Sangeet Natak Akademi’s Theatre Festival

Name of the Play: Khutoot-e-GhalibAnisAzmi_Khutoot-e-Ghalib
Segment: Theatre Festival
Date: 3rd October 2009, Time: 7 p.m.
Language: Urdu
Duration: 50 mins
Written by: Ghalib
Directed by: Anis Azmi

Behroop presents ‘Khutoot-E-Ghalib’ as part of Delhi International Arts Festival

(DIAF). The dramatic reading would be rendered by Anis Azmi, an Urdu writer, playwright and senior artist of the Delhi stage. Widely known for his impeccable Urdu diction, Anis would be reading 24 selected letters out of five volumes of Ghalib’s letters.

In fact, Anis is a serious student of Ghalib’s letters and his Diwan. More than two decades ago, he presented these letters as a solo performer under the banner of Impresario Asia with Ghalib’s poetic rendition by Mannu Kohli which had 26 shows. His present venture of solo performance to read the letters of Ghalib has been acclaimed as a fine theatrical piece which had so far 45 shows in cities like Delhi, Chandigarh, Pune, Hyderabad, Bhopal and also at the International Urban Theatre Festival at Guwahati. These letters revealed Ghalib’s regard for the ranks, his humility and affability. In most of his letters he wrote, “Nijat Ka Talib – A seeker of deliverance.” These letters evoked a wide range of emotions of a highly sensitive and creative heart, ranging from romantic to serious, from satirical to laudatory and from sad musings to anguish.

Ghalib was known for his helping nature. Pandit Jag Narain was his friend who had fallen on bad days. To help him, Ghalib wrote a letter to the hakim of the Maharaja of Patiala : “If you help him getting a job suitable to his status, I would consider that you have, in fact, given the job to me.”

There has been a lot of speculation as to the stand taken by Ghalib on the Revolt of 1857. He lived in Delhi under the rule of the rebels. When the British crushed the revolt with savagery, Ghalib continued to stay in Delhi. He was not only the witness to the massacre, plunder and devastation but also kept a diary to record the events of the period which is called Dastambo. (According to K. M. Asharf, “It saw the light of the day after the British were in full possession of Delhi and we shall not be very far wrong in assuming that the original was suitably revised to meet the requirements of the situation.”)

Name of the Play: Ek Mamooli Aadmi
Segment:Theatre Festival
Date: 3rd October 2009, Time: 7 p.m.
Venue: India Islamic Cultural Centre, Jamia Milia Islamia
Performance: Play

About the play

‘Ek Mamooli Aadmi’ underlines those features of an urban middle class setting which make the yearning for real happiness an agonizing experience. The play also accentuates the contours of a system in which even biological relations are bound to breed loneliness and family becomes fatal to an individual.

Ishwar Chand Awasthi, the protagonist, is to die soon and this fact makes him realize that it was not life that he led so far, it was death, unnoticed and unannounced. The perception of this death animates him and he turns to be the source of others’ happiness- an extraordinary asset to life and society.

Director’s Note

For Asmita, a new production has always been a part of a process – a fresh chance to react within ourselves and our society, to explore new dimensions in theatre – our choice of socially relevant themes being an extension of this goal. ‘Ek Mamooli Aadmi’ started off as an exercise to explore ways of using time and space to convey the underlying theme.

During this process we discovered various aspects of our society as it stands today, under the shadow of a consumerist culture, where the base of many a relationship is superficial and the individual is often left with a feeling of loneliness and existential angst- yet often indifferent and unwilling to make a change.

As this play exposes the political and social attitudes and priorities of our society on a smaller canvas such as that of the family and workplace, my actors were involved in an intensive process of looking at their immediate world both inner and outer, with a fresh perspective.

Many a moment in ‘Ek Mamooli Aadmi’ rose out of much debate and discussion. I hope that this play makes relevant and positive contribution – as it has to us and puts forth a fresh set of questions that we may ask of our society and ourselves.

Critics says

‘Ek Mamooli Aadmi’ is one more milestone in Asmita’s engaging repertoire of meaningful theatre.
-Nikhat Kazmi (The Times of India)

Meaningful production.. .Another feather in the cap of a young director Arvind Gaur. -Kavita Nagpal (Hindustan Times)

‘Ek Mamooli Aadmi’ is an excellent play with a lot of humour, lot of life’s reality
-Smita Nirula (The Pioneer)

The play is built around the protagonist Umesh’s curiosity to find out why Brahmins had refused to participate in his father’s ‘tehrvi’ … production is excellent… innovative…
-Romesh Chander (The Hindu)

Written by Ashok Lal and directed by Arvind Gaur (अरविन्द गौड़), the play is a deeply moving description of the travails of a middle-aged clerk who knows of his impending death. Reserved, reclusive and politically correct Ishwar Chand, decides to do some unusual things before dying. The acts are not a result of angst or deeds of rebellion, Ishwar just wants to savour another life, paint a new picture of himself for his own viewing. His escape from reality is a challenge to that very reality. Death becomes a motivation for pleasure; he wants to please others, see others happy, and make others fulfilled
– Indian Express

Actors (2009)

Viren Basoya (Ishwar Chand Awasthi, the protagonist),
Shilpi Marwaha, Bajrang Bali Singh,

Raj Sharma, Malya Garg, Wricha Sharma, Shaline Rai ,Pankaj Yadav, Rahul Datta,

Daveeka Sharma, Kakoli Gaur , Saveree Gaur, Shaline Rai Vivak Parasar,Hemant Pandey,Teishul,Dinesh Dhawan, Parvesh Dhawan, Priyank ,Sourabh Pal,Arun Rana, Manvir Sansanwal, Asish,Himanshu,Wassim

Name of the Play: Zawal-e-Azim (The Great Fall of the Mughal Empire)
Segment: Festival
Date: 4th October 2009, Time: 7 p.m.
Venue: Epicentre, Gurgaon

Introduction to group:

Established in 1992, SANSAPTAK is one of the leading regional groups in Delhi. The aim of the group is to present quality theatre to the discerning audience on varied themes to create social awareness and to foster a literary and cultural sensibility with a specific reference to theatre. All the productions are either original scripts penned by our in-house playwright and director, Torit Mitra or trans-creation or inspirations from major dramatic works from other regional and foreign languages. Till date the Group has been invited by NSD in their Week-end Theatre, Bharat Rang Mahotsav, The Legends of India, invited in Kolkata by Sohan, Ganga-Jamuna International Theatre Festival and Sanglaap, has organized “Elegance of Ibsen” in collaboration with The Royal Norwegian Embassy and invited at Bharatendu Natya Utsav. For the first time SANSAPTAK staged its maiden Hindi venture, Hari Bhari Khwaish in 2007 and Na Hanyate in 2008 (both translations of Torit Mitra’s original Bengali plays Upashalya and Hanyaman). Sh. Torit Mitra has twice been felicitated by receiving ‘Gunijon Sambardhana’ (Eminent Citizen Honor) in 2005 and 2009. In a short span of seventeen years, the group has staged more than 29 plays and over 250 productions in various parts of the country.

Playwright, Designer and Director: Sh. Torit Mitra

Synopsis: The play is a tribute to century old classic ‘Shahjahan’ and its creator Sh. Dijendralal Roy. Zawal-e-Azim can be called as a documentation of the inevitable downfall of the Colossal Mughal Empire. Along with the declining medical condition, the Great Mughal Emperor Shahjahan faces an unprecedented situation. The war of succession for the prestigious Peacock Throne has already begun by its heirs, the four sons of the ailing Emperor. The helpless heart of the Emperor is ripped apart between the secularism of Dara and the fundamentalism of Aurangzeb. The human witnesses to this soul shattering tragedy are the three sisters of the family; Jahanara, Roshanara and Gauhara, tied down with the violence lurking under the garb of Mughal imperialism and patriarchal dominance, where blood and worldly obsessions played a pivotal role against human emotions and relations.

Language: Hindustani
Translated by: Km. Sreemoyee Dasgupta & Sh. Anjon Bose
Duration: 2:10 hrs (inclusive of interval)
Contact details: G-1276, First Floor, Chittaranjan Park, New Delhi – 110019
Tel: 011-26276755, 40524013, 9871737231


Badshah Shihab-ud-din Mohammed Shahjahan : Dipankar Khan
Shahzadi Jahanara Begum : Ruma Bose
Shahzadi Roshanara Begum : Sharmila Abraham
Shahzadi Gauhara Begum : Sreemoyee Dasgupta
Shahzada Dara Shikoh : Rana Mitra
Shahzada Aurangzeb : Anjon Bose
Hamida : Anupriya Karmakar
Asadullah Khan Sahib : Sudipto Dey
Pandit Isardas Naagar : Indrajit Das
Babaji Mir Jumla Sahib & Sufi Owliya : Shubhayan Ganguli
Sipahsalar Akil Khan Razi & Sohan Ali : Abhinava Sabyasachi Paul
Champak Lahi : Rajesh Pandey
Khadima : Brinda Mitra
Khadim : Ravikanth Gupta


Administration : Ruma Bose
Accounts : Tushar Mitra & Sreemoyee Dasgupta
Production Manager : Protip Bhowmik
Stage Manager : Anirban Roy Chaudhuri
Assisted by : Ravikanth Gupta
Properties : Anjon Bose & Sreemoyee Dasgupta
Poster & Publicity : Rana Mitra
Costume Design : Torit Mitra & Ruma Bose
Tailors : Saakshi Boutique & Mustaqji (Chawla Tailors)
Make-up : Hari Khulia
Light Design & Operation : Abhishek Biswas
Music Operation : Benjamin Donald
Music Arrangers : Rana Mitra & Sreemoyee Dasgupta
Music Compilation Courtesy to : Zikr (Call of the Sufi) by Anandmurti

Name of the Theatre group: RangsaptakdirectorofKathaKahani
Segment: Theatre Festival
Date: 4th October 2009, Time: 7 p.m.
Venue: Epicentre, Gurgaon
Performance: Play

  • Formed in June 2002 in Delhi by Sh. Surendra Sharma.
  • Besides plays, staging adaptation of Indian classic novels, stories and poems etc.
  • Fulfilling theatrical artistic demands and contributing to the cultural and social needs of the society.
  • Promoting and encouraging new talents.
  • Staged dozens of plays, stories, poems and novels including Rangbhoomi, Aashad ka Ek Din, Maila Aanchal, Boond Aur Samudra, Nirrnala, Baan Bhatt Ki

Aatmakatha, Rajjab Thain Gajjab kiye, Panchkathiya, Kathakahani, Jhansi 10

Rani (poem), Jhansi ki Rani (novel), Daadu Ki Paati, Aalha (based on 1857’s

Mutiny), Chakravyuh (anti- drugs), Panchwati Prasang, Narbhakshhi (based on communal harmony).

  • Participated in almost all regional and national theatre festivals organized in different states of the country. Besides participating in major national theatre festivals, Rangbhoomi has emerged as the most popular and successful play during this decade. So much so that AICC organized a special show of Rangbhoomi to commemorate the birth centenary (2005) celebration of Lal Bahadur Shastri. The popularity of the play can be assessed by the fact that the show was witnessed by the Prime minister honorable Sh. Manmohan Singh along with the UPA chief Smt. Sonia Gandhi with the whole of their cabinet ministers.
  • In addition to these literary distinctions, we are proud to have been associated with creating and spreading awareness in the society by staging plays like: In collaboration with the Ministry of Social Justice and Empowerment, the group has performed a play titled – Chakravyuh. The subject of the play was anti drugs.
  • At the behest of the Central Social Welfare Board, a play “Durgabai : Ek Misaal Bemisaal” based on the life of Dr Durgabai Deshmukh, a veteran social worker, was performed in July 2009, which was widely appreciated by the audiences and the members of the CSWB.



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