MOVIE-REVIEW Atrip that yields mixed results How to eat? · skrit play Mattvilas, Madhyam Vyayog,...

Lalit Gupta

In a scenario where only 0.1 percent creative people get thedistinction of being recognized in their life time, Kavi Rattan, dueto single minded dedication, life-long commitment and passionto his calling of heart, stands tall as a living legend in the field oftheater.

His is a 75 year-old visage, but his eyes have the fire of azealot; in his own words, he has lived and breathed theatre allhis life. Kavi Rattan, for whom drama is more than a religion,rues the commercialization that has reduced theatre from an artform to a commodity today.

One who invigorated the cultural scene from 1970s onwardsthrough introduction of innovative theatre language and tech-niques to generations of young persons in two regional metrop-olis of Jammu and Srinagar, Kavi Rattan, a very well respectedname across the three regions of J&K will go down the annalsof history of the state as having laid the foundation of a seriousdrama movement in the state.

With all encompassing range of expertise as an actor, direc-tor, playwright, set designer, music composer and light design-er, Kavi Rattan remained and is as an institution in himself. Itwas due to across-the-board facility in all departments of stageproduction, followed by painstaking efforts to bring together rightkind of back stage support team and appropriate actors that hewas able to mount mega-productions which are still rememberedby theatre aficionados.

A strict disciplinarian, he never compromised on selection ofcast. Other than young persons trained by him in repertories andworkshop, he was always looking for actors who fitted the rolewithout fitting the mold. He selected actor from most unlikely sta-tions and backgrounds. Many a times, a labourer from generalbus stand, a driver, an office clerk, a peon, were selected forroles as they fitted into the 'character'.

Kavi Rattan, a talented playwright, actor and director, wasborn in 1940, in the family of Pandit Raghunath Shashtri, Amonghis seven siblings, he was especially influenced by hiselder brother Rattan Sharma, a fine actor and directorand prominent theatre personality. Having worked asan actor from childhood, Kavi Rattan exposed to thelocal Parsi style Rama Lila tradition, showed hispredilection for creative expression, during his col-lege days by writing and staging plays like KhotteSikke.

A 1965 post-graduate in English, he wasawarded the first scholarship for theatre by J&KCultural Academy for three years (1966-1969) toundergo academic training in theatre at NationalSchool of Drama, Delhi. Wherefrom under the tute-lage of Ebrahim Elkazi and others, he successfully com-pleted degree in dramatics with specialization in direction.

During his stay at Delhi, he had the distinction of working withprominent directors including Carl Weber (USA), Peter Brooks(England), K N Pannikar, Ranjit Kapoor, Mohan Maharishi,Habib Tanvir, Ebrahim Elkazi, Col Gupta (Ex. Director Songsand Drama Division), Om Shiv Puri, Sagar Sarhadi, Sardar Gur-charan Singh, Rajinder Nath, Suresh Bhardwaj, B V Kamath,Rattan Thayiam, Kahaniya Lala, Ved Rahi, Shayam Benagal.He also worked with well known actors like Uttara Baokar,Surkha Sikri, Sudha Shivpuri, Rohni Hattangadi, Nadira ZaheerBabbbar, Om Puri, M K Raina, Manohar Singh, Raj Babbar, RamGopal Bajaj, Amal Alana and others.

With his appointment as Drama Instructor in J&K CulturalAcademy, Kavi Rattan, got a platform to hone and train youngtalent by conducting repertories and workshops both at Jammuand Srinagar. Today most of the well known theatre personali-ties of the state owe directly or indirectly their basic orientationto serious theatre by getting training in one of the more than 12play-writing and 30 theatre workshops conducted by him fromtime to time.

The ripple effect of the somber but intense personality of KaviRattan who effectively trained scores of interested young menand women through pedagogical exercises-succeeded in open-ing up a new world of creative possibilities in theatre during pre-militancy heydays of cultural efflorescence in the state. The peri-od was also marked by founding of new theatre groups in dif-ferent parts of the state which lead to healthy competitionamongst these groups to vie for awards in the annual dramacompetitions by staging meaningful and technically competentproductions.

Kavi Rattan's pivotal contribution in conducting theatre work-shops was not only limited to young and talented theatre artistsbut also in holding theatre workshop in various schools, collegesand different departments of University, that too without charg-ing any remuneration. Invited by Sangeet Natak Academy andNSD for participation in directors' theatre workshops and semi-nars, he also acted as camp director of theatre workshop atManipur.

The very fact that Kavi Rattan chose to work in J&K, he usedhis contacts to invite world renowned theatre experts to the statewho gave lectures and demonstrations on various aspects ofacting and theatre techniques. These personalities includedElkazi, Nemi Chander Jain, B V Kamath, Kanhaiya Lal, SagarSarhadi, G N Deshgupta, Sacher (USA) and many others.

In an illustrious career in the Cultural Academy where heretired as Additional Secretary ( being denied the post of secre-tary for not pandering to politicians of the time), Kavi Rattan'sgreatest contribution has been in the field of direction. He direct-ed and scripted many prestigious productions for Cultural Acad-emy. Another significant contribution by him was founding of pio-neering cultural Organization Bahurangi, which through itsimpressive productions set up a benchmark for other theatregroups in the state. "Working in semi-govt. organization like Cul-tural Academy, had put restrictions on me with reference to the

choice of scripts that could be staged. So the 'Bahurangi'was created and formed to stage plays which were

anti-establishment".Kavi Rattan staged more than 170 plays in

and outside the state. Marked with a great vari-ety, where instead of a particular style, the formfor each play evolved from the very structureand demands of the situations. With the result,Kavi rattan, the master theatre director can-not be bracketed in any particular style. Healways found it redundant to stick to a pre

decided one for a particular narrative. "Theform should emerge out of the content organi-

cally as the best way to tell a story".Some of his notable plays include Mohan

Rakesh's Aadhe Adhure, J C Mathur's Reed Ki Had-di, Vijay Tendulkar's Char Din, Khamosh Adalat Jari Hai, Dinu

Bhai' Pant's Sarpanch, Sanskrit play Bhagvad Ajjukayin in San-skrit, Hindi, Dogri, Kashmiri, Manipuri at different locations, San-skrit play Mattvilas, Madhyam Vyayog, Badal Sarkar's Baki Iti-has, Pagla Ghora, Juloos, Saptacus, Vallabhgarh ki Roopkah-ta, Vijay Tendulkar's Panchi Aise Aate Hain, Gyandev Agnihotri'sShutarmurg, stage version of Pandit Anand Kumar's Begum KaTakiya, Fedrico Gracia Lorka's Yerma in English, Jasma, Dogriversion of Gujrati Bhavai folk play Jasma Oden and Thumbal-Manipuri version of Jasma Oden and Anil Barve's Thank YouMr. Glad.

Kahani Hamri Tumhari ( a saga of India's struggle for free-dom through stage, slide shows, shadow play, chorus, music)and Mehak Gulab Ki ( a play based on Pt. Nehru), conceived,scripted after thorough research and directed by Kavi Rattan,were mega productions, which are still remembered.

As a playwright he also has written plays in Hindi and Eng-lish dramas like Batwara, His Master's Voice, and Khilone. Hehas also translated and adapted in Hindi and Dogri many playsof Bengali, Marathi, Gujrati, Kashmiri, Urdu, Sanskrit and Eng-lish. ARadio and film and TV actor, Kavi Rattan has acted in VedRahi's film Drar, Shayam Benagal's Yatra, TV film Vapsi for Sri-nagar, to name a few.

Kavi Rattan's latest production staged for University of Jam-mu was Dogri version of 'Devi' (well known Bengali story) in2009. During 50 years of dedicated service to the cause of mean-ingful theater, he had full support of his wife Shashi Rattan, whois also a stage actor.

He has received many citations, honours and awards froma number of cultural organizations, NGOs and J&K Govt., includ-ing the State Award for Performing Arts.

Talking about theatre acting, Kavi Rattan simply slams thecurrent practice of the so-called physical acting. He finds it lack-ing in all the subtleties and organic connections while the atten-tion is solely on visible bodily movements and making a lot ofnoise! He is pained by the shenanigans of the so called presentday flag bearers of Jammu theatre. Kavi Rattan, an idealist, whoabhors double talk and hypocrisy, rues that the gross commer-cial interests have polluted the spirit of theatre in Jammu. Hefeels sad that Theatre, which is being used by a few clever play-ers as a ladder for their personal growth and gains, has not onlysuffered a setback but failed to become integral to the culturallife on people of J&K.

Dr. Richa Sharma & Dr Samit Sekhar

Despite continuing efforts to improve antenatal care, theincidence of a number of adverse pregnancy outcomes,including low birth weight, preterm delivery and birth defects,has not diminished in recent years.

Reasons-This may in part be attributed to* an increased number of women of advanced age at the

time of their first pregnancy* an increased number of multiple pregnancies * a relatively increased number of high-risk pregnancies

among women with a chronic medical condition.Prevention-"Prevention is Better than cure"so if we are

fully prepared prior only we can curb down such incidencesHere we will give some tips to our readers-The first antenatal visit usually takes place after baby for-

mation process have been completed and, therefore, is toolate to have a substantial impact on reproductive outcome.Hence, risk factors for adverse pregnancy outcome shouldbe addressed before conception.

The opportunity for primary prevention, to address andreduce risk factors for adverse pregnancy outcome beforeconception, has led many to believe that a shift from antena-tal care to preconception care could be the most effectivestrategy to improve maternal and fetal outcome.

Ways followed-* Promoting healthy habits* Education of women on pregnancy planning and the

need for antenatal care* Identification and reduction of (modifiable) risk factors

before conception* Preconception care should not be restricted to women;

their partners should also be involvedfor the evaluation ofpaternal risk factors for adverse pregnancy outcome

OUT-PATIENT CLINIC FOR PRECONCEPTION CARE-Own initiative or referral externally or from within hospital

First visit- * Medical history* Description of specific problem* To gain additional information from doctors involved Con-

sultation of other specialities* Additional diagnostic proceduresSecond visit-* To draw up to a multidisciplinary preconceptional, ante-

and postnatal plan of management* Written report (for referring specialist, own files and couple)COMPONENTS OF PRECONCEPTION CAREPreconception care should encompass the following

four components:(1) Risk assessment: the systematic evaluation and iden-

tification of risk factors for adverse pregnancy outcome. Thismay require additional screening, diagnostic tests and con-sultation with other specialists.

(2) Health promotion: couples are informed and educatedon a variety of health-promotion issues, including periconcep-

tional folic acid supplement use, avoidance of alcohol, tobac-co and other drugs, and proper nutrition.

(3) Intervention in order to modify or eliminate risk factors.(4) Counseling: adequate information and counseling

allow couples to make an informed choice on whether torefrain from child-bearing or opt for pregnancy.

Preconceptional screening questionnaire-Medical history-Diabetes, Thyroiddisease, Asthma, Heart-

disease, High blood pressure,Deep venous thrombosis, Kid-neydisease, SLE, Epilepsy, Sickle cell anemia, Cancer,Reproductivehistory, Uterine or cervical abnormalities, Twoor more first-trimestermiscarriages,Preterm delivery, One ormore intrauterine death(s), Prior infant < 2750 g at birth,Pri-or infant admitted to neonatalICU, Prior infant with birth defect,Operative delivery

Nutritional history-Vegetarianism/veganism,Frequentconsumption ofsnacks/pica, History of bulimia/anorexia ner-vosa, Specialdiet, Vitamin supplement use, Intolerance formilk

Disease history- STD,Herpessimplex,Chlamydiainfec-tion, Humanpapillomavirus, Viral hepatitis (or risk behavior),HIV (or risk behavior), Occupational exposure to blood, Bloodtransfusion, Own/work with cats, Immunity to rubella

Family history- Birth defects/genetic diseases, Related topartner, Race

Social history/behavior risks- Alcohol use (per day), Tobac-co use (per day), Marijuana, cocaine or other druguse, Chem-ical use at home/work,Exposure to radiation at work, Partic-ipation in sports, Age ? 34 years

Medication history- Use of prescription medication,Use ofover-the-counter(OTC)Medication

Counseling-Couples should be counseled on the specific risks of preg-

nancy based on the presence of other risk factors, which mayinclude genetic issues or the recurrence risk of previousobstetric complications. In recent years, more and morewomen who have previously been told or who have assumedthat they could never bear a child because of a (severe) con-genital anomaly, or chronic disease (and medication use) ororgan transplantation, are opting for pregnancy. Preconcep-tion care in women with chronic medical conditions requiresspecial knowledge, training and organization . This deals withthe optimal timing of pregnancy and balancing of maternaland fetal/neonatal well-being and prognosis.

The authors are Senior IVF consultant Gurgaon Fertility Centre, GFCand Executive Director GFC)

SUNDAY, AUGUST 23, 2015 (PAGE-4)

Pregnancy Preparation

PERSONALITY

HEALTHLINES

Dr.Varun SuthraThe most imperative but lesser known fact is that a few

effortless changes in lifestyle and daily regime reduce therisk of falling prey to various ailments by almost 90 per-cent. Ayurveda is the most ancient discipline that makesus aware of such essential lifestyle components. Its dis-tinction lies in principle of preserving healthiness. Follow-ing few simple regimen modules can save your time, ener-gy and money, which you have to spend under compul-sion that too without any bargain at chemist shops, hospi-tals or clinical laboratories.

Ayurveda widely classifies life into 'Sukhayu' and'Dukhayu'. An individual free from major ailments bothphysical and mental, living a satisfied and liberal life, enjoy-ing youthfulness, full of energy would be considered hav-ing 'Sukhayu' whereas someone leading an ailing life, fullof miseries and short of resources would fall under theambit of 'Dukhayu'. Every individual aspires for 'Sukhayu'.

Most interestingly, Ayurveda is not just a discipline ofmedicine but an encyclopaedia oflife which provides all solutionsfor elevating a 'Dukhayu' to'Sukhayu' and countlessresearchbased Sutras' andShlokas have been dedicated forthat, which are the outcome of rig-orous researches of ancientseers (Acharyas) includingCharaka, Sushruta, Vaghbhata,Nagarjuna, Chakrapani andmany others.

To substantiate this fact, onemost simple but imperativeinstruction from Ayurveda textson 'AharVidhi', would be the bestto reveal. Simply putting AharVidhi means 'How to Eat', yesmethod of meals which is indis-pensable part of consuming foodbut majority of people make smallmistakes here due to their igno-rance which actually leads to bigtroubles later.

Ayurveda has very scientifi-cally and systematically shown some very simple steps tobe followed by any individual while having their meals irre-spective of what you eat. Do remember How you eat ismuch more important than what you eat. Undoubtedly whatyou eat makes you what you are but how you eat is fore-most thing to be taken care of.

Following these simple steps on methods of mealensure mental and physical strength, strength of tissue ele-ments (Dhatus), pleasure of senses, complexion, goodvoice, longevity, happiness, satisfaction, intellect, enthusi-asm and memory.

Known as 'Ahar-Vidhi' the Sanskrit Sutra from Ayurve-da describes method of meals in few steps:

"Ushanam Snigdham Matravat Jirna Viryavirudhe Ish-ta Deshe Ishtupkarne

Natidrutam Nativilambam Ajalpan Ahsan TanmnaAtmanamAbhisamikhye'

Ushnam: Food should be taken warm as it stimulatestaste buds which is most essential to trigger a better diges-tion. It enhances the catalytic effect of digestive process,in Ayurveda terminology it's called 'Jathragni Pradipan'.Most importantly it leads the passing gas towards anusand that is most important for uninterrupted digestion andsaves one from all gastric ailments. The Ayurveda termi-nology for the process is " Vataanuloman'. Vata or Vayu isreferred as air. Always say no to stale food.

Snigdham: Then food must have a balanced amountof 'Snigdha'- something with oily properties. At times whenAyurveda formulations were conceived Butter, Ghee etc.were considered must for health but in the contemporaryera one can use different oils or butters as per the bodydemands. A balanced amount of Snigdha providesstrength to senses, builds up tissues and in improves com-plexion.

Matravat: Quantity or dosage is the third most impor-tant step that has to be decided carefully by an individual.Overeating or undereating both have adverse effects butmeals taken in an appropriate quantity are easily digest-ed and able to reach the anal opening without panic. It notonly maintains the normal body temperature but also leadsto a painless digestion.

Many young men and women are often seen doingrounds of many doctors for their skin troubles mostly foracne, but they hardly discover that trouble lies in their howto eat. They should understand the fact that most of thetimes their bad eating practices are major reason for trou-bles with their face and outer beauty.

Jirne: There should be a considerable span betweentwo meals and the easiest measurement of the duration isgoing for next meal only when the previous meal is prop-erly digested. Pure burps and a sense of lightness is signof proper digestion.

Viryaavirudham: Going for right food combinations is

again another very important step. There are many wrongcombinations like sour items with milk, radish with curd,milk after garlic etc. are some very wrong combinationswhich must be avoided.

Ishta Deshe-Ishtaupakarnam: Meals should beginwith grace in order to create a quiet, calm and respectfulenvironment and should be eaten in quiet without distrac-tion such as television, reading, reading or excessive con-versation. It is the most widely discussed but hardly fol-lowed instruction. Involvement of mind is equally impor-tant in eating as the use of physical body.

Natidrutam-Naativilambam: Pace of eating againneeds to be balanced neither one should eat rapid or inhaste nor too sluggishly. Eating fast increases the threatof taking the impurities like hair easily in and would notallow the eater to enjoy the taste even. Whereas eatingtoo slowly will lead to irregular digestion.

Ajalpan-Ahasan Tanmna: Avoid laughing or talkingwhile eating. It has adverse effects on smooth digestion offood.

Atmanam Abhisamikhye: One must consume anyfood only in accordance with acceptability and adaptabili-ty of body.

Ironically parents nowadays are stressing kids to learndance, skating, aerobics, acting etc. from very early stageand invest a lot but fail to teach this most basic principleof Ayurveda- How to eat, whichthey have themselves for-gotten. Such an indispensable teaching which had beenpart of ancient wisdom and well taught in our kitchens fewgenerations back from now is slowly waning.

Salutations to the Acharyas of Ayurveda who under-stood the significance of such vital facts and compiled allin Sutras for ensuring a quality life.

How to eat?Saibal Chatterjee

The film's tagline says it all: All is Well is "all about car-ing for your family". Not a bad starting point that, but thefilm makes rather heavy weather of its voyage to its the-matic destination.

Director Umesh Shukla works with two distinct moods- comic and emotional. While he handles the first with afair degree of flair, he isn't quite as self-assured with thelatter, which pushes the drama into the domain of uncon-vincing contrivances.

So, All is Well is the kind of film that is watchable onlyin parts. As it nears its business end - the facile climax -it takes on unintentionally laughable overtones. This is thestory of Inder Bhalla (Abhishek Bachchan), who hates hisfather Bhajanlal Bhalla (Rishi Kapoor) because the latter

wants to foist his bakery on the young man, unmindful ofhis personal ambitions.

The son is a singer who now lives in Bangkok becausehe wants to get away from the constraints of small-townIndia. He is forced to return home in response to a phonecall from a man called Cheema (Zeeshan MohammadAyyub), who has over the years lent the protagonist's bak-er-father lakhs of rupees.

The unflappable old man is unrepentant and refusesto part with his bakery to pay off his debt.

His obduracy sparks off a comic battle of attritionbetween the Bhallas on the hand and Cheema and hismen on the other, which plays out in the form of a chasein which the hunted and the hunter go around in circles.

Inder has two other stories unfolding in his complexlife. One hinges on a mother (Supriya Pathak) sufferingfrom Alzheimer's.

The other revolves around his neglected girlfriend,Nimmi (Asin), who is on the way to get married to anoth-er man. This story of a man in the grip of by a negativemindset that compels him to keep both his parents andhis girlfriend at bay is enjoyable only until it plays up thecomic aspects of the rigmarole.

When the tale turns deadly serious in the second half,it assumes overly moralistic proportions and loses itsentertaining edge in the bargain.

The film's many failings are somewhat offset by thequality of the performances, with Abhishek Bachchanpulling off the pivotal role with some effort to spare.

The character, of course, suits him to a T because itsarc is restricted to a set pattern into which the actor set-tles with ease.

Rishi Kapoor is formidable as the father, conveying awide range of emotions. The versatile Zeeshan Moham-mad Ayyub, on his part, anchors the funny passages withcommendable aplomb.

All is Well is a well-meaning, mildly diverting trip thattends to meander far too much for its own good, but,despite the avoidable detours, it does manage to getsomewhere in the end. (PTI)

MOVIE-REVIEW

A trip that yields mixed results

Living Legend of Jammu Theatre

Kavi Rattan in Hindi play ‘Thank you Mr. Glad’

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