Rangsaptak is established in June 2002 in the leadership of Mr. Surendra Sharma. In addition with the Plays, “The Group” stages the plays which are adaptation from novels and poems. The Group not only satisfies the artistic demand but also contributes to the cultural & social needs of the society. It fascinates to promote and encourage new talents whenever gets a chance. Already staged a number of plays based on different stories, novels and poems. Some such staged ones are Rangbhoomi, Aashad ka ek din, Mailaa Anchal, Boond aur Samudra, Muaavze, Rajjab tai gajjab kiyo, Baanbhatt ki aatmakatha, Nirmala, Panchkathiya, Lok-katha Kahani, Jhansi ki Rani (poem), Jhansi ki Rani (Novel), Daakghar, Daadoo ki paati, Aalha (based on 1857 Mutiny), Chakrayuh (based on drugs), Panchawati Prasang (poems based on the Ramayana).
Delhi International Arts Festival
Sangeet Natak Academy
&
Rangsaptak
Presents
“Katha Kahani” "Bade Bhai Sahab"
"Sankraman"
written by Munshi Premchand and Kamtha Nath,
Directed by Surendra Sharma
Date - 4th October 2009 Time - 7pm
Venue - India Islamic Cultural Centre, Lodhi Road, New Delhi.
By - Andhra Education Society
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"Durga Bai - 'Ek Misal-Bemisal' " Date - 15, 16 July 2009 Venue - Kamani Auditorium, New Delhi.
By - Central Social Welfare Borad, Govt. of India. ---------------------------------------------------------------------------------------------------------------------
"Jhansi Ki Rani" Date - 18 May 2009 Venue - Allahabad (U.P.). ---------------------------------------------------------------------------------------------------------------------
"Rangbhoomi"
Date - 7 Jan 2009
Venue - Shri Ram Centre, New Delhi.
Time - 6:30 p.m.
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"Narbhakshi"
Date - 17 Dec 2008
Venue - Shri Ram Centre, New Delhi.
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"Jhansi Ki Rani"
Date - 25 Dec 2008
Venue - Dharwar (Karnataka)
"Jhansi Ki Rani"
Date - 27 Dec 2008
Venue - Mysore (Karnataka)
The commerce graduate of Delhi University was born in 22nd March, 1958 with the natural talent of acting, which ultimately inspired him to specialize in acting from National School of Drama.
He worked mainly as an actor for a long time; but his interest in translation and adaptation leaded him to form a Theatre Group “Rangsaptak”, which produced plays based on novels like Rangbhoomi , Mailaa Anchal , Boond aur Samudra , Baanbhatt ki aatmakatha, Muaavze, Nirmala, Jhansi ki Rani, Daakghar.
Many of his plays like “Mithyabhimaan , Jayaz Hathyare, Mahaanirwan, Aashan ka ek din etc. are acted in different places including like Shri Ram Centre Delhi, Bhartendu Natya Academy Lucknow and many other institutions.
Personally he acted in more than 70 plays namely Gulshan Kumar directed “Panchhi aise ate hai”, Devraj Ankur directed “Apna Morcha”, M.K. Raina directed “Juloos”, Prasanna directed “Maya Bazaar”, Frietz Benevitz directed “Life of Galieo” , Rattan Thiyam directed “Andha-Yug”, T. Subhagi directed “Rashomann” and Virendra Sharma directed “Ye Aadmi Ye Chuhey”, etc.
He also acted in 50 different TV serials, 20 Tele-films, 30 Tele-Plays and 2 feature films “Daddy” and “Tamas”. He is the visiting faculty member at NSD acting workshops. 10 plays has translated and adopted by him. His talent brought him different laurels including Hindi Academy, and Best Actor award from Sahitya Kala Parishad, Delhi.
Today''s gathering is a true reflection of the immense potential of theatre to mobilize communities and bridge the divides. Have you ever imagined that theatre could be a powerful tool for peace and reconciliation? While nations spend colossal sums of money on peace-keeping missions in violent conflict areas of the world, little attention is given to theatre as a one-on-one alternative for conflict transformation and management. How can the citizens of mother-earth achieve universal peace when the instruments employed come from outside and seemingly repressive powers? Theatre subtly permeates the human soul gripped by fear and suspicion, by altering the image of self - and opening a world of alternatives for the individual and hence the community. It can give meaning to daily realities while forestalling an uncertain future. It can engage in the politics of peoples'' situations in simple straightforward ways. Because it is inclusive, theatre can present an experience capable of transcending previously held misconceptions. Additionally, theatre is a proven means of advocating and advancing ideas that we collectively hold and are willing to fight for when violated. To anticipate a peaceful future, we must begin by using peaceful means that seek to understand, respect and recognize the contributions of every human being in the enterprise of harnessing peace. Theatre is that universal language by which we can advance messages of peace and reconciliation. By actively engaging participants, theatre can bring many-a-soul to de-construct previously held perceptions, and, in this way, gives an individual the chance of rebirth in order to make choices based on rediscovered knowledge and reality. For theatre to thrive, among other art forms, we must take the bold step forward by incorporating it into daily life, dealing with critical issues of conflict and peace. In pursuance of social transformation and reformation of communities, theatre already exists in war-torn areas and among populations suffering from chronic poverty or disease. There are a growing number of success stories where theatre has been able to mobilize public to build awareness and to assist post-war trauma victims. Cultural platforms such as the 'International Theatre Institute' which aims at 'consolidating peace and friendship between peoples' are already in place. It is therefore a travesty to keep quiet in times like ours, in the knowledge of the power of theatre, and let gun wielders and bomb launchers be the peacekeepers of our world. How can tools of alienation possibly double as instruments of peace and reconciliation? I urge you on this World Theatre Day to ponder this prospect and to put theatre forth as a universal tool for dialogue, social transformation and reform. While the United Nations spends colossal amount of monies on peacekeeping missions around the world, through the use of arms, theatre is a spontaneous, human, less costly and by far a more powerful alternative. While it may not be the only answer for bringing peace, theatre should surely be incorporated as an effective tool in peacekeeping missions.
