicts as individuals.

The dream sequence portrayed in the play also talks about issues of language and originality. When one is faced with a tremendous amount of information with no time to analyse it, new ideas and originality take a backseat. The mind is busy trying to comprehend everything thrown at it. Language becomes decadent, a mere ornament. Dreams are no longer enriching, no longer vital. They have been oppressed by the deluge into become puppets.  Bhosanka, like all of us, is plunged in this deluge of information. He asks important but futile questions about the decadence of language, morality and post liberalized India. But his world is a place where nothing is true but everything is trending. Everything contradicts everything and nothing is black and white. The only aspect that looms over the characters, over the dream and over the nation is celebration. Celebration of happiness, celebration of sadness, celebration of pain, celebration of satisfaction. It doesn't matter what's wrong, what's right, what's moral, what's true, what's untrue, the only thing that matters is entertainment.

The play will begin at 7:30pm on the 14th of February, 2015 at Aksharnandan School, Senapati Bapat Road. 
A must watch play

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Goshta eka kalachi



Goshta eka kalachi, the story of the black and white era is a musical, conceptualized by Milind Oak which isn't simply a compilation of Marathi songs of the post independence movie age. It is much more than that. It is a dramatization of the 50s and 60s, and more importantly it's a representation of the ideas of that time. By this time, the movie industry had taken a firm hold in the hearts of its followers and this burgeoning industry gave us sangeet-natya, an artform much revered and universally enjoyed.

The age and its people were an influence on the movies and the music of the time. Those were simpler times when people were more important than ephemeral success. There was an inherent emotional connectedness amongst the people which was mirrored in the movie culture. So why should we travel all the way back, a good 60 years back? People then had lesser aspirations but they had the key to happiness. Today we have become intellectual refugees, isolated and selfish. The people then had the ability to smile in the face of adversity and they brought up the next generation under better circumstances. They knew the importance of deep, personal relationships and they thus they had more meaningful relations. Happiness was unconditional and universal.

Eventmay interviewed Milind Oak, from whose fertile imagination have come other shows like 100 years in Bollywood,Gulzar - Baat Pashmine Ki, Bhairav te Bhairavi, Black and White and Pancham the Immortal Note. He expressed his objectives behind organizing this show. It is an appreciation of what our forefathers did. A personal tribute to the  sacrifices they made and a tribute to the extraordinary ordinary people of that era. He justifies the choice of songs used in the drama as a personal bias. "This is the perspective we would like to show. Some other person will have a different perspective. Rediscovering the lost values and the price of nature, Niche Entertainment presents Goshta eka kalachi directed by Ashay Valambe. Actors Swardha Tikekar, Amit Vale and Rahul Solapurkar. Singers Rama Kulkarni, Jeetendra Abhyankar, Swardha Gokhale/Godbole and Chaitanya Kulkarni.  

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फर्माइशें . . !!



Pravin Gokhale along with Aalap Entertainment present Farmaishein, a live musical program on the 30th of March, 2014 where songs of your choice will be played on the sitar. An endearing instrument, the sitar is used in many hindi songs and backed with a wonderful singers and a melodious orchestra, the music becomes a whole and comes to life. The concept behind Farmaishein is to include suggestions from the audience, include them in the art. The name itself gives away the purpose of the shows, Farmaishein is an Urdu word for request which is used when requesting artists to oblige the audience with their art.


Farmeishein is designed around a monthly theme. The theme may include an instrumental or vocal style which will be the focus of the event. This month the theme is sitar-based music. The sitarist, Prasad Gondkar will be indulging the audience with mellifluous sounds of the sitar. Backed by singers like Palavi Bapat, Rama Kulkarni and Ali Hussain and music given by Vivek Paranjape, Darshana Jog, Vikram Bhat, Kedar More and Rohan Vanage, the halls of MES Balshikshan Mandir Sabhagruha, Mayur Colony will resound with their beautiful music. For future Farmaishein shows, you may post your suggestions on www.facebook.com/farmaishein or email them to farmaishein@gmail.com. Come and indulge in the music on the 30th of March, 2014 from 5:30 to 8:30. 

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Back with a Bang!



Back with a bang! Eventmay has been dormant for a few days due to technical difficulties. But now we are back and Eventmay intends to keep you updated with a barrage of posts. Eventmay is unique from other sites for its thorough and dedicated reporting of the events covered. Be it sports events, music festivals, food festivals, Eventmay intends to talk about not just about the performance but talks to the organizers, audience and the performers. Eventmay intends to mirror the event exactly, the photographs and reviews will make you feel you were actually at the event! Keep following the posts and let us know what you think about our posts!

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Guru-Shishya Parampara

Eventmay interviewed Taalyogi Pt. Suresh Talwalkar on account of his gurupornima which is to be celebrated on 14th and 15th September. And who better to interview the great master other than his senior most disciple Pt. Ramdas Palsule!
Enjoy the conversation between Guru-Shishya on 'Guru-Shishya parampara'




Guru Poornima : Interviewing Pt. Suresh Talwalkar

By Kalyani Gadgil



Guru Poornima celebrations are being held across various schools of music and dance all over the city. The events, with an atmosphere of complete devotion to one's art and to one's guide are not merely ritualistic. The guiding principle behind the tradition is just that, tradition. But why exactly do we need this tradition?



Taalyogi Pandit Suresh Talwalkar, the eminent tabla guru was kind enough to explain. The subject of the Guru-Shishya tradition is vast and diverse. The performing artist of today cannot work today without the backing of this tradition. The art cannot be displayed without the guru. The student in the process of learning emulates the teacher’s work; he absorbs the energy and the methods of the guru.



Indian classical music is taught in four ways, shastra, tantra, vidya and kala. Shastra, he says, explains the rules of the music, mostly about what not to do. For example, Purya, Marva and Sohoni are 3 ragas having the same notes but they have a very different personality.   Deepchandri and adachautal both have 14 beats but again they are distinct. This obvious difference in the personality, the form of music is what shastra dictates. 



The knowledge the mind has understood has to be repeated by the body, this is the Tantrakala. Pt. Vishnu Digambar Paluskar said when you learn an arrangement, a palta, 100 times, you will learn it, 300 times, you will never forget it but at the 1000th time it will get come melodiously. Music had language and meaning, but you need tantra to understand the abstract meaning.



Vidya means matter; the material that goes into making music. One artist, panditji proclaims, cannot say with conviction that he knows everything about the music in his gharana( the broad classification of styles of hindustani classical music). The dictates of music are so many and so varied, the freedoms and restrictions are arcane and it would take a few lifetimes to learn all of it.



Kala explains the beauty and the aesthetics of it. The joy, the energy, the inspiration which we involve into our music is Kala. The passion, the mood of the music are all a part of its kala.



The four parts of the body; tantra is managed by the body, vidya and shastra by the man's intelligence and kala by the mind. The focus of the guru can vary from Shastra, Tantra, Vidya and Kala. The guru understands the student and then decides how to teach that student.



Panditji explained the growth of person too. The natural progression of a student is as follows, from being a student, a disciple, an artist, a teacher, a guru and then the "aarcharya". These are the main steps of the Guru Shishya parampara. No matter how much God given you have, you need to be taught and so you need a guru.



Panditji explained wonderfully the way an artist is supposed to grow, how he must absorb everything the guru teaches, everything that tantra teachers but when he put forward his music, it should come as his own form, his own work. He also explains the six traits of an ideal student; of surrender, devotion, hardship, sincerity, punctuality and loyalty. The tradition engenders self-discovery and thus, all the student's questions will be answered by himself.

The ideal guru in his part should be intelligent and knowledgeable but more importantly, he should know how to teach and he should have the urge to teach.



Should there be changes in the tradition? 

No, in fact the old tradition should be revived, said Panditji. The Sangeet Research Academy, Kolkatta is one such institute that has maintained and nourished the tradition as it should be.



Panditji teaches western percussionists too. He says, "I cannot teach them how to play their instruments, but I understand the scope of the instrument, its grace notes, grace beats, long, and short beats. Then I teach them the systems like the taal, speeds and the thought behind these. They cannot pronounce the tabla beats too well too so we simplify the method, we count. According to the tradition, we do not simply feed the student knowledge, we perform the actions and the student learns.



The media today with its fast-lane fame, talent is mainstreamed into folk and pop music. It is diverting the fresh talent away from classical music. How can we stop this?

Panditji simply replies, we must increase the power of our music, the people already in the field should increase the strength of their music.



Spannning a wide subject with such fluency and precision can only from great dedication to one’s art and an intensive study of its minutiae. The ease with which Panditji explained these concept from Indian philosophy was astonishing but at the same time, it was so simple. The saying holds water, the mark of a great man, his ability to teach.

Glimpses of Pt.Suresh Talwalkar guru abhivadan sohla

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