FOUNDER ’S ISSUE
EDITORIAL
Special Thanks Mrs. Purnima Dutta Ms. Stuti Kuthiala Mr. Aloke Tirtha Bhowmick Mr. Ashad Qezilbash Mr. Mrigank Pandey Jai Ahuja Pratinav Bagla
Illustrations by Madhav Dutt (ex 35/K) and Leonardo Pamei Disclaimer: Any article, whatsoever, reflects individual opinion and not necessarily any departmental or institutional official views/policies.
Sudhansh Agarwal
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EDITORS IN CHIEF
Rishabh Sharma
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Master-in-Charge Dr. Md. Hammad Farooqui
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The purpose of art is washing the dust of daily life off our souls. Art is the - Pablo Picaso only way to run away without leaving home.
As the various Artistic productions and exhibitions that gave life to Founder’s celebrations keep you animated, we serve to you another snapshot of the Arts that captures its unique aspects and adds a meaningful layer to the Art related activities the school is proud of.
What you hold in your hands in the first issue of ‘The VIBGYOR’, a publication composed of articles themed on art, music, dramatics and dance, with most of the articles set in global as well as the school’s context in order to facilitate a holistic understanding and appreciation of the concerned topics. This publication was an idea that was devised in our minds, processed in discussion and finally actualized through this issue. We have recognized various features inherent to the arts and their meaningfulness and got their respective roles down on paper. Art, as a completion to one’s identity and a platform of self expression is multi dimensional and not watertight in any sphere; inputs by artists do not always represent a desperate urge to please the audience, and outputs are not always in the form of an audience and outputs are not always in the form of an audience review!
Articles combine positions and perspectives of audience as well as the artists; after all, it is the connection between these two groups that maintains a “flow of artistic knowledge” and makes a show successful and aesthetically fulfilling. In addition, we have explored the crucial role an audience plays in the advancement of artistic productions and individual skills. The following pages explore the varied nature of aspects related to the four aforementioned wings of arts, like the imperative role of innovative and imaginative application in the survival and development of Arts, flashback and trends of arts in school over the years to purely global ones such as ‘the connection between music and rebellion’. We envision this initiative as a significant milestone in the course of the school’s artistic evolution. Our aim is to nurture performing arts and aesthetics and the cultural life in school. However, this issue is primarily a step towards this direction, it is a product of our consistent effort and it goes without saying that it craves for your valuable feedback and appreciation. It is your review that will facilitate the strengthening of this publication over the coming years.
Happy Reading!
VIBGYOR
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CONTENTS DOSCO, DUKE, DRAMA Devesh Sharma pens down his experience as an actor, at Doon and University p a g e 06-07
FROM MY FIRST FADE IN Jai Ahuja throws light on the events contributing to his development as an actor p a g e 08
COMIC-ANDA Harshvardhan Singh discusses the connection between Cartoons and propaganda as the past has witnessed p a g e 09
SHADES OF ME Digvijay Gupta pens down his experiencesmaturing as an artist p a g e 10-11
DECORATING DECORUM Ishan Kapoor discusses various artistic elements of MUN that have contributed to its success and popularity p a g e 12
FOUNDER ’S ISSUE
TREADING A FINE LINE
MUSIC AND LIFESTYLE Nadir Singh discusses the impact music has on ones lifestyle
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ART AT DOON:
Madhav Dutt talks about how art is and can be better perceived in school p a g e 20-21
IS THERE A FINE LINE?
Parth Khanna puts across his views as a non-art student
pa ge 22-23
page 13
DISCOVERING Vrindam Nagpal discusses the trends that have impacted the nature of music covers till date. pag e 14
WHEN ACTIONS SPEAK LOUDER Tushaar Sharma considers a snapshot of dance in school and in general pag e 15
SO YOU THINK YOU CAN’T DANCE Abhinav Kejriwal discusses the spirit of dance that has captured doon and the globe page 16-17
A KIDNEY FOR AN EYE Josh Pasricha and Vansh Aggarwal throw light on the changes in drama the school has witnessed over the years. page 18-19
THE AUDIENCE Rudra D. Srivastava discusses the ways in which the audience influence the advancement of artistic talent p a g e 24
TRUTH OR LIES? Arth Gupta discusses the ways In which actors use improvisation as an asset to maintain connection with the audience pa ge 28
MY WAY OR BROADWAY
TO ABSURDITY AND BEYOND
Devansh Agarwal considers the Broadway adaptations that have been staged in school p a g e 25
Yash Dhandhania gives an overview of absurdist theatre.
CHHOTA HAZRI DAYS Fateh S. Phoolka elaborates on the school’s artist alumni p a g e 26
ORCHESTRA OVER THE YEARS Krishna Lohiya comments on the trends of Orchestras over the years p a g e 27
pa ge 29
PSYCHODRAMA Rishabh Sharma discusses the various aspects of phsycodrama pa ge 30
VIBGYOR
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DOSCO DUKE DRAMA
Devesh (Right) as Bud FrumpFOUNDER in ‘How to Succeed ’S ISSUE in Business Without Really Trying’.
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Devesh Sharma pens down his experiences as an actor at Doon and University.
For this theater Valla, the first step he takes as he enters stage is about shutting his eyes, and flowing into a trance he would otherwise identify in his script as a documented character. In all simplicity, acting as distilled here is all about enjoying character, like a dream ex-63 H ‘14 that offers no second chance; the entire system of cast and crew is available with one chance for one set of audience to prove how passionately they had been Almost fresh from last year’s “How to succeed!” my working in the past. The final day josh often tends remembrance of Dosco Theatre is most certainly one to change the way an actor has been continuously of pride. I remember it, in its entirety, as a truly collec- performing in reharsals, ranging right from the most tive investment that rightly brought forth the josh of intricate of eyebrow movements to the up and down its units, be it the actors on stage, the AV squad boys runs of the stage. This change, as far as I remember or the Stage Committee members scuttling around the has mostly contributed with constructive additions stage in blacks .A dhamakedar performance was all to change exists, an actor’s strength is often judged about how well the director composed a team, each of by how closely he can replicate the rehearsals perforhis three cohesive units, to work together as one large mance in the final day delivery. coherent body, ensuring that all involved worked as a cohesive machine. The end product of a play is a fam- Moreover, with the ever attentive and uneasily satily of cast and crew in which all are well acquainted isfied guidance of our directors, every performance with others strengths, weaknesses and idiosyncrasies.. was not about replicating the perfect secret to a good A play brings with it a chance knowing numerous show, but to figure out a far better one that would identities and the consequent development connect with the audience as planned. True to the of one’s meaningful school’s ethos on excel- contacts. It is due to the lence, what makes the At Duke, professional drama’s driving force is not exactly school’s close knit a desire to please the audience, but performing to facilitate theater at Doon so specommunity, the benefits acting of co-actors and allowing cial is its every theatrical introspection. of this experience are partaker’s ability to everlasting for individuals of cast. It was all about the understand and undertake these characteristics. That perfect mechanical combination that would work year being said, observing theater at University has made after year, show after show and victory after victory. me realize something innately associative about Doon Even a stage committee member who is tired to death School Theatre. It is a self-contained affair which has watching the relentless rehearsals has volumes to take aligned itself to patterns. The key difference I perceive away from this test of patience, for him, watching the here at Duke is a massive difference in the approach same acts over and over again allows him to construc- to performing a show, and this difference has opened tively philosophize or maybe steer his interest to other up my eyes to a side of theater that I never considered facets of drama. The same applies for an actor that important before. remains in the dark backstage for majority of the time. I could perhaps attribute this attitude to the exStepping into the concentrated limelight of a stage tremely academic nature of the drama societies here is synonymous to an act of self-confidence, posture, since they are mostly comprised of people wishing to vigor and many other enthusiastically zealous words. pursue theater professionally, more commonly known However, my time at school taught me that it was as the Theater Majors. Here, performing a play is not indeed about something slightly different. And it’s the only about making it an excellent performance, but same lesson it taught the average Dosco Theater Valla. oddly it is also about making sure that every partici-
pant was placed far from comfort zone, where he may find it difficult to perform his dialogues, in order to ensure a learning atmosphere. Somehow, this made me realize that theater back in school was chiefly focused to be an activity that produced great and long imprinting shows that promised, at the same time, a collective as well as an individual learning outcome that every dosco would very often relate to in future activities. There was never a time when the focus of an activity, practice or discussion was solely a straightforward and a banal type of learning. I believe, that as a school, we should perhaps introduce a more educational approach to theater, which would further add depth to our skill and the feeling that dwells behind every dialogue. I also feel that as actors in Doon’s hectic life, we sometimes tend to concentrate our efforts perfecting a single dialogue or a single scene over others because we unreasonably believe that they may be far more important to the plot of the play. At Duke, this is not the case, efforts are are focused on interpreting the character and all scenes are equally important. The element of risk involved in one aspect of putting up a play associates with its entire quality and impact. Here, in university, the affordability to experiment is surprisingly high. Experimentation and risk taking by involving absurdist drama techniques into the main
stream; another example is the usage of a reductionist approach to theatre here at Duke as compared to that at Doon. At Doon, unlike some productions at Duke, it is inevitable for the A.V spot boy to know the precise movements of the actors. Moreover, many doscos started as A.V spot boys and ended up becoming actors with a holistic knowledge about drama’s mechanics. The unique element of this reductionist professional drama drama in some productions at Duke is the fact that their driving force is not exactly a desperate urge to please the audience, but performing to facilitate individual acting of co actors and allowing introspection in a purely professional sense”. Dramatics in school for me was everything beyond any simple watertight affair, at Doon, a seasoned actor would have tried all sorts of roles, brainstormed all varieties of rose bowl usages, may have stepped into the khud just to intervene with the routine runthroughs, may have celebrated a couple of birthdays between rehearsals. At duke and any other university, dramatics is not as social or collective a concept; to successfully play a role, you need to take it as a cage, with all your limbs required to tightly fit through the walls! This is exactly what that characterizes this` approach as professional and purely academic in nature.
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VIBGYOR
FROM MY FIRST FADE IN
Jai Ahuja (Left) as Shanti in ‘Khajoor Mein Atka’
Personally, I would not deem myself to be an actor.
Primarily because being an actor is not as simple as it appears to be. Stereotype suggests that any individual who can memorize a given set of dialogues and read them in a sensationalized form on stage with impeccable expression qualifies to be a well-crafted actor. Little does the average person know that the horizons of theatre extend far beyond what they seem to be. To be honest, I am nothing but a 16 year old with an avid interest in theatre, which only magnifies as I obtain experience and deeper understanding of drama through every play. Therefore, I do not write this piece as an aspiring actor or a renowned thespian, rather I write as an inspired individual attempting to recollect meaningful experiences acquired through a fruitful life within the dimensions of theatre and drama. I remember the first play that I ever performed at the tender age of 3, not by name but certainly by the feeling of satisfaction it provided me with. Playing the part of a British soldier in a crowd with a total screen space of 30 seconds may seem excessively trivial to most of you, but it was enough to instigate a theatrical spark within me. The following year, I was provided with the opportunity to play the most interesting role of my acting life, one that I do not feel I will be able to replicate ever again- a sunflower! Standing on stage for a prolonged period of time even without doing anything substantial is a daunting task, requiring grit and determination. It allowed for the development of that virtue within me, which most children of this age strongly despise and resent - patience. Effectively recognizing my theatrical interests, my father subsequently got me enrolled in a theatre workshop being conducted by the renowned thespian Mr. Alok Ulfat. A highly respected yet humble figure, Mr. Ulfat still remains my guru when it comes to theatre. Be it
Jai Ahuja, boy-in-charge of Hindi Drama, recounts his experiences developing as an actor in and outside the School. performing short-plays, dramatized skits or shooting for documentaries, Alok Ulfat Centre of Performing Arts is certainly where my ‘theatrical birth’ took place. Consequently, I became a member of the Ulfat theatre group as well, which I still count as the happiest time of my life. Further, after harnessing my skill and passion through a string of supporting roles, I landed my ‘first break’ as Akbar in the popular comedy ‘Akbar-Birbal’. I obtained a first-hand experience of professional acting in the form of critical acclaim and official applause. Humility was another addition to the qualities that I have learned through the course of my dramatic experiences over the years. Since then, there has been no looking back. After joining The Doon School, be it trivial roles in street plays or lead roles in Junior Productions, inter-house plays or Founders’ productions, every play has taught me a fresh lesson of life. Beyond the domains of school theatre, I further fed my passion for drama by working with various theatre institutions such as ‘Anupam Kher Actor Prepares’ and ‘Barry John Acting Studio’. Having worked on multiple theatre platforms and interacted with various thespians and budding actors, I have certainly developed the ability to judge quality and it goes without saying that the quality of theatre at Doon is nothing short of monumental. Be it hard work, perseverance, relaxation or determination, theatre is one such activity that encompasses it all. Day in and day out, it enhances individualistic qualities and transforms the worldly understanding and perception of the people involved. Theatre does not remain confined to a platform of expression. Rather, it is the epitome of positive individual change. Finally, I can summarize by saying that theatre is not simply a part of life; it is a way of life.
FOUNDER ’S ISSUE
PAGE 9
Comic-anda Cartoons and Propoganda Harshvardhan Singh discusses the ways in which cartoons have had an impact on our Dosco community and the global society. Last term while browsing the internet for posters for my study, I came across a genre that intrigued me. The genre was ‘Propaganda’. I decided upon gaining knowledge on a poster which had a caption “Are You Doing All You Can?” and a finger pointing towards the viewer. It made a direct eye contact which conveyed a strong message. Though intimidating, it evoked a feeling of guilt-consciousness and a sense of introspection in me. I found that it was a typical Uncle Sam poster. Uncle Sam, a clichéd personification of the American Government enjoyed fame and extensive use during the War of 1812. This term is derived from an individual called Samuelson Wilson, an ordinary meatpacker from New York who supplied rations to the army. This label evolved into becoming a symbol of patriotism i.e. the service of a common citizen towards his country. When Abraham Lincoln became the President, Uncle Sam acquired Lincoln’s iconic facial hair and top hat: a much required revision! By then he had become a part of American culture, often depicting the Democratic Donkey, the Republican Elephant and Santa Claus. Later, he was replicated as a physical identity through James Montgomery Flagg, who proudly bore all the intricacies of the cartoon. From a simple work of a pencil on paper, Uncle Sam had grown to become a loyal representative of the US government. The striking fact is that the captions of the posters directly attack the viewer. It’s difficult to escape the pointing finger and the accusing glare when they are directly pointed at “YOU”. It compels a human to think. In our school, the cartoons in the Weekly depict a penguin in the Dosco Doodle and DoonToon. The penguin is an iconic symbol of the average Doon School student reflecting the student community’s views on events happening within the four walls of Chandbagh. The penguin may have an exaggerated haircut to depict the various
KEEP CALM roles in plays or may be dragging a the four walls of Chandbagh. The penguin may have an exaggerated haircut to depict the various roles in plays or may be dragging a backpack larger than itself up a mountain to depict the arduous midterms! It gives us our own personal identity and character. However, I feel that this identity can be further employed to reflect the passionate views of the student community on various issues which can be better expressed by graphic arts rather than in words. The DoonToon is extremely catchy and impossible to miss. The age old saying of ‘love it or hate it, you can’t ignore it’ is applicable for the penguin and the subtle satire that almost never disappoints to get the message across while simultaneously spreading a slight smile across the reader’s face every Saturday breakfast. In India, we may lack a public cartoon figure but the works of Surendra in “The Hindu” are political satires that never fail to entertain the politically aware crowd. The purpose behind drawing cartoons is not only to poke fun at the concerned individual or authority but also to put across a message on a relatively lighter note. Legendary cartoonist R.K Laxman was popularly known for his works which directly captured the plight of the common man. It is indeed a very effective way of propagating views without raising acerbic feeling amongst the society. Also, I cannot forget the ubiquitous ‘Keep Calm and Carry On’ motivational poster made by the British Government to uplift the morale of the public amidst the chaos during World War 2.
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Shades of Me Digvijay Gupta, School Art Secretary, pens down his experiences maturing as an artist. Art is at its finest point, art. This statement is as explicit as it gets, and over my 6 years in Chandbagh, I have had enough experiences to testify to it. To start, as a D-former, I was just another tiny little kid, carrying a heavier bag than myself, walking indefinitely to classes and back to my shell-like holding house. I couldn’t have been anymore unsure of myself, devoid of any aims and hopes for the future, just waiting for the next Sunday to get a break from PT. There was definitely this inferiority complex in me, meeting all those new people with rather fascinating talents to showcase; just wishing I had one of my own. Most around me boasted of their skills in sports, whereas I was never so inclined. I was an introvert back then, who quietly went about his way; a thoughtfully creative introvert though, as from time to time I ended up in that small little set of rooms above the CDH, which was the temporary Art School. That was the only place where I felt a sense of worthiness and fulfillment. I used to rush up the stairs to the MDR for my art classes, and that was the only rush that wasn’t due to the time-bind of the Main Building bell. I do not remember everything vividly from that year, but for one dialogue between a certain senior and one of the bhaiyas. It was another one of my art classes, and the bhaiya was pulling out a canvas, when he looked towards us and then turned to the senior standing next to him. “The younger they are, the more thoughtfully independent they are.” he said. I didn’t really understand the significance of it then at that very moment, but I can never possibly get this happening out of my head. Over the years, our thought process is conditioned and we are taught how to imagine what is ‘socially fit and acceptable’. Our education aims at liberating our views and to enable us to act and think for our own; whereas, our curriculum generalizes our attempts at ‘thinking out of the box’, leading us into another box to think out of. This is where the cruciality of art steps in. When you pick up a paintbrush, it is as if you are holding onto it, letting it guide your hand over the canvas, and letting your thoughts breathe. As an introvert, art became my greatest medium of expression, letting me grow through it, as an artist and as a person.
VIBGYOR
FOUNDER ’S ISSUE
P A G E 11
As our daily routines start to become a drag, we tend to box up our creativity, which oozes out only as doodles and scribbles. No matter what a person would say, but the truth is that each and every individual is very much artistically-abled.
Creativity is always in-born; the struggle is not to learn art, but how to retain it. Art helps us realize this and proffers a vent to our sentiments and perspectives, which is essential for us to keep our jouissance and uniqueness intact and give eminence to our work. In 2010, the Art Department shifted base to the newly constructed charmer of Chandbagh. The new Art School was an infrastructural beauty, an art in itself. The very fascination for the structure kept drawing me into it day after day. When it came to choosing my 6th subject for ICSE in B-form, I was pretty frenzy. My heart was set on taking up art, but my father had designs of his own for me, the only argument being that I should be doing something that is useful for my future. I was swayed by his authority and reason, but only for a brief time and I found myself headed for the Art School yet again. Art was not about marks to me, nor utility, actually I was definite about the fact that it was nowhere associated with the career I had imagined for myself. All I knew was that it was my finest step towards my own complacency, which would last for an eternity. Overtime, as I matured as an artist, I let my artworks talk for me and earn my father’s respect; and as I dipped further into the eccentricity of this subject, it composed my personality and my identity. Art revealed my innermost secrets, without me even telling them, satiating my innermost desires, and letting me be the ruler of my own destiny. I was awarded my ‘Art Colours’ in A-form, along with a couple other form-mates. For my age, the award came pretty easy, along with the criticism and scrutiny of many. . It came as a reality-check to me that not all share the same perspective, and the ‘awe’ does not always come hand-in-hand with the award. I realized that I was still far from making an impact in Doon as an artist. Just ‘good enough’ is not enough when you can be better. The following year I was decorated with the ‘Best Sculptor of the Year’ award.
Womanhood: Digvijay’s sculpture displayed by the Arts University Bournemouth in New Delhi. Quality of work was rendered, accredited, and applauded, my credibility as an artist was evinced; and the ‘awe’ was earned. My house-master used to ask me around this time, as how would I want to perceive myself as, in a place where individuals try to be a master of many but end up only as the ‘Jack’ of all. In all lucidity, I knew I just wanted to be known as an artist. There is something an artist does unknowingly. The passion he puts into his piece, evokes an emotion that communicates the beauty, which cannot be expressed through words. Art lets you be whom you want to be, and brings people into your unlimited imagination, into a whole new world. Art is not taught; it is just felt. Letting your creativity drive you is art. Conditioning your creativity to norms of redundancy is just painting blemishes all over your thought-process. We ourselves are our best tools of art, and that is the very charm of it.
After I came back from an art competition, a certain master questioned the competency level of it, based on the repute of the participant schools. Now, here comes the question of how far the facilities can take us. Well they surely aid and abet us to an extent, but the ultimate element of perfection in an art-piece comes through the enterprise of the artist himself, regardless of the school, background or gender. To an extent, art is selfish. It is meant to appease the artist first, and then if possible, its audience too. Many and all can applaud a piece of art, but if the piece fails to quench its maker, no amount of accolades can justify its existence. It is more of a result of human nature that we cannot control. The purpose of art is to create a certain calm as an end result, which if not felt by the creator, is of no use. Today, I am the recipient of national and international awards of art, but as time has passed, I have seen that it is my artwork that I treasure more rather than the certificate. Art is the insanity that keeps me sane. It defines my purpose and originality. It is my finest way to make a statement, to provoke, and inspire.
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VIBGYOR
Decorating Decorum
In my belief, a value that is of great importance in today’s world is that of communicating and collaborating. MUNs imbibe this very quality in us and thus MUNs become what are considered to be the social aspect of art.. A world where a person is not able to adequately express himself is nothing short of a living hell, Imagine where one might land up if he is unable to communicate with those whom he calls his colleagues? However, another issue that is faced by most is that even though one finds adequate words to express oneself, the stature of these words often comes under scrutiny for lack of matter. MUNs ensure that an individual is up to date in terms of his knowledge regarding global affairs. Now, even though most of this information about MUNs portrays MUNs to be an epitome of intellectually stimulating debate on global affairs; what cannot be left unsaid is that at the high school level the witty rhetoric, the occasional ‘undiplomatic chit’ and delegate dances do ensure that MUNs are both stimulating as well as entertaining. The notion of connecting fun to the last ideal of diplomacy may seem absurd to all those who have not had the chance to experience it. Often when humour and rhetoric are associated with high school students the image that comes to mind is anything but that of diplomacy.
P A G E 13
Music and Lifestyle Naadir Singh
Ishan Kapoor discusses the charcteristics of MUNs which add to its ability of attracting mass involvement All of us are fully aware of the vibrancy and the momentum that characterizes MUN However; some argue that it is not the intellectual inclination towards hardcore diplomacy and international relations that they seek. All successful MUN’ers balance a healthy combination of formality and informality in their expression and manner as delegates of assigned countries. MUNs can be whatever we make of them. They can be an endless supply of enriching knowledge or even an opportunity to socialize. From a waste of money to an addition to ones CV or a passion to merely an escape from cyclic school routine, it is truly what one makes of it.
FOUNDER ’S ISSUE
Flash Mob during DSMUN lunch However, at MUNs it is this very form of humour that contributes to a particular delegate’s attempt at lobbying. Such delegates can often pull of the most hilarious ’remarks’ and still not violate foreign policy. This aspect of MUN never ceases to amaze me. Moreover, it is not only delegates who try to be fun; even Chairs take a shot at it. An interesting observation that I have made is that Indian MUNs are definitely more competitive than their foreign counterparts. There are, I believe, two reasons to justify this statement. The first is the fact that in Indian MUN committees are smaller and more intense. Their foreign counterparts host large committees in which a relatively more gullible audience is present and hence gaining support becomes easier. Moreover, in Indian MUNs most delegates follow a unilateral line of traditional thought i.e., we tend to think similarly. Hence, there is not too much variation in argument. That being said, whoever is more familiar with that stream of thought would most likely emerge victorious. This, in my belief adds to the rigour of Indian MUNs. MUNs are compilations of several artistic aspects, including drama and public speaking. These are regarded as the two skills required in order to win over an audience. Without a dramatic flair or developed skills in public speaking, swinging an audience and winning within the community is extremely difficult. Even the skill of writing has managed to wiggle its way into this event, in the form of the position papers and resolutions that one must submit. I was once told that while in debates you compete, in MUNs you cooperate, and that is the fundamental difference between the two. Even though compromise is a vital aspect of MUN, as in any other event, competition prevails. The competition between delegates and this friction is what results in one emerging victorious. Most of what we do cannot escape art, be it dramatizing your speech or imitating a friend.
The whole idea behind alternative rock and heavy metal is based on anger, frustration and sheer loudness with lesser focus lyrical prowess as compared to the emotion and honesty in the song.
For many, music is simply a source of entertainment or relaxation but on a wider screen, it has been instrumental in triggering many rebellions in terms of trends and changes in lifestyle.
system of the time. One of the song’s most famous lines still quoted today- Hey teacher, leave us kids alone. All in all you’re just another brick in the wall.
In the 60s, America was transforming. There was wide appeal and appreciation for what came to be known as the Hippie Culture or the Counterculture of the 60s. The youth began dressing colourfully there was rampant drug use. This period of time was a result of the kind of music that was emerging. In America, there began a trend of Swinging London style skirts and Beatles haircuts. The emergence of famous bands such Dire Straits and Pink Floyd happened in this era and their songs communicated socio political and anti war messages in a world which was undergoing extreme geopolitical tension. Thus, music played a vital role in the development of mindsets and lifestyles.
Time and again we see that music has shaped the face of change. Music is often a root cause for rebellious nature and volatility and change. The whole idea behind alternative rock and heavy metal is based on anger, frustration and sheer loudness with not so much focus lyrical prowess as much as on the emotion and honesty in the song, however it has also influenced its listeners in the same way. 80% of American teenagers spend more than 3 hours a day playing or listening to music. Music becomes an anthem for the youth that keeps playing on their minds and on their lips and tends to change the way they think, thereby planting a new seed for tomorrow’s lifestyle.
Music is a factor that changed people’s mindset all over the world as it was the basis of spreading of messages. Songs such as “We Didn’t Start the Fire” and “Winds of change” as well as “Imagine” by john Lennon helped spread peace. Artists such as Bob Marley were an outcome of that very Hippie Culture I had mentioned as he took a stand against the culture that existed in the world at that point in time; he stood against war and for human rights. The emergence of rock bands in the mid 20th century paved the way for the change and rebellion in trends in society. Some bands were rather unique in their ways and were generally anti-establishment in nature. “The Pink Floyd sound” was one that was an example of this anti-establishment feeling. Pink Floyd produced mainly concept based albums, there songs were rather and dark and psychedelic. Albums such ‘Animals’ showed us how corrupt the world was as well as highlighting a clear difference between socialism and capitalism through the use of animal metaphors. This album was critical of capitalism though it was not in support of socialism either. Their most famous album is “The Wall” spoke of the horrors of war and dealt with isolation, separation and drug abuse. However the band’s most famous song, “Another Brick in the Wall’ criticized the forceful yet ineffective education
The definition of a culture is always shown via the performing arts. The world in 1950 was truly defined by its music. Rock as a genre had been established by now and the whole world was in a trance, caused by the works of Cream, Sex Pistols, Pink Floyd, Deep Purple, Black Sabbath, Guns and Roses and the list will go on and on. The music the bands played were free and always conceptual in nature as it focused on spreading a message at every possible juncture. This is what caused the mass cultural movement and golden era of this period. It ignited rebellious feeling in people who as a result began to change mentalities and the ways in which society was perceived. Anti-war based songs led to the global community giving special importance on human rights and global initiatives. Music, as it has evolved through the ages, has forever been a controversial yet subtle form of emotion. Hence it is safe to say that music is a vital factor in the formation of opinion and prejudice. Rebellion both negative and positive is also linked with music and music has continued to influence our lives. It forever remains a mystique and intriguing art that can take us to heights we have never imagined.
VIBGYOR
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DIS COVER ING
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Vrindam Nagpal
~
Music is an art which is inspired from emotions and ideas. These aspects and feelings represent the very identity of a human being, signifying the unique and characteristic nature of individuals. The way to express these holistic ideas tends to vary from artiste to artiste. A tune, as an idea, can have multiple methods of expression with different variations, diverse percussion accompaniment, varied harmonies and instrumental representation. Hence, covers constitute an integral component of music interpretation of the performer primarily because of the multitudes of ways in which a single idea can be interpreted and expressed. Covers are recordings of songs where the original version has been reconstructed by another artist in accordance to his musical interpretation and expression. Therefore, every time we play or perform a masterpiece composed by Mozart or a hit single by Red Hot Chili Peppers, we are in fact producing cover music. In recent years, recording of covers has developed to be a platform where new talent can be recognized, acclaimed and appreciated. We have often seen young musicians perform covers in music competitions such as ‘X –Factor’, ‘Indian Idol’ or ‘The Voice’. A famous success story is that of the band “One Direction”. It gained its overwhelming popularity, especially amongst the adolescent music crowds after featuring and finishing third in X-Factor in 2010. From such a simplistic yet powerful platform, the band has transcended from ‘rookies’ to one of the most successful bands of the modern music era. Particularly gaining popularity through well-crafted cover productions such as ‘One Way’ and ‘Forever Young’, ‘One Direction’ clearly signifies the impact that modern cover music possesses. Justin Bieber is another example elucidating the powerby recording covers of various songs and sharing them on You Tube. Other live platforms such as the MTV Coke Studio and the Dewarists also a pivotal role in promoting talented musicians where artistes of different cultures collaborate ideas and develop cross-cultural and aesthetic fusion music.
An upcoming trend is the making of Acapella covers of songs. An Acapella is essentially choir of musicians who perform a song without any instrumentation and other accompaniment such as percussion. They recreate all the instrumental elements orally. The movie “Pitch Perfect” released in 2011 highlighted this form and made this style of music covering extremely popular. Music of any style, ranging from electronic to rock, can be successfully replicated in the Acapella style. Some of the most famous Acapella covers are of ‘Gotye’s Somebody That I Used to know’, ‘I Knew You Were Trouble by Taylor Swift’ and ‘Pompeii by Bastille’. Some of these choirs such as Pentatonix, The Street Corner Symphony and Rockappella have world-wide fan following and bask in highly emerging popularity. Since making covers includes copying music and lyrics, a number of legal issues are expected to come into play. However, the American Copyright of 1909 legally allows musicians of America to record another version of any song. In India, a musician can record a cover if she or he acknowledges the composer and lyricist rather than identifying it as an original creation. Moreover, today online services like Soundcloud and Beatport provide free opportunities to anyone to upload and share their music. Platforms like these not only bring versatility in sharing music but also encourage a musician to compose and share without the fear of criticism and failure. Thus, through this article, my motive is not only to introduce readers with the basic idea of a cover, but to make a much bigger point. What we forget is that, today, our society offers us a lot of chances to explore ourselves through various platforms available, all we need to do, is not give in to the fear of failure. The moment we start looking at criticism in a positive way and not get de motivated, we can go a long way. Not only that, but we can also explore our inner self to the fullest. So, the next time you are interested in experimenting with a song that you really like, go ahead and make a cover and share it. Who knows, you might become the next musical sensation!
(Based on inputs from Madhav Singhal)
FOUNDER ’S ISSUE
When Actions Speak Louder Tushaar Sharma discusses the various forms of dance prevailent in Doon Dance has been and continues to be an integral part of the culture and the holistic education at Doon, whether it is the inter-house dance competition or the ‘jam sessions’ in the house feasts. Dance as an activity has evolved tremendously and has now turned into something that every Dosco wishes to be a part of. Dance, as we all know, is an art form that generally involves movement of the body, often rhythmic and to music. It is performed in many cultures as a form of emotional expression, social interaction, or exercise, in a spiritual or performance setting, and is sometimes used to express ideas or tell a story. It may also be regarded as a form of nonverbal communication between humans or other animals, as in bee dances and behaviour patterns such as mating dances. Definitions of what constitutes dance can depend on social and cultural norms and aesthetic, artistic and moral sensibilities. Martial arts such as ‘kata’ are often compared to dances and sports such as gymnastics, figure skating and synchronised dancing. This striking art form has existed since the time the evolution of human beings took place, and has been in practice all over the globe ever since. The word “dance” conjures up different images for different people. Over the years, dance has evolved into several distinct forms. Different styles of dance are distinguished by many things such as shoes, music, and costumes. It has been observed and noted that every country has its own dance forms, such is the case in India where there are forms ranging from Kuchipudi in Andhra Pradesh to KinnauriNati in Himachal Pradesh. What never ceases to amaze about dance is that it sees no boundaries, and by doing this it has influenced so many lives even if it was just for a second or a very brief moment. A dance form which has gained immense popularity on the global-scale recently is ‘hip hop’.
P A G E 15 The quick movements and the jaw-dropping coordination required for this form of dance has mesmerized those who have witnessed it. Hip-hop dance refers to street dance styles primarily performed to hip-hop music or that have evolved as part of hip-hop culture. What distinguishes hip-hop from other forms of dance is that it is often “freestyle” (improvisational) in nature and hip-hop dance crews often engage in freestyle dance competitions—colloquially referred to as “battles”. Crews, freestyling, and battles are identifiers of this style. Hip-hop dance can be a form of entertainment or a hobby. It can also be a way to stay active in competitive dance and a way to make a living by dancing professionally. I feel that dance being so powerful and exhilarating, is now drawing a large number of boys towards this art form. It is incredibly encouraging to see how this activity has grown exponentially over the years. The school dance troupe has begun to take part in inter-school competitions such as Izhaar-e-Hunar Cultural Fest at Hopetown Girls School and the Milestone Dance Competition held at the St. George’s College. At the beginning of this term, for the first time in the school’s history a dance workshop was conducted for boys from D to SC Form. The workshop was conducted by the Brooklyn Dance Academy comprising Sahil Aneja (Sazzie) and his team of highly-trained dancers.The workshop was a huge success, and those who attended it truly did gain a lot from this rare experience. It goes without saying that the dancers have had to put in many hours of hardwork in order to reach such a stage of finesse. What seems to be equally heartening is that the standard of the inter-house competition has also been raised over the years due to the houses dedicating hours and hours to practice. The inter-house dance competition has now become one of the most awaited and popular categories in the inter-house music competition. Truly, dance is something that never ceases to amaze anyone. Unknowingly or knowingly, there is dance in each one of us. However, for the dancers, Rumi rightly said, “Dance, when you’re broken open. Dance, if you’ve torn the bandage off. Dance in the middle of the fighting. Dance in your blood. Dance when you’re perfectly free.” SOURCES: http://dancetheatre.net/sandysprings/classes.html www.utdallas.edu/~aria/dance/beyond.html
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VIBGYOR
FOUNDER ’S ISSUE
So You Think You Can’t Dance?
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Dance is the expression of emotion, the translation of it from the auditory to the visual. It has something unique that makes every person feel and live the moment. If you have watched Haider, the song, Bismil would be the perfect example for it. At the end of it, one would realise that a lot has been conveyed, only through a few movements. Such is the power of dance. One may call it a language. Another may call it a manifestation of emotion.
Abhinav Kejriwal, School Dance Co-ordinator, discusses the spirit of dance that has captured doon and the globe.
Jam sessions, house feasts and weddings – These are just a few of the many events in life that give us endless opportunities to let off steam and dance. Dance, as we perceive it, is a kind of liberation, a chain of free moments wherein every individual is free. In other words, it is the outward expression of the hidden emotions. You may have had many moments in your life when just one particular song would make you shake a leg. Most of this happens involuntarily. That is what is unique about this art. It can have many faces. On one hand, it may be used as a medium to connect with our innerself and beliefs, while on the other, many, like us may just want to let loose and ‘shake it off.’ BADA Dance worshop held at Doon in August
What is it that is so special about this art? Why does everyone love to watch dance? Why do we enjoy it more than anything? Why are music and dance two sides of the same coin? The answers are plain. It is very much like the question of which came first, the hen or the egg? In fact, it is speculated that music was created through rhythms, like the tapping of feet or the clapping of hands and so on. So, whenever we listen to the music of our choice, the brain sends signals to certain areas, and, whether we believe it or not, we are dancing. The difference is just of the internal and the external expression. A few express it outwardly, while the others just imagine.
The fact is that everyone is a dancer. However still, many of us underestimate ourselves. Why? The reason is that we believe that others may judge, observe or even notice us. To this, I just have one rhetoric. So what? Researches show that most of our inability comes from our thought. We assume that others might be looking at us; however, in many cases, it is not the predicament. Imagine a place where everyone is just dancing like nobody’s watching. Only then will we be able to realise our true potential.
Secondly, we all are connected. So, whenever we see someone do the dougie, or the famous macarena sequence, we are somehow attuned to do it. This happens simply because the brain activates these motor areas when similar movements are made or watched. Moreover, social bonding is sotmething which every-being craves for. Dance is a very special medium to connect with others. It often happens that during parties, a circle is formed wherein everyone does one particular ‘move.’ That alone exuberates such happiness that nothing else can. So, when we think, act, and dance together, we often tend to create a much stronger social bond than before.
Dance is the expression of emotion, the translation of it from the auditory to the visual. It has something unique that makes every person feel and live the moment. If you have watched Haider, the song, Bismil would be the perfect example for it. At the end of it, one would realise that a lot has been conveyed, only through a few movements. Such is the power of dance. One may call it a language. Another may call it a manifestation of emotion. However, for me, dance is as natural as breathing. It has not only transformed my ideology, but it has also made me happier than before. What each one of us needs to understand is that there is much more to dance than just showing off of
moves. And even if one has not got those skills, he or she may still be a brilliant dancer. At Doon, where most of us are so occupied with work that we are literally racing against time, we must take some time out to dance. And at a point, we would feel that we are not creating the movements, but rather crystallizing the energy of music, just as a television manifests signals. However, there is one particular thing that still irks me. Why are we limited only to Bollywood or Hip Hop for that matter? Why have we westernised dance to such an extent that we only care about ‘Jabbawockeez’ or ‘Diversity’? I consider myself to be a victim of the same thought process, and it may be hypocritical to say so. But, at a point, I feel that it is mainly due to the environment created in school that we are so westernised in this way. We need to understand that it was the Indian dance that revolutionized the entire concept. Indian dance and art was the main source to connect with the almighty. So, no matter even if it is subtly, we must dance to whatever we feel like. One must not feel that a particular dance form or a move would make others judge him.
Japan hosted the much awaited IPC Wheelchair Dance Sport last December, which witnessed over 200 athletes from over 26 nations. The event was a huge success and was a milestone in the lives of many. It set an example for the entire mankind that no hindrance can stop one from dancing. Similarly, we must not feel that we won’t be able to dance. More than the movements, it is the connect that matters. If you are able to convey the emotion, then you have understood the very essence of dance. Be it Hip Hop, Jazz, Tango, NY Lyrical, House, Popping, Samba, Bharatnatyam or any dance form, if you are happy, the purpose is served.
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A Kidney for an Eye Delving into the past
Josh Pasricha and Vansh Agarwal throw light on the changes in drama the school has witnessed over the years… In their wisdom, the founding fathers of The Doon School placed as much importance on what a dosco did outside the class as he did inside. Drama was placed as one of the most crucial activities responsible for honing confidence of doscos and incorporating in them a sense of professionalism and artistic talent. The merits of drama are not only confined to the claustrophobic setting of the MPH or the rose bowl stage on which actors spend most of their time. The horizon of this experience interacts meaningfully with bounds of other activities doscos are involved in, be it the usefulness of a dramatic technique in debating or a test of patience an A.V spot boy has to endure. There is something undoubtedly profound that happens to you when you’re up there in the arc-lights, seeing nothing beyond the circle of light that stares you back and yet being seen by hundreds of people. It is liberating moment of self-expression – quite ironical considering that you are expressing a character that has, in all likelihood, nothing in common with you. Over time, with the evolution of theatre, there have been revolutionary changes with the drama situated in and around our beloved Rosie, making us productive and efficient year by year. Earlier the choice of plays tended to be singularly conventional: bland drawing room comedies - very British and ‘pucca’, they were common favorites shown now and then. There was no surprise element, no secret ingredient; they were straightforward presentation of classics. Today we fancy towards the experimental: re-imagined classics, screenplays adapted to contemporary times, and edgy themes that address socio-political issues that most easily add depth to our awareness without much mental taxation. Drama in Doon is not only about self-expression anymore, it is about expressing the angst-ridden zeitgeist of our times.
VIBGYOR
FOUNDER ’S ISSUE
P A G E 19
Here’s another change that most directly concerns the scope of boys’ involvement: Back in the day it was not a rare sight to see boys directing and producing some of the Founder’s plays themselves, boys also used to design costumes and do make-ups of cast. Today, most of the above is done by staff members or their spouses, indicating that the plays are a lot more slick and professional and certainly look good when served up to guests. Theatre then was more of an opportunity for the boys to create using their own hands, inventiveness and creative innovation (that much abused word!) What they created was not necessarily beautiful or poignant but they put their hearts and souls into it. But today the world values style over soul. Artists are willing to twist and turn their naturally cultivated passion into something that heavily pays them off. Earlier, the khud (depression behind rose bowl stage) found extensive usage in the facilitation of character movements such as the entries and exits. When actors used to come rushing towards the rose bowl kidney from the khud, the outcome was a relatively profound one that used to tighten the actor-audience connection. The khud was an extension to the
central stage that provided the actors with a relatively spacious ‘backstage experience’ and a clearer view of the play that enhanced accuracy of entrances and increased audibility of cues.
Moreover, characters were also pushed into the khud instead of panels; this also led to an enhanced dramatic effect and theatricality. In ‘Macbeth’, the khud was used for movements of Burnam Woods which not only facilitated the play’s smooth progression, but also increased its captivating ability. The audience’s vision was not made to confine on the center stage for the entire length of the play, it shifted beyond that towards the khud and added variance to the overall dramatic effect. The central tree in the rose bowl was also used in various plays to add a dimension to the actor’s movements. In ‘A midsummer night’s dream’, the tree was used for convenience of Puck’s movements. Now, with rare usages of the khud, the quality of productions has been touching skies because of a more conscious effort to use space efficiently and intelligent panel arrangements. With this, the shifting of props on and off the stage has become a smooth process
Rehearsals in progress at the Rose Bowl
that occurs in synchrony with an even smoother lighting setup. Unlike before, props are now only placed at their positions when their usage calls, the stage is not as cramped and optimum acting space is ensured. On occasions in the past, the two tall light lamps were also used to tie props like chandeliers across so that they hung right over the middle of the stage in order to add intricacy to setting. The statues surrounding the rose bowl stage also served useful purposes in various plays. In the junior summer production “The fire raisers”, the three standing statues behind the stage were covered with cloth and props were made to lean on them. Hence, the statues served as a crucial prop in that play. The Rose Bowl is the centerpiece of drama at Doon. The transition of the rose bowl from ‘the kidney’ to ‘the eye’ established a milestone in the school’s history. Moreover, directors and some actors have divided their timelines in school as ‘before eye’ and ‘after eye’! Very predictably, this transition was followed by a herculean impact on our productions. It paved the
way for a more comprehensive interaction between the audience and the actors. The uniformity of the stage overcomes past hindrances and widens the scope of direction. Relatively, it also puts us in a very comfortable position to experiment with the shoulder-main stage connection of the rose bowl. The Rose Bowl is also the quintessential place for staging Shakespearean theatre as the impression and experience has developed. It allows convenient entrances and exits from all possible sides which come without any artificiality of manipulated actor movements. In these plays, the usage of panels was also restricted as the intention was to make the setting seem as natural as possible. The intention was to achieve an equally powerful dramatic effect by compromising on panels and concentrating efforts on increasing quality of acting that can survive on its own, with minimal usage of comforting measures. The usage of floor microphones was also kept to a minimum and natural voice projection was emphasized on. These changes, and many more not mentioned, contributed voluminously to the evolution of drama in school and made it what it has become today.
VIBGYOR
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FOUNDER ’S ISSUE
year, I tried to “lead by example”, as they say. Now I can just hope that the steps I took to empower the artistic society of Doon will be followed justly, and a gradual change will be brought about.
TREADING A FINE LINE Madhav Dutt (ex-35/k) projects his views about art in school and how it is perceived by the DOSCO community
India’s creative scene is thriving in every sense of the word: Indian contemporary artists, both young and old, are receiving recognition at home and abroad. In New Delhi, various sections of the city are becoming art hubs, replete with art students flocking about, visiting art galleries and sitting down at music cafes to work or study. Even the buildings in these areas are steeped from the top to the bottom with street art and graffiti of every shape and size.
Then, we were quickly made to sit down and start working on a new work in a different medium, changing our supplies almost as fast as we changed ideas. In a 40-minute class with about 25 eager learners, there would be little time to give individual attention to line drawing and painting techniques. It was only when students reached a particularly difficult portion of their composition, that they would consult the teacher or one of the bhaiyas who’d do it for them.
Art is a life skill: the possibility of pursuing it professionally isn’t important when it’s being taught at a high school level. Regardless of whether or not a student may end up pursuing a career in a creative field, basic art education is of imperative importance. This is primarily because creativity is all encompassing: in some way or the other, it affects affect everyone’s lives.
I see a world of a difference between the Art School of the yesteryears and the Art and Media Centre now. The facilities on offer can rival those of many art and design colleges, and the teaching staff is beyond helpful. Despite an uproar against it from the students, art theory and geographical knowledge of art styles and periods etc. have been introduced into the curriculum. Art History is a degree major that’s trending in Universities these days, and teaching this material in school gives students a unique insight into the fundamentals. So this particular introduction to the syllabus will definitely benefit the students in the long run.
With this in mind, the ultimate goal of teaching art - at Doon or at any other institution of this caliber besides establishing bedrock of basic technical skills, is to leave the students creatively inspired and artistically curious. Piquing a budding artist’s curiosity is the best thing an art master can bestow upon his disciple. It’s also an essential building block in the special brand of all round education that our school boasts of. The Art Department is extremely enthusiastic and half the battle is already won by our Art masters with their willingness to teach, and their patience. In 2009 when I first entered the Art School (a three room complex above the Central Dining Hall that was stuffed to the brim), things were very different.
Over my time at Doon (a significant amount of which I spent in our Art and Media Centre), I observed that there are some widely held misconceptions about Art which need to be dispelled so that greater interest in Art is generated among the boys. It is not just Doscos, but many who perceive art as just a ‘time-pass’ activity, to which not much thought is given. It is not given its due importance in the line of preference. The Art Department is highly ‘lenient’, for it is crucial for free-flow of creativity; however, this ‘leniency’ often criticized by others and exploited and misused by some of us.
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This interest will come only when students truly approve of the way art is perceived in school. Senior art students also play a role in attracting students to the activity, as they provide juniors with an ideal to strive towards. Our old boys spread the name of Doon in ways that are otherwise impossible. Every student produced by this institution takes pride in the alumni society he/she joins. Anish Kapoor, a hugely successful contemporary sculptor (with a net worth just shy of a billion US dollars) is an alumnus of our school.However, he was able to fully immerse himself in his creative side only after school. Like him, There are many brilliant minds that enter our hallowed halls every year, which is why it’s crucial that we supplement and nurture them, for art is a crucial facet of formative learning. Acting at the c a p a c i t y o f t h e S c h o o l A r t S e c re t a r y o f l a s t
Besides, Art is mostly considered to be something commercial, something decorative, and the true essence of it is not realized. That Art is a creative pursuit that opens up many facets of our inner selves and that creativity is a re ward in itself has to be inculcated in the minds of the students. We should learn to do what we love, in order to love what we do; and our passion for an activity should not be based on what it has to offer us.
It’s an issue that no amount of funds and resources can solve. What’s needed is genuine interest and initiative from the students that emboldens both the teacher’s enthusiasm and results in a more nurturing en -vironment. A symptom of this would be an increasing number of students taking up art as a subject in senior years, and more students visiting the Art School not out of compulsion but as a result of a genuine desire to express themselves on paper and canvas.
VIBGYOR
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IS THERE A FINE LINE? Parth Khanna puts across his views as a nonart student
“ The best reason to paint is that there is no reason to paint... I’d like to pretend that I’ve never seen anything, never read anything, never heard anything... and then make something... Every time I make something I think about the people who are going to see it and every time I see something, I think about the person who made it... Nothing is important... so everything is important. ”
number of art awards Doscos roped in, at various national and international level competitions including the Visual Arts IPSC.
To me, art is more than just a ‘productive’ avocation. It is a way of washing away the stress that one acquires from the monotony of the everyday schedule. The “Art cannot be defined”, is one of the mainstream anvery nature of art is relaxing to the extent that Art alswers that one obtains when the core meaning of the term is brought into question. The entire notion of art lows me to spend time playing with my own thoughts as a result of which I get to explore more about my continues to stir speculation and debate even today, own self. With each stroke of brush and each press being open to multiple interpretations and explanations. However, it is usually regarded as a product that of mould, I learn something new. Even though I provides for physical expression of one’s personal have never taken art as a subject, I have always been emotions, motives and feelings. In a spiritual context, actively involved in the various workshops and other it is said that Art exists everywhere around us and the events in the Art school. This committed involve‘Almighty’ is the ‘Ultimate Artist’. This point clearly ment in the activity is something that I am proud of, reflects the power and strength that art possesses as as it is completely my own decision. People somean expressive medium. times comment on this decision, saying that I could do something more ‘worthwhile’ with my time, rather Art at Doon has gained much popularity among students over the years, the credit for which must be giv- than squandering it away in the Art School. They ask en to the supportive faculty of the Art School and the me what I get from Art, and where will it get me in the near future. Well, my answer to that is that art keeps successive Secretaries of the Art Society. It is indeed the hospitable environment that is cherished by most me sane in this goal-oriented world and makes my art students as it gives them a break from the rather entire thought process more prolific and independent. mundane activities. Honestly, art has not really been a I sympathize with those who fail to feel the essence of popular choice as an academic subject beyond C form, art, which is a different life in its own. but the ambience of the Art School certainly draws large number of boys to dabble with paints or try their I feel that in school, all of us tend to follow the herd hands at batik or pottery or sculpture… mentality. We all want to get noticed for our efforts The level of passion so many people have for art is ev- and endeavors, and in that respect, we tend to be over-ambitious and ignore the fact that art allows one ident from the number of impressive haul of trophies the leverage to express him in any manner he deems from reputed competitions. This is a clear indication comfortable. After all, we work and strive to achieve of the bright future of the school in this aspect. Since the time I joined school, this year saw the highest our notion of euphoria.
FOUNDER ’S ISSUE
P A G E 23
To me, art is more than just a ‘productive’ avocation. It is a way of washing away the stress that one acquires from the monotony of the everyday schedule. The very nature of art is relaxing to the extent that Art allows me to spend time playing with my own thoughts as a result of which I get to explore more about my own self.
- Keith Haring
While on stage, performing a musical or a drama production, there are many in the audience ready to judge; whereas, an artist’s work cannot be judged instantly; it is judged constantly. Art work totally depends upon the perception of the viewer and this is one of the many reasons that I find myself in the Art School day after day. No piece of art is a failure; it’s just simply and undeniably art, and that is the very essence of it. In addition, I feel that art in Doon is taught just the way it should be taught in any other reputed
institution. The Art Department provides the students with the required push to take off into the artistic side of Doon, by promot -ing originality and building upon the variable creativity of each and every individual who seeks support. People often criticize the Art School and talk about the problems related to the inevi table issues that arise when cre -ative and independent-minded people work together, rather than programmed machinery pieces described as professionals. The Art Department espouses liberalism and leniency, which in my opinion is a unique asset to any department in Doon.
The whole purpose of this article is not to spur people to turn to art, but to present another perspective of a non-art student about the whole concept of it. This is my attempt to break away from the conventions of the society and do what I feel is correct. Therefore, any contrary opinions generated are welcome and respected. However, for me personally, art in itself is neither wrong nor right. It is merely a moment of euphoria, which gives me more pleasure and contentment than anything else.
VIBGYOR
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The Audience An excluded crew member
Rudra Srivastava
I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries. Frank Capra The audience can make or break an artist and the show he puts up. Though regarded as a passive element in theatre, the audience serves as a completion to art forms, especially for that artist whose passion survives under a very unpredictable condition: the audience’s appreciation. The larger purpose of artists is to connect with a set of audience he faces in order to manage a “show worth watching”. An artist, in most cases, does not have the luxury to compose an audience best suited for the appreciation of his work. What characterizes an open-minded artist is his willingness to pay respect to all constituents of an audience; whether it is a kid with an innocent “I was bored” or a critic with a supportive appreciation Speaking from experience, rehearsal performances never top the final act as they are away from the influence of a receptive audience, and are rather driven by the morose faces of empty chairs which await the audience’s occupation . The audience views a show in context of an artistic self awareness, making it inevitable for multiple interpretations to follow conditioned by different perspectives. These interpretations go down to determining the impact of a performance. A play being performed in an audience with a majority of students differs more than it seems from a performance taking place in the midst of adults. Certain jokes and satirical comments passed by the actors are only successfully caught by the adult audience. Hence, a play evoking gravitas and painting a caricature of a certain figure can only be meaningfully absorbed by a mature audience, provoking the intended response. Whereas a younger audience will be clueless during the same. Directors, as a result, stage specific plays keeping in mind a specific group of society, they toss in nuances and engineer suggestive looks of props without being too optimistic about their intended impact since the composition of the audience
FOUNDER ’S ISSUE
is largely unknown Pulling off a versatile play that connects with all sects of the audience characterizes modernized and innovative direction. Plays generate varied receptions from different communities scattered on the seats, History has seen certain productions banned within communities as they disregard or belittle their religious or social beliefs; Berlolt Brecht, a theatre practitioner of the 20th century, wanted the audience to realize that they were watching theatre and not simply real life. This he achieved through the process of alienation.. Brechtian theatre or “Epic theatre” differs completely from Dramatic theatre in that it employs the spectators on the stage providing them a self experience of the situation. Greek theatre has relied on the audience from centuries for the success of a play. A pact between playwright and audience is observed from the Chorus intervening in the battle between Aeschylus and Euripides that takes place in The Frogs; Aristophanes took the audience into account in the plays he directed. Greek Unorthodox theatre was closely tied to Athenian life with its social, political and economic conditions and thus drew the audience closer to the authentic narrative and storyline. The survival of any kind of theatre and its evolution depends upon the adaptability of the audience; a truth that largely characterizes the universal approach to theatre Meyerhold, a Russian theatre director, scientifically acknowledges the pivotal role of the audience in naturalistic drama, thereby taking the trappings of theatre beyond the four invisible walls of the stage into the audience. Moreover, at times even breaking this fourth wall by directly involving the audience to expand the gripping scenario of the play His precise words were, “How did medieval drama succeed without any stage equipment? thanks to the lively imagination of the spectator.” In realistic theatre, the audience is observed as a non-acting part of the cast, placed outside, beyond the theatrical activities. In the play Candida, the audience is equipped enough in order to draw a conclusion before the actual end of the performance. The spectators can also be placed behind the stage actors. The play Ghost Sonata perplexes the observers who are not quite sure what is happening. They sit tight on their seats and silence surges softly into the hall while building up to the climax and elevating the suspense. SOURCE: https://my.vanderbilt.edu/goodperson/brechts-dramatic-theory/
Jesus Christ Superstar being staged at the Rose Bowl
My Way OR Broadway Devansh Agarwal throws light on some of the Broadway adaptaions that have been staged in school.
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A Midsummer Night’s Dream
being staged at the Rose Bowl
With cinema taking the lime light in any and all forms -iate class positioned between the workers and capit is indeed astonishing to witness the cultivation of italistic owners. Through its plays, actors and theatdrama through this ‘rough period of theatre’. Regardrical setting, Broadway was able to connect with the less of various factors that have often come into play, masses. A major issue that was faced by many at that the one factor that has been a constant in terms of time was that of ‘nerves’. The first goal that Broadway theatre is that of Broadway. What had started off as a directors had was to establish a form of theatre that simple building project on the streets of an upcoming would not intimidate the common man; a form that Manhattan has in turn become one of the greatest was both acceptable as well as relatable. Hence, music contributors to the formation of modern day theatre. and drama were coupled together. With that there ocHowever, most people are still oblivious of the fact curred the birth of musicals on Broadway. What many that Broadway was not always bells and whistles. In people fail to grasp is that knowingly or unknowingly, light of all the inspiration that our Founder’s musicals exposure to Broadway productions plays a pivotalrole have been drawing from Broadway, it is only fitting to in the formation of an individual’s mindset. Consider shed light on how Broadway the case of our School. The The first goal that Broadway directors shaped present day theatre. had was to establish a form of theatre concept of at musical was The very first thing that strikes that would not intimidate the common something that most of us one about scripts that have been man; a form that was both acceptable were completely oblivious to enacted on Broadway is the as well as relatable. before the production of Jesus diversity. The most apparent version of the same was Christ Super Star. The incredible sanguinity of music the enthralling performances of Midsummer Night’s exemplifying the acting is something that had been Dream and Jesus Christ Superstar followed by the alien to me for a long while. From what I gathered light hearted yet brilliant nature of How to Succeed in there were many other people who felt the same way Business without Really Trying. However, these plays and eventually this fuelled my interest in the field of account for a rather small portion of what Broadway musicals. truly represents in terms of diversity. Modern theWhen I consider Drama on the whole, the first thing atrical experts don’t consider the first three decades that comes to mind is that of a mask; an opportuniof 20th century American drama to be of any importy to change myself into something that was once a tance. What they contest is that Broadway was just mere figment of my imagination. Broadway musicals a source of frolicsome entertainment that bore little merged this sense of relief along with a sense of solor no relation to the volatile forces, both social and itude; solitude that I only found in music. Therefore, otherwise, that were shaping America as well as the Broadway has contributed not only to the growth of outside world. Little did these ‘experts’ realize that it society but has also had an impact on me on a personwas this very ‘frolicsome’ entertainment which led to al level. social reforms of great magnitude in the future. The very first ripple of Broadway was felt by the intermed-
S. R. Das’ effigy by Latika Katt PAGE 26
VIBGYOR
Fateh Singh Phoolka talks about Doon’s artist alumni
The Doon School has had the privilege to serve as ground zero for some of the inordinate artists of today. Anish Kapoor, Latika Katt and Vivan Sundaram are a few of them who have reached the seracs in their respective forms of art .Their success stories were given a kick-start due to their experiences at Doon. Under the orchestration of revered art-masters such as Rathin Mitra, the art-oriented Old Boys have been able to explore and appraise with their artistry. Rathin Mitra served in Doon as an art-master for over 25 years, having joined the school in 1954. He insightfully recognized the flair of many young Doscos and helped them improvise. He himself was an established artist and even today his lionized technique of line drawings is remembered and appreciated. One of them is the panoramic line-sketch of Chandbagh, which is placed in the Kilachand Library. Ranging from sketches of mosques, temples, bazars to monuments in Calcutta, his works are a feast to the eye. Some Old Boys who have had the privilege of getting their artistic-bent nurtured by Mr. Mithra say that once his appreciation for a certain artwork by a student came in the form of a ‘smiley’ drawn on a tissue.
P A G E 27
Orchestra Over the Years
CHHOTA HAZRI DAYS “Aristocracy of service”. As Doscos, we have persistantly heard this phrase while quoting our first headmaster from time to time. It’s echo is a reminder to us that Doon is an ideology, incepted to spawn leaders of ministration. This ‘service’ ,as discussed, is appurtenant to each and every discipline a Dosco gets into. When we walk out through the gates of Chandbagh, we are expected to be individuals of productive influence to the world outside and leave a legacy while doing so. Our distinctly buoyant Alumni corroborates this statement to be true. The Doon School has, over the last 78 years, nurtured multifarious leaders and innovators in almost every sphere, ranging from politics and international relations to filming and photography. Another such sphere to have experienced success is Art.
FOUNDER ’S ISSUE
~ The person who got the maximum tissues in a month got a samosa treat from him at the end! This was one of his unique ways to encourage young students. Mr. Mitra was himself an accomplished artist as all his works are a national treasure now. Doscos have their own share of perplexities, but they never let them turn into failures, and that is exactly why they are Doscos. Anish Kapoor’s time in Chandbagh wasn’t a total bliss, but he never let that deter his pursuit of art. Today, he has won much prestige in the world as a sculptor; his ‘Cloud Gate’ in Chicago being one of the most acclaimed sculptures of Modern Art. Those walking out the gates of Chandbagh also include the fairer sex this school rears, who are no less in making Doon proud. The effiggy-sculpture of Doon’s founder, Mr. S.R. Das, was constructed by Latika Katt, who graduated from Doon in 1966. She admits that her ’Dosci’ experience deeply impacted her professional life, as being a minority in an all-boys school gave her the confidence and courage to pursue her passion for art. She is known nation-wide for her work in stone carving, metal casting and bronze sculpting. Her talent was spotted by Indira Gandhi in an art exhibition, who then persuaded Katt to take up art as a profession. She is most notable for the Beijing Art Bienalle Award. Another prominent artist-produce of Doon is Vivan Sundaram. He primely works with contemporary form of art, expressing his ingenuity through paintings and installations. Recently ‘installation-art’ has become a trend in the Chandbagh itself. Till date, the works of these noted alumni are displayed in the school and treasured by generations of Doscos. The mastery of these artists clearly shows that the Doon School has been a source of inspiration to them and will continue to be so to various other Old Boys who are pursuing art as a profession.
Krishna Lohiya
~
Every day, well at least when we do have assembly, we see the School Orchestra playing passionately. Perhaps, all too often we just look at the group without thinking about the significance of the independent roles of the members of the orchestra and how all that blends together to give the final convincing aesthetic appeal. Most of the time, we don’t even reflect upon the history of the concept of orchestra and the changes that have progressed in this essential musical element over the years. I draw most of my information and inquisitiveness from my Trinity lessons. The orchestra first burst onto the scene when it was at its most rudimentary level. In the 11th century, it was simply identified as a group of instrumentalists who were playing a musical piece. With the inclusion of new instruments, this concept was harnessed till the ‘Baroque era’, through the performance of oratorios by ‘Handel’. In the ‘Classical period’, Mozart wrote concertos and operas for the orchestra while Beethoven is attributed with adding the standard complement of double wood winds and brass to orchestral music. The 19th century signalled the dawn of the ‘Romantic era’ where the orchestra underwent enhancement in the context of number of musicians and instruments involved. Before I move on to the basic crux of my article, I want to simplify the groups in the orchestra by elaborating on the orchestral families. There are four families in an orchestra- Strings, Woodwinds, Brass and Percussion. The string instruments include the violin, the cello and the double bass. The woodwind family includes instruments such as the flute and the clarinet. The brass family comprises the trumpet, the trombones and the cornets. Since percussion refers to the production of sound through hitting another object, the members of the percussion family are the bass drum, the cymbals, the triangle and the glockenspiel and the xylophone. During the Classical period, the orchestra was rather
concise and had only about 8 woodwinds, 2 brass instruments, 2 percussion instruments and 38 string instruments. Naturally, the number of string instruments involved in the orchestra has to be exceeding other instrumental components. Without this necessary prerequisite, the orchestra faces the threat of being drowned out due to the acute lack of amplitude or intensity. In the Romantic era, the orchestra became much vast with a variety of instruments being implemented. During this period, 8 woodwinds, 10 brass instruments, about 10 percussion instruments with about 50 strings with the possible inclusion of the harp were being used. In the later years of the Romantic era, the orchestra further expanded with the increase in the number of instruments for each section. The purpose of this article is to analyze as to why this change in the size of the orchestra primarily took place. There are two main reasons for this. Firstly, comes the point of the discovery of newer instruments and their compatibility with other established orchestral instruments. Secondly, the influence of the works of certain composers during this period revolutionized the style and perception of the institution of the orchestra. Starting with the first point, in the Classical era, the harpsichord and the clavichord were both more popular than the pianoforte or the piano. This was primarily because it was a recent discovery providing for excessive experimentation and varied usage. However these developments did not minimize the usage of piano involvement in orchestral music. Some of Mozart’s most critically acclaimed music such as his ‘Concerto in C major’ was written as a ‘Piano Concerto’. As the ‘Industrial Revolution’ came to pass, the materials required in the piano were acquired with ease for a cheaper price and were of enhanced quality. This was one of the primary reasons as to why the piano became so famous in the late 18th century. The transition led to the piano becoming more popular than the harpsichord and the clavichord due to its refined sound and ability to control the dynamics and the length of musical notes. The orchestra has changed and evolved over time for many years. The final template of the late Romantic era is the one that is more or less in existence today in most orchestras. This institution has a rich history that has been moulded by various discoveries and innovative composers whose ideas have revolutionized the manner in which orchestra is perceived, interpreted and appreciated. SOURCES: en.wikipedia.org/wiki/Orchestra https://sites.google.com/site/retromusics/evolutionoforchestra
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Truth or Lies? Improvise. Arth Gupta Improvisation is that instantaneous, intelligent inclusion in drama which not only keeps the continuity and meaning of a play protected, but also reveals how intimately attached an actor is to his role. The striking element that differentiates theatre from various other art forms is its inherently flexible nature, a room for an actor to accommodate improvisations in order to maintain or meaningfully add tto the force of the play. A script written by an author is open to being directed under multiple perspectives, as determined by the different meanings and contexts one plans to manipulate with for a set of audience. But most plays remain incomplete without an element of uncertainty, more often than not; this element is not majorly confined to the plot or the script, but to the actors and their acting. This is where improvisation steps in. Uncertainty is involved with what an actor expects out of a director, the audience responses and the final day errors that are filled in and backed by improvisation. Improvisation, though not necessarily evident in every play, forms a backbone to an actor’s actions. The treatment of this concept is highly subjective, and this is why directors aim to establish a common ground for its cast in order to ensure that their improvisations do not deviate from the consistency of the plot and mood. Improvisation is that key element of theatre which is not only a need of the moment, but also like an art in itself. Theatrical improvisation is used at various instances, but more often than not, it is used by actors to fill in any gaps that any unplanned event creates. Considering that the audience is unaware of any activity that is predetermined, improvisation techniques are used by actors to maintain the rhythm of the play. In fact, if done smoothly, these instantaneous improvisations often appear as actions that have been rehearsed countless times before. In a situation where props are kept in the wrong position, actors may choose to pick them up while saying their dialogues and place them naturally where they are supposed to be, hence, removing hindrances from actions of co-actors. Improvisation technique is a crucial exercise that trains actors for stage, film and television. The quality of improvisation not only reveals the strength of an actor, it may also lead to new discoveries in space usage and dialogue delivery, ex-
VIBGYOR panding the scope of acting at the spur of a moment. Various methods of improvisation can be used by actors on stage, for example, cutting someone’s line for the purpose of reminding them of anything missed, or saying a dialogue which wasn’t theirs to say. This concept is not only centralized to the cast, in situations of serious unpredictability, the crew, in addition to the actors improvise. It is a unity of both the components that leads to the perfect outcome: an adjustment in props, lighting and spot movement in synchrony with expectations and improvisations of the cast members. At times, characters even alter their entries and exits with an attempt to undo any mistakes of their co-actors. Mute theatre, known as ‘commedia dell’arte’ was highly improvisational, as it dealt with pure action without prop or dialogue. However, through repeated performances, its characters developed stock acts and speeches. Meanwhile, stage business and its scenarios gained a fairly standard form. Much of Asian dance and theatrical activity comprises improvised arrangements of stock scenes, movements and speech.
In fact, if done smoothly, these instantaneous improvisations often appear as actions that have been rehearsed countless times before. At times, characters even alter their en -tries and exits with an attempt to undo any mistakes of their co-actors Good improvisations are also a sign of good actors, as the spontaneous element of acting can be performed well by only actors who are experienced and have a sense of stage. Sometimes, improvisations also enhance the momentum and feel of the play, as it leads to acts and sequences which were not only unexpected for the audience, but also for the actors themselves. The truth about drama is that a play is not always performed exactly the way it has been rehearsed, as the final day has its own share of “special” differences in every aspect of acting. Under such circumstance, these elements of uncertainty are the ones which make or break the intended impact. Improvisation is like a microcosm in the art of theatre, it possesses elements of creativity and quick-wittedness, all of which arise from uncertainty!
FOUNDER ’S ISSUE
Waiting for Godot being staged in the Rose Bowl.
P A G E 29
To Absurdity
and BEYOND...
Yash Dhandhania gives an overview of Absurdist Theatre
Theatre of the absurd derives from a very trending concept that humanity and the present condition of mankind is, after all, absurd! This absurdist form of drama originated in France and several immigrant writers such as Samuel Beckett and Arthur Adamov took to its style instantly. They, furthermore, produced one of its best works that stands till today as a display of the defining qualities of absurdist drama. Now, writers all over the world have adopted this style into their cultures with several Indian contemporaries including Krishna Baldev Vaid and Badal Sirkar emerging to the fore. Theatre of the absurd is dotted with subtle and occasionally sardonic humour, which the characters logically use to come to no apparent meaningful conclusions. The characters employ deduction and reasoning, but do it in a way that there is no satisfactory outcome or meaning of the banter, which fills the audience with expectations and add suspense to the atmosphere. The plot of absurdist theatre is often only the canvas and setting which the author both starts and ends with, to paint his ‘absurd storyline’. Of course, most of the works which cater to this genre often present a deliberate absurd reality, with stock characters acting with unmitigated contradiction to their stereotypical traits, parallel to how Jonathan Martinegrom puts: “The whole world seems a little ‘worse’”. One of the most popular works in this form is ‘Waiting for Godot’ by Samuel Beckett, which I find second only to another one of Beckett’s works, ‘Endgame’. . In fact, in 2010, our school was graced by the performance of this play by a star-cast, including the eminent thespian Naseeruddin Shah. Despite the fact that I was in D-form at that time, I still remember the cautious laughter I would choke out when a master would laugh at one of the, now obvious to me, instances in which the play sports humour. Despite Beckett having translated the piece from French to English himself, he admits that a lot was lost in translation. However,
the variety of topics and social ideas that he has addressed are enough to sustain a lengthy debate on the various interpretations which could be derived from the play. In fact, from a viewpoint, ‘Waiting for Godot’ is the perfect example of this genre, addressing almost everything France had to offer to Beckett’s literary taste and grasp; from unemployment to the unfairness of the mass, it has it all. The story begins with one of the characters, Vladmir, trying to pull off his boots and claiming to have spent the night in a gutter, after having been beaten by some local peasants. He clings to this one thought and begins to brood over it while thinking about Jesus’ crucifixion and soon their conversation transforms into a rather mundane banter, which is exactly what lies at the heart of Absurdist Theatre. Imagine the witty fool, Shakespeare’s popular stock character, saying lines which appear to be harmless from the outside but possess a connotation, as is common to him. This is an archetypal ‘theatre of the absurd’ character. The beauty of this theatre form is that it is so open to interpretation that one can always find solace in his individual understanding of a piece. Works are often characterized by open endings that leave readers intrigued and pondering. When someone reads such a genre, there are several aspects he must be mindful of. One of them is that instead of paying attention to the inconsequential plot, he must observe how the author has brought out this plot in combination with the setting, characters, dialogues and monologues. This is the approach that facilitates true appreciation of this theatre form.
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Psychodrama
Introspection through mirroringVIBGYOR technique.
Rishabh Sharma
An insight within the superficial...
A
s you read these lines, as you imitate a friend in order to poke fun at his faulty pronunciation, as you try fooling a friend on the first of April, you expose yourself to a form of artistic education. The merits of which are indirect and unobservable to the naked eye. “The more experienced a person is, the more acquainted and educated he is in drama. Time is a natural drama school”. Indian politics is referred to as drama. What I intend to imply is that drama has been used in expression to characterize any time of heated activity. A man claiming to be experienced in the ways of life is more firmly rooted in the art of drama than someone with blacker hair. The way we perceive a character on the set helps us to introspect in greater depth on our real character. The role is a mantle that demands critical attention. Term by term we become better artists and a better audience. Term by term we perform in Founders’ productions and one act plays, as audience we gossip amongst ourselves asking each other, “Is that woman really our friend next door or are you joking?” We wear facades in order to accomplish something which may be impossible otherwise. Our daily life progression is nothing but a drama that day by day makes us powerful in knowing ourselves. Drama, as an activity, takes us ahead of time, beyond where you and others might expect. Life itself can be taken to be as a gradual evolution of dramatic skills, consistent to how Shakespeare puts it: “All the world’s a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts.” In context of a play, a person who is very short tempered and egoistic is asked to play nice on the set. This is where the acting begins! This is where refining of the real personality begins, along with the adoption of a set of characteristics that a role demands. Professional drama is not taken up by much passion; a character is a cage for them! Drama in a residential school is an altogether different concept, much different than the one which might take place in a day school. There is a flexible follow up that is allowed within the community. Drama doesn’t
FOUNDER ’S ISSUE
Editorial Board
P A G E 31
get over with the curtain call and the standing ovation. It actually marks the beginning of it.
“Well, we did it for the audience, not the judges”.
This is a very common off stage line said by many of us. The significance of this dialogue is the inherent belief that ‘effort invested in art never goes down the drain’ In fact; the output is more than the input, not just equivalent to it. I am not obsessing about a cliché. This is a firmly held belief derived from the many experiences and disappointments I have gone through. Be it coming last in a competition or getting an unsatisfactory role in a play. This is where a subset of the definition of ‘psychodrama’ steps in, the inward journey and strengthening of identity that takes place in an actor, only and only if he has made an attempt to methodically interpret and wear his scripted character as directed. In psychodrama, participants explore internal conflicts by acting out their emotions and interpersonal interactions on stage. This action method is a direct way of indulging in this inward journey. It carries clinical and therapeutic implications. It is an exercise in which the person is fully aware of what is happening and how it is happening, unlike the case that takes place naturally in an actor controlled by intense direction.
Editors-in-Chief
Sudhansh Agarwal Rishabh Sharma Editors Digvijay Gupta Husain Haider Senior Editor Vrindam Nagpal Associate Editors Devansh Agarwal Krishna Lohiya Chief-of-Design Shreyansh Pandey Correspondents Ishan Kapoor Vansh Aggarwal
I prefer drawing to talking. Drawing is faster, and leaves less room for lies - Le Corbusier
All the information is correct at the time of going to press. The school reseves the right to make and amendments. This document is for information only and does not form part of any contract between the parents and the Society Council. Š Copyright: The Doon School, Dehradun