Satyabrata Rout | National School Of Drama (original) (raw)

Papers by Satyabrata Rout

International journal of pluralism and economics education, 2023

Theatre from its inception has been developed as an audiovisual medium. The Natyashastra terms it... more Theatre from its inception has been developed as an audiovisual medium. The Natyashastra terms it as 'Drishya-Kavya'. Scenography endorses Drishya-the visuals, prepares ground for the Kavya-poetry to be visible for its audience and creates scope to experience those visuals, being an integral component of performance making. More precisely, scenography brings opportunity to manifest the visuals through the actor-audience-space integrations. The actors in collaboration with the 'stage-space' formulate the imageries to be transposed to the viewers' mind, expanded and realised through subjective interpretations. The audience is free to conceive, imagine, and comprehend stage visuals by passing through a personal journey of life with the help of text, actors' physical gestures, spatial compositions, sound and music, and through various stage symbols. The responsibility of scenography is to guide the viewers to evoke those experiences with the help of a group of actors who amalgamate and animate the space into a living entity. Thus scenography orchestrates between actors and space and blurs the distinctive line of 'creative practices' (Actor's physical presence, voice, direction, design, text, and viewership) and the 'technical practices' (sets, costumes, managements, lights, sound, etc.) through a collaborative process.

Initially theatre as a major device of dramatic literature was dominated by the 'text' and the di... more Initially theatre as a major device of dramatic literature was dominated by the 'text' and the directors were engaged in finding suitable forms to interpret these texts. The pluralistic culture of this vast country was explored to weave the local art resources into contemporary practices. But sadly in delving into this experiment, one major component remained marginalised, i.e. the performance of the "Space" which was undermined by the text centric theatre. Space as one of the vital expressions of the performance was not evaluated properly in Indian theatre till the legendary productions of Andhayug (1962) and Tughlaq (1974) in found spaces by E. Alkazi that challenged the convention of the Proscenium practice. My paper will through lights upon the alternative spatial practices undertook in the beginning of the experiment.

2009 1st International Conference on Wireless Communication, Vehicular Technology, Information Theory and Aerospace & Electronic Systems Technology, 2009

In this paper, we propose a design of turbo code with good convergence behavior for the half-dupl... more In this paper, we propose a design of turbo code with good convergence behavior for the half-duplex relay channel. Our approach is based on the density evolution of extrinsic information of turbo decoders. We present an approach to calculate the decoding thresholds of turbo codes used in relay channel. We have searched for good turbo codes in fully interleaved Rayleigh

Shakespeare has been performed extensively in varied ways, expressed through multiple cultures of... more Shakespeare has been performed extensively in varied ways, expressed through multiple cultures of India. From folkloric presentations to the contemporary theatre,

Fuel Processing Technology, 2001

Application of pulsed electrical discharges for gas cleaning is gaining prominence, mainly from t... more Application of pulsed electrical discharges for gas cleaning is gaining prominence, mainly from the energy consideration point of view. This present paper presents recent work on applying the electrical discharge plasma technology for treating gaseous pollutants, in general, and nitric oxide, in particular, as this is one of the major contributors to air pollution. The present work focuses attention on pulsed electrical discharge technique for nitric oxide removal from simulated gas compositions and study of effect of packed dielectric pellets, with and without a coating of catalyst, on the removal process. Experiments were conducted in a cylindrical corona reactor energized by repetitive high voltage pulses. The effects of various parameters, viz. pulse voltage magnitude, pulse frequency, initial nitric oxide concentration and gas mixture composition on nitric oxide removal efficiency, are discussed. When the reactors were filled with different dielectric pellets like, barium titanate, alumina, and alumina coated with palladium catalyst, the improvement in nitric oxide removal efficiency is studied and discussed. The power dissipated in the reactor and the energy consumed per nitric oxide molecule removed was calculated. Further results and comparative study of various cases are presented in the paper.

Fuel Processing Technology, 2001

Colloid and Polymer Science, 1980

Raj Ankur kept three conditions before him that, he will work on his own choice, he will not stic... more Raj Ankur kept three conditions before him that, he will work on his own choice, he will not stick to any regular job as far as possible and he will find possibility for the freelancers in theatre to generate work for themselves. Travelling aimlessly in the streets of Delhi in 1972, an idea clicked in his mind. He would find a kind of theatre of his own choice in which he expresses himself fully, i.e. "Kahani ka Rangmanch"; presentation of stories. It was entirely a novel idea to present a story in its original form since then no one had thought of presenting a story without changing or altering the text. Though adaptation of the story is an alternative practice in post-colonial theatre, narrating the story with the help of theatrical means was entirely a new concept until it was initiated and practiced by D.R Ankur. There were strong reasons behind this initiation. It was because of his background, which can go up to his childhood days. During his M.A he wrote a dissertation on "Hindi short stories after 1960", which was also a literary movement during those days. He almost finished reading all the Hindi short stories by then. Ankur has a strong inclination for criticisms from the beginning. He developed a passion to read stories, novels, autobiographies, etc. in his school days. In his won words:

Conference Presentations by Satyabrata Rout

Theatre, 2018

Initially theatre as a major device of dramatic literature was dominated by the ‘text’ and the di... more Initially theatre as a major device of dramatic literature was dominated by the ‘text’ and the directors were engaged in finding suitable forms to interpret these texts. The pluralistic culture of this vast country was explored to weave the local art resources into contemporary practices. But sadly in delving into this experiment, one major component remained marginalised, i.e. the performance of the “Space” which was undermined by the text centric theatre. Space as one of the vital expressions of the performance was not evaluated properly in Indian theatre till the legendary productions of Andhayug (1962) and Tughlaq (1974) in found spaces by E. Alkazi that challenged the convention of the Proscenium practice. My paper will through lights upon the alternative spatial practices undertook in the beginning of the experiment.
A major challenge for the spatial practice happened in the decade of 90s due to globalisation. Intervention of machinery and digital activities into the domain of human endeavour transformed the life style of the people of India. Many global ideas were thrown into the domain of theatre making. Scenography, the visual lexicon of the performance not only could able to transform theatre into a visual experience but also created various possibilities in the area of spectatorship. Theatre became a collaborative medium strengthened by the mutual energy of space, architecture, paintings, sculptures poetry, digital media, and many collective ideas. This new experiment reduced the autocracy of text by fragmenting it into multiple visual experiences and the single authorship of the director. The assimilation of multiple and simultaneous actions, nonlinear thoughts and ideas, collaboration of all streams of arts and knowledge, juxtaposing new means of visual technology, diminishing the autocracy of text, symbols and metaphors of the visuals, pause, silence, images, etc. were put together to write the performance text. The discussion will put lights on these factors.
_____________________________________________________
Key Words: Space, Performance, Scenography, Text, Visuals

Books by Satyabrata Rout

The concept ‘Theatre of Roots’ was developed in the postcolonial time during 1960s-1970s to creat... more The concept ‘Theatre of Roots’ was developed in the postcolonial time during 1960s-1970s to create a synthesis between the Western theatre practices and the Indian traditions. It was also to develop a kind of hybrid theatre out of the amalgamation of the two different cultures: East and West which was followed by most of the theatre practitioners as a nationalistic theatre movement. The purpose of the movement was not to going back to tradition again but to explore the tradition with new interpretations, artistic sensibilities with modern thoughts which could enrich the contemporary theatre practices in post- independence India. This was to bring out a genre of theatre: indigenous by its nature and a representative of contemporary Indian society. In the initial phase the movement was criticised by many scholars, practitioners and academics as anti-modern by blaming it as a ‘new-traditional theatre practice’. But the fact is, this theatre incorporates Indian testimony, identity and indigenous vocabulary by creating a new idiom which could confront the Western thoughts, theories and practices.

Thesis Chapters by Satyabrata Rout

The concept ‘Theatre of Roots’ was developed in the postcolonial time during 1960s-1970s to creat... more The concept ‘Theatre of Roots’ was developed in the postcolonial time during 1960s-1970s to create a synthesis between the Western theatre practices and the Indian tradition. It was also to develop a kind of hybrid theatre out of the amalgamation of the two different cultures: East and West which followed by most of the theatre practitioners as a nationalistic theatre movement. The purpose of the movement was not to going back to tradition again but to explore the tradition with new interpretations, artistic sensibilities with modern thoughts and ideas which could enrich the contemporary theatre practices in post- independence India. This was to bring out a genre of theatre: indigenous by its nature and a representative of contemporary Indian society. In the initial phase the movement was criticized by many scholars/practitioner/academics as anti-modern by blaming it as a ‘new-traditional theatre practice’. But the fact is this theatre incorporates Indian testimony, identity and indigenous vocabulary by creating a new idiom which could confront the Western thoughts, theories and practices.

International journal of pluralism and economics education, 2023

2009 1st International Conference on Wireless Communication, Vehicular Technology, Information Theory and Aerospace & Electronic Systems Technology, 2009

Fuel Processing Technology, 2001

Colloid and Polymer Science, 1980

Theatre, 2018

The concept ‘Theatre of Roots’ was developed in the postcolonial time during 1960s-1970s to creat... more The concept ‘Theatre of Roots’ was developed in the postcolonial time during 1960s-1970s to create a synthesis between the Western theatre practices and the Indian tradition. It was also to develop a kind of hybrid theatre out of the amalgamation of the two different cultures: East and West which followed by most of the theatre practitioners as a nationalistic theatre movement. The purpose of the movement was not to going back to tradition again but to explore the tradition with new interpretations, artistic sensibilities with modern thoughts and ideas which could enrich the contemporary theatre practices in post- independence India. This was to bring out a genre of theatre: indigenous by its nature and a representative of contemporary Indian society. In the initial phase the movement was criticized by many scholars/practitioner/academics as anti-modern by blaming it as a ‘new-traditional theatre practice’. But the fact is this theatre incorporates Indian testimony, identity and indigenous vocabulary by creating a new idiom which could confront the Western thoughts, theories and practices.