• SRCPA’s Repertory Company presents K.Madavane’s ‘Mahabharata of Women’

    K. Madavane’s The Mahabharata of Women, directed (in hindi) by K.S. Rajendran, essentially draws upon strong women characters from the age-old epic of The Mahabharata and deftly weaves them with a local legend from Tamil Nadu. Three contemporary nameless characters whose identity is established only through their relationship are Mother, Son and Sister. Mother narrates stories from the epic to Son and Sister, and while doing so, the characters from the epic come alive and tell their tales. The contemporary characters interact with characters from the Mahabharata, question their decisions and acts, and sometimes identify with their angst. Mother is also obsessed with the story of her ancestor, a young woman who was burned alive to save the honor of the family. She firmly believes that her son is the victim of this woman’s curse. Between the story of  The Mahabharata and her own ancestor’s plight, Mother manages to put forward her own interpretation of the epic. The final scene of the play is particularly relevant in today’s context: the women condemn war and violence and its consequences. They lament the loss of their progeny and speak about the futility of war where victory has no meaning.


    « While the ‘the notion of the date has hardly any meaning for an epic’ say Louis Renou, the well-known French Indologist, the inherent contradictions in Mother’s perception of time allow the enmeshment of time in MOW. Arguably this is a result of Mother’s ‘madness’ or senility but it also explains human strategies of comprehension. Often our perception of the larger is shaped by what is closer home, the smaller or the more immediate. The legend of the Young Woman essentially recalls the power of collective memory and imagination. The concept of framing the epic through Mother’s lens makes the MOW project a credible experience of art, Mother’s understanding of The Mahabharata being through her ancestral legend » (Vijaya Rao, Theatre India, N°12)

    « In a way, Madavane’s play can be qualified as a ‘banyan text’ : all the stories, enunciations and characters seem to have intertwined roots ; each root is originally a branch and every branch ultimately becomes a root. All the stories are engaged in dialogue with each other, they question and respond as if they are all enboxed partially in each other thereby allowing integration and interpenetration. (Carpanin Marimoutou, , « K. Madavane’s  Mahabharata des Femmes », in, Draupadi, Tissages et Textures, Ed., Valérie Magdelaine-Andrianjafitrimo, Editions, K’A, 2008, France)

    « The Mahabharata of Women written …. By K. Madavane, is an extraordinary plays which captures the personality of Indian Theatre » writes Romesh Chander (The Hindu, 10th December 1999)

    Madavane revisits the Mahabharata by placing women at the centre of events. They appear to be both catalysts and victims of each upheaval, which explains the title Mahabharata of Women. Straddling tradition and modernity, different ages, epochs and generations encounter each other in the play. This play has been translated into many languages both in India and abroad and has been well received wherever it was performed. An unconventional play with a coherent thematic structure, The Mahabharata of Women (MOW) dramatizes a strong confrontation between the characters within and outside the Mahabharata. Written originally for a foreign audience, the play has also won wide acclaim in India. MOW has been produced in French, English and German in Canada, France, India, Australia and Germany. The English version was published by Theatre India, National School of Drama. Here is a list of all the productions of MOW :


    1995                           Montréal, Canada – (in French). By UQAM

    1999 – 2000,              Delhi, Mumbaï, Bangalore, Inde – (in English) By Chingari

    2001,                          Ulm, Karlsruhe, Allemagne – (in German) By Westhatache, Ulm.

    2010                           Hyderabad – (in Telengou) – By Nishumbita

    2011                           Paris, France – (in French) – By Au Fil des Diagonales.

    2013                           Melbourne, Australie – (in English) By Australia India Institute

    2015                           Udupi (Karnataka) – (in Kannada)  By Rathabeedi Geleyaru

    Madavane is invited for a public play reading (on 21st May 2016) in Czech Language in Municipal Theatre of Zlin (Czech Republic). The play reading will be directed by Tereza Rihova. The play has been translated by Zuzana Michkova.

    This play will be also staged (May-June 2016) in French in The Réunion Island (France)

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  • SRCPA invites experienced actors to join our Repertory Company

    SRCPA’s Repertory Company is a known and regarded production house in the world of theatre. Eminent Directors and actors have worked with us. The Company has performed and participated in various theatre festivals across India.


    Why join SRCPA’s Repertory Company?

    • Well known and regarded
    • Interact and work with the best of directors
    • Varied choice of subjects in productions
    • National level exposure


    Eligibility criteria

    • Minimum Five years of theatre experience
    • Formal training in theatre


    Selection will be based on an audition(s) and workshop.


    Application forms can be downloaded from here, and are also available at the SRCPA office.

    SRCPA Repertory Application form-2015


    Last date for submission of applications is 31-May-2015

    Audition and workshop scheduled for 4th week of June 2015.


    For more details, call 011-23714307, or email shriramcentre@srcpa.in.

    Or, you can just drop into Shri Ram Centre, 4, Safdar Hashmi Marg, New Delhi – 110 001


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  • Admissions open for SRCPA’s 2 years acting course


    SRCPA announces yet another edition of the 2 years acting course.

    The first course ran in the year 1978!

    Classes will be held at Shri Ram Centre, Safdar Hashmi Marg, in the evenings 5 PM to 8 PM.

    Course highlights

    • Highly experienced faculty
    • Ample rehearsal space
    • Opportunity to interact with SRC repertory and other productions
    • Theatre theory and practicals
    • At least three stage productions per year

    Download prospectus and application forms from here:

    SRCPA 2 Years Acting Course Prospectus

    SRCPA 2 Years Acting Course Form

    For more details, please call SRC at 011-23714307

    Or, email us at shriramcentre@srcpa.in


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  • Connections

    A performing arts festival connecting people, cultures and epochs through innovative collaborations.

    With dancers from the Opera of Paris, the Spanish National Dance Company, Indian classical dancers and musicians, and Flamenco dancers and musicians.

    The festival is spread across 3 days 18-Mar-2014 to 20-Mar-2014.
    Check out our events calendar for the complete details.

    Program of events
    An evening of Flamenco dance and music with Karen Lugo’s group from Spain





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  • Bagia Banchharam ki

    Bagia Bancha Ram Ki is a Hindi comedy play directed by Baharul Islam. The story of the play is about a man, named Bancharam who is emotionally attached to a garden on which he invested all his youth. Even though, he is old how but the attachment seems to be stronger then ever.

    Chhekori, the land owner has an eye on the garden and dies with the sole desire to own the garden someday. Due to his unfulfilled desire, Chhekori turns into a ghost after his death and comes to Bancharam with an interesting offer.

    What is the offer? Will Bancharam accept it? What are the repercussions of the offer? These questions are answered with funny scenes and funnier dialogue. This play is a wonderful watch for theatre lovers.

    The SRC repertory has been performing since 2009, and have staged more then 25 shows in and outside Delhi.

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  • Uncategorized

    Democracy in Heaven

    Democracy in heaven is a satire on politics which depicts the believe systems of the negative practices by so called politicians to keep hold on our democratic system with their flattering dreamy tricks. They pose to be a true icon of democracy but only in words. They overrule the true objectives of democracy. Seeing it from a neutral perspective they are the black farce of our time.

    After a successful political campaign, Minister Ali is returning to capital and gets killed in a car accident with his personal secretary Miss Kali (the bud) and assistant Mr. Bali. After death, their souls are taken to the other world by Jamraj (the god of death) for judgments before Chitragupta, whose office has kept the life track records of all the deeds of their mortal life. It is believed that they will get place only in hell but Minister Ali, with the help of sensuous Miss Kali succeeds to get permits of Heaven from Chitraguta and enters heaven. When Indra, the lord of heaven allots them their duties, Minister Ali refuses to accept and conspire a revolt against his age old monarchy. He challenges Lord Indra and provoke him to announce election to bring democracy as this the most contemporary system successfully prevailing in the world’s largest democracy; India. At last Indra announces election. Minister being a champion of democratic practice does campaign for voting against Indra. It brings new wave of hope and excitement in heaven.

    But after all flattering efforts of Minister Ali and his allies, Indra wins the election and invites Mr. Ali to join his party. Minister Ali refuses saying that, heaven is not a suitable place for his kind of politics so if Indra wants to offer him something, he must be send back to India for a rebirth as a politician. Indra consults Brahma and conveys that with reference to the Vishnu Avtar rule he will be granted a rebirth if a mortal mother wishes to give birth, the kind of politician he is, only then he will take rebirth, till then he will be thrown in the Aakash Galga (galaxy) to move around the earth.

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  • Janpath Kiss

    On Janpath, one of the busiest streets of New Delhi, a young married man sees a beautiful girl strolling on the pavement during her lunch break. They are total strangers to each other. But the man gets mesmerized by girl’s beauty and innocence…the girl slowly nears him…oblivious to his presence or intentions…as she reaches him…the man can’t resist…gets carried away…stops her in her tracks…holds her by her arms…gently and lovingly…and just starts kissing her…full on the lips…in full day light…in front of hundreds of passers-by…and then all hell breaks loose.

    The play probes the reasons of this act and, in the process, uncovers the double standards prevailing in our middle class and the so called moral values of our society. In the end the play gives a positive message of love and humanity to our audience.

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