'Final Solution' by Mahesh Dattani

Hello everyone, I'm writing this blog on 'Final Solution' a play by Mahesh Dattani. This play was also performed at our department by Sem 3 students. Which was prepared by Alpa ma'am in a very short timeIn this blog I try to answer some of the questions given by madam. And also I will explore the different skills that performers develop during the preparation process for a performance. I will also discuss how these skills can be developed and how they can benefit performers in their careers. 

1) What is the significance of the title 'Final Solutions' and what is the final solution of the play?

→ The title 'Final Solutions' is a reference to the Holocaust, specifically the Nazi regime's plan for the systematic extermination of Jews. The title is significant because it suggests that the communal violence in the play is also a form of genocide. The play does not offer a single 'final solution' to the problem of communal violence, but it does suggest that the only way to achieve peace is through understanding, acceptance, and tolerance.

The play ends with Hardika and Smita visiting the grave of Hardika's husband. Hardika says that she hopes that one day India will be a country where people of all religions can live together in peace. This is the "final solution' that the play offers, but it is a solution that is only possible if people are willing to let go of their prejudices and hatred.

The play also raises the question of whether there is ever a justification for violence. Hardika's in-laws are initially reluctant to help Javed and Bobby because they are Muslims. They believe that Muslims are responsible for the violence that has been happening in India. However, Hardika eventually convinces them to let the boys stay. This suggests that there is never a justification for violence, even if it is committed in the name of religion or patriotism.

"Final Solutions" is a powerful play that challenges the audience to think about the causes and consequences of communal violence. It is a play that is both timely and important, and it offers a message of hope for the future. 

2.)What was the difference you observed in the movie and play you performed?

→ Here I try to explain some of the key differences between movies and plays :

Audience participation: In a play, the audience is present in the same space as the actors, and they can see and hear everything that is happening. This allows for a more immediate and immersive experience for the audience. In a movie, the audience is watching the action on a screen, and they are not directly involved in the story.

Setting: Plays are typically performed in a theater, which has a limited amount of space. This means that the set design is often very simple, and the actors must use their imaginations to create the illusion of different locations. Movies, on the other hand, can be filmed anywhere, and the set design can be very elaborate.

Special effects: Movies can use special effects to create realistic and exciting visuals. This can be very helpful in conveying the story and creating a sense of spectacle. Plays, on the other hand, are limited to the use of props and costumes.

Performance: Plays are performed live, which means that the actors must be able to deliver their lines and act their parts in real time. This can be a challenge, but it also allows for a more spontaneous and unpredictable performance. Movies, on the other hand, are filmed one scene at a time, and the actors can take multiple takes if they make a mistake.

Length: Plays are typically shorter than movies. This is because they are meant to be performed in one sitting, while movies can be longer because they can be broken up into smaller segments.

Ultimately, the best way to experience a story is to see it in the format that is most appropriate for it. If you are looking for an immersive and immediate experience, then a play is the way to go. If you are looking for a more visually exciting and special effects-driven experience, then a movie is the better choice.

3.) Share your thoughts on understanding drama through the drama-based pedagogy or involvement in theatrical practices.

→ Drama-based pedagogy and involvement in theatrical practices are two different ways of understanding drama.

Drama-based pedagogy is a teaching method that uses drama to help students learn about different subjects. It can be used to teach academic subjects, such as history or literature, as well as social and emotional skills, such as communication and teamwork.

Involvement in theatrical practices, on the other hand, is the process of participating in the creation and performance of a play. This can involve acting, directing, designing, or any other aspect of theater production.

Both drama-based pedagogy and involvement in theatrical practices can be effective ways to understand drama. However, they have different strengths and weaknesses.

Drama-based pedagogy is a more structured approach to understanding drama. It is typically led by a teacher or facilitator who guides students through a series of activities. This can be helpful for students who are new to drama or who need more support to learn about it.

However, drama-based pedagogy can also be limiting. It can focus on specific aspects of drama, such as the acting or the writing, and it may not give students the opportunity to explore drama in a more holistic way.

Involvement in theatrical practices is a more immersive approach to understanding drama. It allows students to experience drama from the inside out. They learn about the different aspects of theater production and how they all work together to create a performance.

However, involvement in theatrical practices can also be more challenging. It requires students to be self-motivated and to work well with others. It can also be time-consuming and demanding.

Ultimately, the best way to understand drama is through a combination of drama-based pedagogy and involvement in theatrical practices. This will allow students to learn about drama from different perspectives and to develop a deeper understanding of it.

Here are some of the benefits of understanding drama through drama-based pedagogy or involvement in theatrical practices:

• It can help students develop their creativity and imagination.

• It can help students learn about different cultures and perspectives.

• It can help students develop their communication and teamwork skills.

• It can help students build confidence and self-esteem.

• It can help students learn to deal with stress and conflict.

• It can be a lot of fun !

4.) What kind of skills do you develop while undergoing the preparation process for a performance and how?

→ The preparation process for a performance can be long and demanding, but it is also a valuable opportunity to develop many different skills. Here are some of the most common skills that performers develop during the preparation process:

Memorization: Actors need to be able to memorize their lines quickly and accurately. This requires a lot of practice and concentration.

Improvisation: Sometimes, actors need to improvise lines or actions on the spot. This requires quick thinking and creativity.

Physicality: Actors need to be able to move their bodies expressively and convincingly. This requires training in dance, acrobatics, and other physical disciplines.

Voice projection: Actors need to be able to project their voices so that they can be heard by the audience. This requires training in vocal projection and resonance.

Emotional expression: Actors need to be able to express a wide range of emotions convincingly. This requires training in acting techniques and emotional awareness.

Collaboration: Stress management: The performance process can be stressful, so actors need to be able to manage their stress levels. This requires relaxation techniques and coping mechanisms.

These are just some of the skills that performers develop during the preparation process. The specific skills that are developed will vary depending on the type of performance and the role of the performer. However, all performers will need to develop a wide range of skills in order to be successful.

Here are some specific examples of how these skills are developed during the preparation process:

Memorization: Actors will often start by reading through the script multiple times. They may also use memorization techniques, such as chunking or visualization.

Improvisation: Actors may practice improvising scenes with their fellow actors. They may also watch videos of improvisational performances for inspiration.

Physicality: Actors may train in dance, acrobatics, or other physical disciplines. They may also practice exercises that help them to develop their body awareness and coordination.

Voice projection: Actors may practice projecting their voices in a variety of settings. They may also use vocal exercises to improve their vocal range and projection.

Emotional expression: Actors may practice expressing a wide range of emotions in front of a mirror. They may also work with a therapist or acting coach to develop their emotional awareness.

Collaboration: Actors may work with their fellow actors to develop their characters and scenes. They may also participate in workshops and rehearsals to learn how to work together effectively.

Stress management: Actors may practice relaxation techniques, such as yoga or meditation. They may also talk to a therapist or counselor about how to manage their stress levels.

To conclude, the preparation process for a performance is a challenging but rewarding experience. By developing the skills listed above, performers can increase their chances of success and create a memorable performance for their audience.

Word Count : 1479

Images :  7

Sunday Reading : Photography Workshop

Hello everyone, here I'm writing this blog on a photography workshop. Recently, our department had the privilege of organizing 'Imagination An Art of Seeing : A photography workshop' by Mr. Kaushik Ghelani sir (a wildlife photographer and filmmaker). His photography in the forest is so famous that Dhruv Bhatt gave him the name 'Aranyak'.

During this insightful session on 17th August, Kaushik sir shared his expertise on the use of camera angles and delved into the fascinating world of photographic aesthetics. It was a full day workshop, 12 PM to 4 PM. There were two sessions in this workshop. Students of the Life Science Department also joined in this session. In this workshop, we will explore the valuable knowledge and techniques he imparts.

"Photography is a beautiful art form that allows us to capture moments in time, telling stories through images."

The workshop started with a beautiful sentence by Kaushik sir,

"The world will teach you to buy a camera but not to see"

And sir also said that, "Photography learns Everything".

1) First session of the workshop :

In the first session sir talked about some aesthetics of photography. Which are as follows:

# Rule of 3rd :

The rule of thirds is a composition guideline that places your subject in the left or right third of an image, leaving the other two thirds more open. In which sir also talked about three parts :

∆ For ground

∆ Middle ground

∆ Back ground

• Here are some photos clicked by Sir in 'Rule of 3rd' :

# Golden Point :

The golden point is a guide to where to place a subject (a tree, person, building, etc.) or element in a photo where it will be most pleasing to the eye.

• Here are some photos clicked by Sir in 'Golden Point' :

# Center Focus Rules : 

Center focus rules" in photography suggest placing the main subject in the center of the frame for a balanced composition, but it's just one of many composition techniques, and breaking these rules can lead to more creative and dynamic photos.

• Here are some photos clicked by Sir in 'Center Focus Rules' :

# Symmetry :

Subject divides in two parts like a mirror and reflects its symmetrical duty.

• Here are some photos clicked by Sir in 'Symmetry' :

# Geometric Shapes : 

Geometric shapes refer to the use of basic geometric forms, such as circles, squares, triangles, and rectangles, within the composition of an image. 

• Here are some photos clicked by Sir in 'Geometric Shapes' :

# Leading Lines :

Leading lines towards subjects lead viewers into frame towards subject.

• Here are some photos clicked by Sir in 'Leading Lines' : 

# Head/leading Room :

Compose with breathing space in the direction where the subject is waiting. 

• Here are some photos clicked by Sir in 'Head/leading Room' : 

# Depth of Field :

Depth of field (DoF) in photography refers to the range of distance within a scene that appears acceptably sharp in a photograph. In other words, it's the area in front of and behind the main subject that is in focus.

• Here are some photos clicked by Sir in 'Depth of Field' : 

# Break the rule :

Break the rule to create something very different from others.

• Here are some photos clicked by Sir in 'Break the rule' : 

Sir also made a short film about wildlife and nature. Here I have also put the link of that short film through which you can watch that film. 

👉🏻 Vasudhaiv Kutumbakam : A Short Film by Kaushik Ghelani sir

In this short film we can see that no short is played more than 5 seconds and sir also said that no scene should be more than 5 seconds.

At lunchtime sir gave us a task. In this task we all had to click 5 photos on any subject. And after lunch(in the next session) we were to upload these photos to sir and sir saw all our photos and the photos which were more beautiful and used good camera angles got prizes from sir.

2) Second session of the workshop : 

In the next session sir saw our photos and encouraged those whose photos were perfect. In this task Avni Jani from our department got 1st and Drashti Joshi got 3rd rank and 2nd rank was obtained by a student of the Life Science Department.

We are very grateful to sir for taking out his precious time to join us and give very important information about the world of photography. And before ending this blog I remember one thing from sir that, 

"More practice more you learn"

Thank you for visiting…😊

Word Count : 690

Images : 18

Thinking Activity : Derrida and Deconstruction

Hello everyone, I'm writing this blog as an assignment given by Dr. Dilip Barad, from the Department of English at MKBU. In this task we have Deconstruct a poem or an ad or TV serial or film or any literary text. From this I have chosen a Meena Kandasamy's poem 'Mohandas Karamchand'. 

∆ Introduction : 

'Deconstruction' is a literary and philosophical theory that originated in the 20th century, primarily associated with the work of French philosopher Jacques Derrida. It challenges traditional assumptions about language, meaning, and truth. Deconstruction aims to reveal the inherent contradictions and complexities in texts, undermining their assumed stability and fixed interpretations. It focuses on examining how language shapes our understanding of reality and how multiple interpretations can emerge from a single text. Deconstruction seeks to demonstrate that no text or concept has a definitive, fixed meaning, and meaning is constantly in flux, influenced by cultural and historical contexts.

∆ What do you understand about 'Deconstruction' ?

My understanding of 'Deconstruction' is a philosophical and literary theory that questions the fixed meanings and assumptions in texts and language. It aims to reveal the fluidity and complexities of meaning, emphasizing the idea that no text has a singular, absolute interpretation. Instead, meaning is shaped by cultural and historical contexts and subject to multiple possible understandings. Deconstruction encourages critical analysis and challenges conventional notions of truth and stability in language and literature.

Deconstruction is a complex and influential philosophical concept that emerged primarily through the work of French philosopher Jacques Derrida. It fundamentally challenges conventional notions of language, meaning, and reality. Deconstruction seeks to dismantle binary oppositions and hierarchical structures that shape our understanding of concepts. It aims to reveal the inherent contradictions, ambiguities, and complexities within texts, ideas, and systems of thought.

Deconstruction questions the assumption of stable and fixed meanings, asserting that language is inherently slippery and that meaning is contextually dependent. It highlights how words and concepts gain significance through their relationship with other words and concepts, rather than possessing inherent meaning.

By analyzing the nuances of language and exposing its limitations, deconstruction unveils the fragility of established meanings and encourages multiple interpretations. It demonstrates how texts can be read in ways that challenge traditional interpretations, opening up new possibilities for understanding.

Deconstruction is a philosophical method that encourages a critical examination of how we construct meaning and knowledge. It emphasizes the continual process of interpretation and re-interpretation, undermining the idea of singular, definitive truths and fostering a more nuanced and inclusive approach to understanding the world around us.

∆ Deconstruction analysis of the poem "Mohandas Karamchand" by Meena Kandasamy with reference to Derrida's ideas:

(Click here to visit the poem) "Mohandas Karamchand" by Meena Kandasamy

The poem opens with a repeated question 'Who? Who? Who?' which emphasizes the instability of meaning and introduces a sense of uncertainty. This echoes Derrida's concept of 'differance,' where language defers and destabilizes meaning. The poem challenges binary oppositions like 'Mahatma. Sorry no.' and 'Truth. Non-violence,' suggesting a refusal to accept these traditional notions without questioning or critique.

The poet uses wordplay and puns to disrupt conventional associations with Mahatma Gandhi. 'Truth' and 'Non-violence' are positioned as taboo or outdated, challenging the authority and sanctity usually attributed to these concepts. The lines 'Your tax-free salt stimulated our wounds / We gonna sue you, the Congress shoe' subvert Gandhi's symbolic role in the salt march and his association with the Indian National Congress.

The poem references phrases like 'Ram Ram Hey Ram,' which evoke Gandhi's assassination, but here they are used in a critical and mocking context. This recontextualization challenges the idealized portrayal of Gandhi and his legacy. The lines 'Remember, how you dealt with your poor wife. / But, they wrote your books, they made your life' highlight Gandhi's complex personal life and question the authority of those who shaped his public image.

The poem addresses Gandhi's role in perpetuating the caste system (Caste won’t go, they wouldn’t let it go) and accuses him of hypocrisy and impurity. These accusations deconstruct Gandhi's identity as a saintly figure and challenge his claims of being a moral leader.

The poem employs colloquial and informal language ('Gone half-cuckoo,' 'big fraud'), juxtaposing it with the reverence often associated with Gandhi. This juxtaposition reflects Derrida's idea of subverting hierarchical language and challenging traditional modes of expression.

In conclusion, Meena Kandasamy's poem 'Mohandas Karamchand' deconstructs the conventional image of Mahatma Gandhi by destabilizing his authority, critiquing his actions, and challenging the fixed meanings associated with his persona. It engages with Derrida's concepts of textual instability, binary oppositions, play of signifiers, and deconstruction of authority to offer a critical reevaluation of Gandhi's legacy and impact.

• Word Count : 767

• Images : 2