 Presenting sponsor because precious moments are priceless Kim G Jula since 1936 Namaskar Darsakubandhu. Ajiro Atiti ku, Swagat-kori chi, Mosmita. Darsakumandhu, sabuddin bhai aji madhya aama gohanare. Amar atiti aseki upasthita rahesari chanti. Kothaaba ama atiti hu, Swagat-kori bha. Darsakumandhu, amar o Ajiro Atiti, jane Indian Theatre, Sineagrafer, author, academician, NSD faculty, University of Hyderabad, and many other Indian visual theatres. One of them is Man of Theatre, Satya Vratrao Tamasaheta. Welcome. Let's start. Greetings. I would like to say that the theatre is connected with the cinema. Wherever we are, wherever we are, whatever we see on the streets, that comes under scenography. We have set design, light design, actors' choreography, your costumes, mask, makeup, your composition, and all the directorial treatments that come under scenography. It's a new term to theatre for the last maybe 40-50 years. The term came into being, practice. It was a Greek theatre for thousands of years. The Greek theatre also came under the name of scenography. In English, there was a lot of scenic design. That was the term. But in the 21st century, it is completely different from the 19th century theatre. There were lots of new brains, new work, new technology, new ideas that were incorporated into the theatre. There was some sort of division between director, designer, technicians, technology, script. But it was a combined, collaborative term. The director was out of autocracy. Even in Russian art, in the National School of Drama, we saw acting, stage craft, and direction. These were different subjects. But slowly, slowly, slowly, slowly it merged into direction and design slowly merged. The designer had a lot of directorial work. We choreographed and composed the play by the director. We used the actor's body. If you are an actor and I am a director, I will tell you, please go there, sit here. We do blockings. In blocking, text is there. The writer who writes the text, it is there. But the way we do it, the way we do it, the way we do it, the way we do it, the way we do it, the movements we do, that comes under scenography. Because visual is always moving. Either it is moving physically or it is moving psychologically. The way the context is developed, the way the director is designing the aspect, because we have to move it. The way we have to move, not only you are moving, you are taking a group of audience into that journey. We have to go to the forest. We have to go to the jungle. So you are entering into the jungle, but you are not alone entering into the jungle. You are taking the audience into that jungle. The concept of that means we are creating an experience. While we see we are experiencing the jungle. So as you concept a developer, you take a scenography. The term is old, ancient Greek was scenography. That means the visual. So scenography is the first concept developer, that is to writing on the stage space. It is a visual writing. We write on pen and paper, but I write through my actors' movements. So that is the basic difference. So I took the initiatives. The reason behind it is very strong, because I am a painter. I see everything. I see what you speak in that sound. I see a lot of things. So sound became a major subject for me. I have done a lot of work on sound as visuals. Another aspect of scenography is how sound is visual. Like for example, in Dharanda we have a lot of rivers in Odisha. We all experience this. But I am doing it because I know it. We have a distance of half a kilometer from Nau. We have a distance of half a kilometer from Nau. We have a distance of half a kilometer from Nau. We have a distance of half a kilometer from Nau. We have a distance of half a kilometer from Nau. We create a sound. And that sound measures the distance of the river. If there is a distance of half a kilometer from the river, then the quality of the sound is different. If there is a distance of half a kilometer from the river, then the distance of the sound is different. The modulation of the voice depends on the distance. So here you see how the verticality is depending on the sound. The sound becomes a very strong connotation for creating a visual. Empty spaces are very difficult. You will not find sets. You will not find that visual. But I try to create visual in the mind of the audience. So it is very small. That is, I termed it. I bring it as a theater director or designer. I termed it as imaginary visuals. And audience participation. If there is a distance of half a kilometer from Nau, then it is not necessary to imagine the audience. He is seeing it as like your TV series. Everything is clear. So we are not allowing our audience to enter into that experience of life. Getting my point. So here in my theater, I allow my audience to enter into the things and imagine the things. And then you create an experience. And that is called experiencing. And that I created in Indian theater. And I am known for that only. Maybe that is my research. That is the research for the last 50 years. In the next video, we will talk about the break and break of time. There are many problems in a short period of time. If you want to solve them, then please send us your problems to the audio and video section. Munir Singh's simple and simple approach. I will tell you the solution to the problem. A great solution. A great solution. A solution to the problem. A great solution. A solution to the problem. A solution of ourible people. A solution to the problem. A solution to the problem. A solution to the problem. A solution to the problem. If we have benefited from our videos, then don't forget to like, share and subscribe to our channel. The biggest one is the fact that we are totally healthy. We work as a business from our prescription. So that we can directly talk about the future of the country. Every day, the 3rd day of the operation is scheduled to be held in August. As the president of the nation... The president of the nation... Got up? Move next one. Crime? Politics? Antibiotics? Sports? Business? Banzibika? That's a struggle. Let's see what happens next. Pink City, Bada Ghabar Every day on Sunday at 5.30pm Only August is available Rana e Bevi Shana Bada Ghotai Prasthutahe Uchanti Bada Bana Hikasara Satamichha Grantirya Pratishruti Pichar Dharara Sangharsha Gama Ghot Rajanitha In the near future P.J. Parajeranlur In what area? Where is the position? 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I didn't close the door for 6 years I decided to go home, father is coming Dad, please wait After a while, we left the house We had a lot of time It's 100-200 departures It's a 10 minutes drive I stayed at home for 10 minutes You say, if it is 10 minutes, then it will take 2 hours. And that, that became my motivational turning point to come to my home town. It was very easy. Odisha has done a lot. I am not dissapointed, not at all. There are lots of situations. But we are not in the right track. That is the problem, what I observed in Odisha. Let us see, I am a teacher. I am a student for sure. I have a lot of benefits. I don't have much time. Online, there are so many students. There are 50 students daily. If there is a problem with the production, then I will pass the time. If I don't have time, please don't talk. I will give it on my own time. I write in time, I will pass the time. Then I will be able to write. These are all disturbances. I have to wake up at 4 in the morning. This is my regular practice. I am not able to write. I may be able to write, but after a long time, I am able to pass the time. I know how to write. But I need to go slowly. I need to go slowly. If I work, then I will not be able to write in Odisha. I don't want to write. But I know what to write. I don't want to write. approaching. Sometimes I think why that fear? If at all there is a fear, then why that fear? I want to give. So, I think there is a lot of detachment. Say, I want to work in a first Even people in IIT can see who they are working with. I have stopped learning faculty. We are not learning. We are not learners. We can teach them. Can you create a second Nasir Dinsaha in Indian theater? Can you create a Om Puri as an actor? You cannot. Nobody. So, we are only watching films. But I know Nasir Bhai, he is more inclined to theater than film. Every week, Saturday, Sunday, Tankara, Motley Theater Group, Bombay, Auditorium, Bukra, He performs every week. I think a major part of his life, learning, comes from theater. Because they are not only film actors. We see them only films. But they are readings. They are understanding. They are sensitivity. So, it is a development of a study, right? Because academics is very essential. Mr. Nishinabere, we have seen in the film industry that there is a lot of people who know who we are talking to. And we see that those who want to go to theater, to Abhinaya, we know them. Sir, we will talk to them later. Thank you very much. You can stay with us. We will talk to you later. Till then, stay with us. Namaskar. Rathi Shruti. Food Bhai Yastra. Taw Ratarana. We are doing it for the sake of Ratarana. We are doing it for the sake of our own. Jaba Magini. Jaba Magini. Jaba Magini. Sanibar Rathi Nautatiris. Make up. Get up. Presentation. Action. Reaction. Celebration. Round promotion. We are doing it for the sake of our own. Entertainment. Entertainment. Entertainment. Rathi Nautatiris.