Play performance by Natak Ghar / Atul Pethe and Ketaki Thatte
Name of the Play – Shabdanchi Rojnishi
Playwright – Ramu Ramanathan
Marathi Translation – Amar Deogaonkar
Direction – Atul Pethe
Duration – 90 minutes without interval
Language – Marathi
List of artists
Total Members - 6
Male - 4
Female – 2
Names of the members
1) Atul Pethe
2) Sagar Dahale
3) Yadnyesh Ambekar
4) Shubham Parkhad
5) Ketaki Thatte
6) Rohini Pethe
Cast and Credit list
- Ketaki Thatte and Atul Pethe
Playwright - Ramu Ramanathan
Translation - Amar Devgaonkar
Set Design – Pradeep Mulye
Script, Lights Design and Direction - Atul Pethe
Music - Saket Kanetkar
Tribal music – Prachi Vaiddya (Dubale)
Costumes – Rashmi Rode
Film and animation - Shubhankar Saundankar and Savani Puranik
Sound Operation – Yadnyesh Ambekar
Lights Operation – Sagar Dahale
Stage in charge – Aditya Santosh and Sharad Hukeri
Backstage – Shyam Shinde, Shubham Parakhad, and Rohini Pethe
Photographs – Kumar Gokhale, Sugat Gaikwad
Calligraphy – Achyut Palav
Posters – Jayant Bhimsen Joshi
Omkar Govardhan, Ranjit Mohite, Parna Pethe, Abhijit Vaiddya, Vaibhav Abanave, Anagha Kusum, Anand Thatte, Amruta Joshi, Suvrat Joshi and Rahul Lamkhade
Produced by Atul Pethe Production’s Natak Ghar, Pune
About the Director
Atul Pethe -
Actor, Writer, Director, Documentary maker and Producer.
Doing experimental theatre for last 40 years. His ‘Surya Pahilela manoos’, ‘Waiting for Godot’, ‘Anandowari’, ‘Chawk’, ‘Satyashodhak’, ‘Ashadhatil Ek Diwas’, ‘Samajswasthya’ and other plays participated in National and International Theatre festivals in India. He has also directed documentaries on Vijay Tendulkar and Satish Alekar. Recipient of many prestigious awards.
I am always in search of meaningful strong multidimensional content. Once i find such in any play, Content starts getting a shape into my mind. The journey progresses by inspecting and evaluating various possibilities. The mind remains in a state of upheaval. Churning of creative ideas take place.
‘Shabdanchi Rojnishi’ is no exception to this journey. When I read Ramu Ramanathan’s this play, I got completely possessed by the content and its form. I met Prachi Vaidya (Dubley), Ketaki Thatte , Saket Kanetkar, Shubhankar Saundankar and Savani Puranik along this journey. All these talented people gave a different perspective and dimension to the play. With their inputs I could touch upon some of the abstract aspects of the play. I could capture fragmentation and suffocation one experiences living in this era.
We were all engrossed during the production process. What more can one expect from a play ?
About the Playwright
Ramu Ramanathan -
a Playwright, Poet and Journalist.
Eight of his plays have been anthologised in the book 3, Sakina Manzil and other plays
(Orient Black swan/EFLU). He is also the author of the poetry collection My Encounters with a peacock
and To sit of a stone and other shorts
(Both are Red River Publications) and co-editor of Babri Masjid, 25 years on
Ramanathan writes on Theatre and culture in newspapers and periodicals. He has been associated with the printing industry for three decades as a journalist. He is the Editor of PrintWeek
and What Packaging?
About the Group
Atul Pethe Production’s Natakghar is a Pune based private drama company run under the leadership of Atul Pethe. It is actively producing plays for last eight years. Aashadhatil ek diwas, Samajaswasthya, Protest, Tarkachya khuntivarun nisatalele rahasya, Kimaya, Parwa Aamcha Popat Warla are some of its productions. Some of them were performed on national and international circuit and have been conferred with many accolades and honours. Experimental and meaningful theatre is our objective. We also connect with other art forms along with our plays.
Synopsis of the play
The play unfolds on 321st floor of a building. Outside, It’s raining heavily. The entire building is infested by termites. The Man on the 321st floor is spraying disinfectant. This floor is dedicated for the preservation of languages. All the great authors are getting extinct or are forced in extinction. And, on this floor, arrives a lady with her child. She is a divorcee. She is an accomplished scholar of languages. Both are trying to convey something to each other. They come to know each other well in this game of hide and seek. They fall in love. They adopt the child which the lady has brought with her. This child is the last survivor of an aboriginal language. Throughout the play there is discord, displacement and fragmentation. Both experience the divide and drift in the current socio-political, economic and cultural ethos. Thus the play evolves on multiple levels.