What can be the scale of success of a master? This is a difficult question. But what can not be a measure of the kind of legacy that master gave to society, country and the world? What are their ready people doing?
How expert did they become in their genre and how are they advancing that genre? Why, in many scales it can be an important scale.
If a master of a theater includes hand-crafted people
Manohar Singh, Uttara Baokar, Ram Gopal Bajaj, Baw Karanth, MK Raina, Om Puri, Naseeruddin Shah, Rohani Hattangadi, Surekha Sikri, KK Raina, Pankaj Kapoor, Ranjit Kapoor, Om Shivpuri, Various actors, actors, drama directors like Sudha Shivpuri, Nadira Zaheer Babbar, Bhanu Bharti, Bansi Kaul, Ratan Thiem, Jaydev Hattangadi, Rajesh Vivek, Prasanna, Raj Babbar, Raghuveer Yadav, Robin Das, Rajendra Gupta, Amaal Allan, Kirti Jain If the color designer and color thinker are involved, what would that master be called?
What would you call the master whose training and methods of work made an indelible mark on the modern Indian theater after independence?
Yes, that master would be called Ibrahim Alkazi.
The same Ibrahim Alkazi died at the age of 94 on Tuesday in Delhi
Ibrahim Alkazi was the director of the National School of Drama (NSD) for the longest time. But from 1962 to 1977 he was not just a director. He was making his student a disciplined professional painter. He is also credited for establishing the Rangamandali of the National School of Drama University and giving it prestige.
Talk to any of their students, they will repeat these things again and again. It seems from all these things that Alkazi Saheb has added the life formula of color in his DNA. We spoke to four of his veteran disciples. Their words can be helpful in understanding them to a great extent. These students of theirs are themselves well-known theater artists of Indian theater.
The first question that arises in the mind of the people is that Alkazi Saheb was abroad, then how did NSD reach. The answer is given by one of his students, famous color worker MK Raina.
He explains, “After independence, many young men came forward to create a new India
There were scientists, engineers, artists… all kinds of people. Many left the best work from abroad. They dreamed of modern and scientific consciousness Equipped Hindustan is to be built. New institutions were being formed. Many of them took care of them. They also included Alkazi Saheb in the field of modern art and theater. “
That’s why Raina says, “A pillar of modern India is gone. I consider him a man of renaissance.”
A day of Aashad means changing the game
‘A day of Ashad’ scene
Former NSD director Ram Gopal Bajaj recalls, “We were the first batch with Alkazi Saheb. That same year, in 1962, he did Mohan Rakesh’s ‘Aashad Ka Ek Din’.
That presentation showed that he was just English or Greek plays are not the only big directors. If they touch any Indian drama, it can be amazing. “
“The play was with a second-year student. It had actors like Om Shivpuri. It was not a con artist at the time. In my opinion, this drama was ‘Changing the Game‘ at Hindustani Theater.”
As a teacher… great… unsurpassed… amazing
A scene from the drama ‘Andha Yuga‘
Former NSD director and student Kirti Jain says, “He was great as a teacher. There was a lot of solid insight into all aspects of the theater. Whether it was direction or drama, or costumes and costumes. Then the design… what is the importance of research… how to present history… It was all in his studies.
He gave a lot to the overall vision or attention to detail – we learned a lot from him. ”