In our series on broadcasts of the All India Radio National Programme of Music (you can read the first and second parts here and here), a 90-minute programme with alternate broadcasts of Hindustani and Carnatic music over weekends, this week we listen to the maestro Amir Khan, the founder of the Indore gharana and a major inspiration for successive generations of vocalists and instrumentalists. Suleiman Khan accompanies him on the tabla.
Amir Khan sings a raag that is known variously as Nand, Nand Kalyan, Anandi and Anandi Kalyan. The Indore gharana maestro thus lends his inimitable stamp to this raag, commonly heard from Jaipur-Atrauli and Agra gharana vocalists.
The first composition is a vilambit or slow khayal, composed by Mehboob Khan “Daras Piya” which has become part of the repertoire of most vocalists trained to sing this raag. But, as is the case with some other compositions common to several gharanas, this one is also sung in different taals according to the vocalists’ preferences. Amir Khan chooses to sing the composition in Jhumra, a cycle of 14 matras or time-units.
He dwells greatly on the exploring the Purvaang section, which can be loosely translated as the lower tetrachord, before moving higher in the octave and gradually introducing sargam or solfège. While elaborating on the sargam patterns, Amir Khan employs many unpredictable twists as he traverses from swara or note combinations in the Uttaraang, loosely translated as upper tetrachord, but adroitly delves immediately into the depths of the lower octave.
As always, Amir Khan’s taans or swift melodic passages have moments of unpredictability while appearing almost seamless. He relieves the musical tension built by the series of taans by reverting to free-flowing melody.
The second composition set to the 12-matra Ektaal has been composed by Amir Khan. Unfortunately, the tonic changes at around 56.33” into the track as the recording speed seems to have changed.
The next raag chosen by Amir Khan for this National Programme of Music is Rageshree. The composition is set to a madhya-laya or medium-paced 16-matra Teentaal. In his introspective style, Amir Khan elaborates through free-flowing melody using the words of the song-text before changing to sargam sequences sung at different tempi. He concludes with a series of aakaar taans using the vowel “aa”.
In a first, some of the finest Indian theatre can now be seen on your screen
A new cinematic production brings to life thought-provoking plays as digital video.
Though we are a country besotted with cinema, theatre remains an original source of provocative stories, great actors, and the many deeply rooted traditions of the dramatic arts across India. CinePlay is a new, ambitious experiment to bring the two forms together.
These plays, ‘filmed’ as digital video, span classic drama genre as well as more experimental dark comedy and are available on Hotstar premium, as part of Hotstar’s Originals bouquet. “We love breaking norms. And CinePlay is an example of us serving our consumer’s multi-dimensional personality and trusting them to enjoy better stories, those that not only entertain but also tease the mind”, says Ajit Mohan, CEO, Hotstar.
The first collection of CinePlays feature stories from leading playwrights, like Vijay Tendulkar, Mahesh Dattani, Badal Sircar amongst others and directed by film directors like Santosh Sivan and Nagesh Kukunoor. They also star some of the most prolific names of the film and theatre world like Nandita Das, Shreyas Talpade, Saurabh Shukla, Mohan Agashe and Lillete Dubey.
The idea was conceptualised by Subodh Maskara and Nandita Das, the actor and director who had early experience with street theatre. “The conversation began with Subodh and me thinking how can we make theatre accessible to a lot more people” says Nandita Das. The philosophy is that ‘filmed’ theatre is a new form, not a replacement, and has the potential to reach millions instead of thousands of people. Hotstar takes the reach of these plays to theatre lovers across the country and also to newer audiences who may never have had access to quality theatre.
“CinePlay is merging the language of theatre and the language of cinema to create a third unique language” says Subodh. The technique for ‘filming’ plays has evolved after many iterations. Each play is shot over several days in a studio with multiple takes, and many angles just like cinema. Cinematic techniques such as light and sound effects are also used to enhance the drama. Since it combines the intimacy of theatre with the format of cinema, actors and directors have also had to adapt. “It was quite intimidating. Suddenly you have to take something that already exists, put some more creativity into it, some more of your own style, your own vision and not lose the essence” says Ritesh Menon who directed ‘Between the Lines’. Written by Nandita Das, the play is set in contemporary urban India with a lawyer couple as its protagonists. The couple ends up arguing on opposite sides of a criminal trial and the play delves into the tension it brings to their personal and professional lives.
The actors too adapted their performance from the demands of the theatre to the requirements of a studio. While in the theatre, performers have to project their voice to reach a thousand odd members in the live audience, they now had the flexibility of being more understated. Namit Das, a popular television actor, who acts in the CinePlay ‘Bombay Talkies’ says, “It’s actually a film but yet we keep the characteristics of the play alive. For the camera, I can say, I need to tone down a lot.” Vickram Kapadia’s ‘Bombay Talkies’ takes the audience on a roller coaster ride of emotions as seven personal stories unravel through powerful monologues, touching poignant themes such as child abuse, ridicule from a spouse, sacrifice, disillusionment and regret.
The new format also brought many new opportunities. In the play “Sometimes”, a dark comedy about three stressful days in a young urban professional’s life, the entire stage was designed to resemble a clock. The director Akarsh Khurana, was able to effectively recreate the same effect with light and sound design, and enhance it for on-screen viewers. In another comedy “The Job”, presented earlier in theatre as “The Interview”, viewers get to intimately observe, as the camera zooms in, the sinister expressions of the interviewers of a young man interviewing for a coveted job.
Besides the advantages of cinematic techniques, many of the artists also believe it will add to the longevity of plays and breathe new life into theatre as a medium. Adhir Bhat, the writer of ‘Sometimes’ says, “You make something and do a certain amount of shows and after that it phases out, but with this it can remain there.”
This should be welcome news, even for traditionalists, because unlike mainstream media, theatre speaks in and for alternative voices. Many of the plays in the collection are by Vijay Tendulkar, the man whose ability to speak truth to power and society is something a whole generation of Indians have not had a chance to experience. That alone should be reason enough to cheer for the whole project.
Hotstar, India’s largest premium streaming platform, stands out with its Originals bouquet bringing completely new formats and stories, such as these plays, to its viewers. Twenty timeless stories from theatre will be available to its subscribers. Five CinePlays, “Between the lines”, “The Job”, “Sometimes”, “Bombay Talkies” and “Typecast”, are already available and a new one will release every week starting March. To watch these on Hotstar Premium, click here.
This article was produced on behalf of Hotstar by the Scroll.in marketing team and not by the Scroll.in editorial staff.