‘It’s easier to censor theatre’

HYDERABAD: A guided tour of Unnava Laxmi Narayana’s ‘Malapalli’ and a taste of cynicism through Rachakonda Viswanatha Sastry’s ‘Aaru Saara Kathalu’ (Six stories on arrack) marked the second da

Published: 14th February 2012 12:50 AM  |   Last Updated: 16th May 2012 05:56 PM   |  A+A-

OK

Feminist writer Vasanth Kannabiran interacts with Sushama Deshpande, theatre personality and advocate D Nagasila with Gujarati playwright and activist

HYDERABAD: A guided tour of Unnava Laxmi Narayana’s ‘Malapalli’ and a taste of cynicism through Rachakonda Viswanatha Sastry’s ‘Aaru Saara Kathalu’ (Six stories on arrack) marked the second day of the national seminar on law and literature in the city. Socialism and class struggle as captured in literary works and machinations to censor art depicting real-life situations formed the essence of the discourse.

The issue of censorship on literature and play-acting brought different perspectives. Noted Gujarati playwright and activist Saroop Dhruv observed that it is easier to censor theatre than movies. “Staging a play requires the script to be submitted in advance. This is something films don’t go through. The experience is similar to having a foetus aborted before it takes shape,” said Saroop whose plays were targeted for critiquing contemporary issues, from communalism to displacement of slum-dwellers in the name of urban beautification in ‘Suno Nadi Kya Kehti Hai’.

Wielding censorship on women musicians by centres of power — a largely male dominated area — was brought out by publisher and Thumri artist, Vidya Rao.

The struggle of workers, marginalised classes and agricultural laborers in Andhra pradesh were covered in separate sessions by writer and filmmaker Kutumba Rao and Sudhakar’s paper on Ra Vi Sastry’s portrayal of the rot in judicial system. The censorship on ‘Malapali’ in pre-independent India was discussed in detail by Kutumba Rao whose recitation of Sri Sri’s rebel cry in ‘Maro Prapancham’ brought alive the struggle of the worker.

In the contemporary context, the legalese employed courts was portrayed in an anecdotal evidence by Suneetha Rani, professor at University of Hyderabad. The Tollywood movie ‘Leader’ which borrows from the dynasty politics in the state was presented through a paper by Sam Gundimeda which drew parallels between the case fought by K.G Kannabiran and Balagopal against the killings in Karamchedu and the cinematic portrayal of a warped sense of extra-judicial justice.

Stay up to date on all the latest Hyderabad news with The New Indian Express App. Download now
(Get the news that matters from New Indian Express on WhatsApp. Click this link and hit 'Click to Subscribe'. Follow the instructions after that.)

Comments

Disclaimer : We respect your thoughts and views! But we need to be judicious while moderating your comments. All the comments will be moderated by the newindianexpress.com editorial. Abstain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks. Try to avoid outside hyperlinks inside the comment. Help us delete comments that do not follow these guidelines.

The views expressed in comments published on newindianexpress.com are those of the comment writers alone. They do not represent the views or opinions of newindianexpress.com or its staff, nor do they represent the views or opinions of The New Indian Express Group, or any entity of, or affiliated with, The New Indian Express Group. newindianexpress.com reserves the right to take any or all comments down at any time.

flipboard facebook twitter whatsapp