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184:, the preceptor's son, appears with the intent to seek revenge for Duryodhana and kill the Pandavas during the night, and Ashvatthaman names Durjaya, Duryodhana's son, as king of the kingdom right before Duryodhana dies. However, it needs to be noted that the play does not end completely in a tragic note, as there are signs of hope for the future, since it is unorthodox for Indian
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In this article, Gerow examines the differences between the
Urubhanga and the Mahabharata ‘original’. In the Urubhanga, the villain is portrayed as the moral hero since it is Duryodhana who acts as the guide and teacher for the reader. The play draws attention to discipline over self, compassion for
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The soldiers then proceed to describe the fight between Bhima and
Duryodhana. The audience is seeing the battle entirely through the description of the three soldiers; ultimately, Bhima falls from Duryodhana's incessant blows. Duryodhana, refusing to kill Bhima while he is on the ground, instead has
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the incident and featured characters are taken from the epic but Bhasa re-orients the incident and presents it with a new motivation. In Bhasa's version, the breaking of the thighs is over before the main scene of the play opens. Also, Bhasa portrays
Duryodhana as a tragic hero with heroic courage
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Play is also adapted in Dogri by Kumar. A. 'Bharti', Designed by
Abhishek Bharti and Directed by Aaditya Bharti which was declared as Best Production of 2017 by J&K State Cultural Academy. Its a highly experimental Production blends with Folk forms of Dogra region of J&K. Production got 10
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studies the tragic design and intent established in the play. According to Bhat, Bhasa is the single
Sanskrit dramatist to experiment with ancient material to produce tragic structure. Introducing tragic motive into the play was limited and attempt at delineating the character or action was
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folk theatre forms, rites, chorus, dance and modern techniques which goes beyond traditional forms of
Sanskrit drama. The Centre for Asian Theatre performed at the Huashan Arts District Outdoor Tent Theatre hosted by the Department of Cultural Affairs of Taipei City Government.
140:. He isn't exempted from his original evil deeds, but he is shown as a character with heroic qualities. The play centers around events that happen preceding his death; Duryodhana is shown repenting his past, reconciling with his family, and realizing the futility of war.
625:
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State
Cultural Academy Awards which includes Best Director Aaditya Bharti, Best Music Abhishek Bharti, Best Make up Shammi Dhamir, Best Costumes kamal Mohini and Acting Awards To Kanav Sharma, Sushmita Banerjee, Niharika Sakshi, Nitin Babu.
151:. They describe the scene before them in gory detail, each taking turn to muse and exclaim over the various details that they observe. As they progress through the battlefield, they arrive to the battle between the middle Pandava
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considered a denial of the existing legend and the fabrication of a new one. Therefore, Bhat is a solitary case of a daring experiment in
Sanskrit dramatic literature as he breaks away from the traditional epic framework.
177:), and his son. Duryodhana is distressed about his situation, as he can no longer salute his father, nor can he let his son sit on his thigh. He also rejects the futility of war.
166:, who wants to seek justice. However, Duryodhana stops him, having become resigned; this begins the part of the play that starts to emphasize the heroic qualities of Duryodhana.
99:, Bhasa's altering of certain aspects results in a different presentation of the story. The most extreme of these alterations is Bhasa's portrayal of Duryodhana, who, in the
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was presented by the
Bangladesh Centre for Asian Theatre, adapted by Niranjan Adhikari and directed by Kamaluddin Nilu. The premier of the play was held at Theatre Festival
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After
Duryodhana has fallen, Bhima is carried away hurriedly by the other Pandavas, and Duryodhana is left on the battleground. This act of false play incites the anger of
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the enemy, reconciliation within the family. Gerow also indicates the differences between the Urubhanga and Sanskrit dramaturgy as well as the structure.
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is deeply rooted in the Indian tradition those with traditionally fixed attitudes find it difficult to accept Bhasa's rendition of the
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From Gerow, Edwin, and Bhāsa. "Bhāsa's Ūrubhaṅga and Indian Poetics." Journal of the American Oriental Society 105 (1985): 405-12.
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is given more human qualities. Bhasa's presentation of Duryodhana's side of the tale adds certain tragic elements to the play.
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and calm determination with which he accepts his inevitable end. Eventually, Duryodhana dies like a hero. Since the
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and forgives Bhima, as the play progresses, he is reconciled with his blind parents, then his queens (Malavi and
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235:'s production of the play uses Manipuri dance and theatre traditions, as well as traditional martial art,
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In the beginning of the play there are three soldiers that are marveling at the battlefield between the
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Pusalker, A.D. Bhasa - a study. Munshiram Manoharlal Publishers Pvt. Ltd. New Delhi, India 1968
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Khan A.R. "Productions - Urubhangam." Centre for Asian Theatre. 2004. CAT. 13 July 2008 <
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350:. One act play. With introd., translation, notes. Mysore, Samskrita Sahitya Sadana, 1967
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Theatres of Independence: Drama, Theory, and Urban Performance in India since 1947
357:, a Sanskrit One-Act Play Attributed to Bhasa. Poona: Oriental Book Agency, 1940.
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style. Panikkar created two Duryodhanas in the play in which one is the mortal
634:- Critically edited with introduction , notes and translation by C.R. Devadhar
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364:(Text With English Translation and Notes). 2003 ed. Nag Publishers, 2003.
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Exotic India Arts - Complete Works of Bhasa with Translations,notes,etc.
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Bhasa Plays - Translated into English by A.C. Woolner and Lakshman Sarup
132:. Although portrayed as a villain in the original play, the protagonist
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his thighs crushed by Bhima from false play and violation of rules.
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203:, Sweden in 2001. The performance is characterized by elements of
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in the 2nd or 3rd century CE. Based on the well-known epic, the
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by Bhāsa. New York University Press: JJC Foundation, 2009.
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was also staged by the Suvarna Karnataka, choreographed by
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Bombay, India. Popular Prakasha Pvt Ltd. 1974. pg 68-79
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Bombay, India. Popular Prakasha Pvt Ltd. 1974. pg.68
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Bombay, India. Popular Prakasha Pvt Ltd. 1974. pg.77
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Bombay, India. Popular Prakasha Pvt Ltd. 1974. pg.74
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Bombay, India. Popular Prakasha Pvt Ltd. 1974. pg.69
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Bombay, India. Popular Prakasha Pvt Ltd. 1974. pg.89
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Bombay, India. Popular Prakasha Pvt Ltd. 1974. pg.72
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Bombay, India. Popular Prakasha Pvt Ltd. 1974. pg.70
644:Eastern Book Corporation - Complete Plays of Bhasa
95:contains the same core storyline as that in the
575:"Two Plays of Tragic Design and Tragic Intent."
526:"Two Plays of Tragic Design and Tragic Intent."
513:"Two Plays of Tragic Design and Tragic Intent."
500:"Two Plays of Tragic Design and Tragic Intent."
487:"Two Plays of Tragic Design and Tragic Intent."
474:"Two Plays of Tragic Design and Tragic Intent."
461:"Two Plays of Tragic Design and Tragic Intent."
283:. Popular Prakashan(P) Ltd. Mumbai, India 1974
246:Adaptations of Sanskrit classics including the
448:Two Plays of Tragic Design and Tragic Intent.
335:List of Sanskrit plays in English translation
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539:"Pioneering dancer and a much-loved mentor"
355:Urubhangam, Urubhangam, Breaking of Thighs
621:- Digital Download - read the play online
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83:focuses on the story of the character
219:. This version was remodified in the
136:is presented in a different light in
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435:http://www.catbd.org/urubhangam.html
378:. England: Penguin Publishers, 2008.
298:Bhasa's Urubhanga and Indian Poetics
36:An actor portraying Duryodhana in a
376:The Shattered Thigh and Other Plays
371:. Delhi: Motilal Banarsidass, 1985.
367:Sarup, Lakshman, and A.C. Woolner.
342:has been translated into English.
188:dramas to end only on a sad note.
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276:. University of Iowa Press, 2005
103:, is viewed as a villain, but in
27:Sanskrit play attributed to Bhāsa
126:is derived from the famous epic
87:during and after his fight with
684:3rd-century Sanskrit literature
679:2nd-century Sanskrit literature
669:Works based on the Mahabharata
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613:adaptation & Other Works
609:Kavalam Narayan Panikkar -
600:Center for Asian Theatre -
591:Center for Asian Theatre -
155:and the Kaurava Duryodhana
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306:Tragedy and Sanskrit Drama
288:How the nāgas were pleased
281:Tragedy and Sanskrit Drama
267:Essays on the Mahabharata
217:Kavalam Narayana Panikkar
604:(about,performance etc.)
180:At the end of the play,
369:Thirteen Plays of Bhasa
362:Complete Plays of Bhasa
119:Duryodhana fights Bhima
304:G.K. Bhat in his book
290:by Harṣa ; &
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674:Ancient Indian dramas
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292:The shattered thighs
215:was also adapted by
595:- detailed synopsis
543:The Times of India
169:Duryodhana blames
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573:From G.K. Bhat's
524:From G.K. Bhat's
511:From G.K. Bhat's
498:From G.K. Bhat's
485:From G.K. Bhat's
472:From G.K. Bhat's
459:From G.K. Bhat's
446:From G.K. Bhat's
272:Dharwadker, A.B.
227:and the other is
58:Shattered Thighs
16:(Redirected from
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409:Mahābhārata
395:Mattavilasa
374:Haksa A.N.
319:Mahabharata
312:In Bhasa's
279:Bhat, G.K.
265:Sharma, A.
192:Adaptations
129:Mahabharata
101:Mahābhārata
97:Mahābhārata
91:. Although
72:Mahābhārata
653:Categories
632:Urubhangam
619:Urubhangam
611:Urubhangam
602:Urubhangam
593:Urubhangam
549:2014-09-02
421:References
348:Ūrubhaṅgam
225:Duryodhana
197:Urubhangam
134:Duryodhana
85:Duryodhana
52:Urubhangam
38:Yakshagana
18:Urubhangam
340:Urubhanga
323:Urubhanga
314:Urubhanga
248:Urubhanga
229:Suyodhana
213:Urubhanga
138:Urubhanga
124:Urubhanga
105:Urubhanga
93:Urubhanga
81:Urubhanga
46:Urubhanga
383:See also
252:Maya Rao
237:Thang-Ta
201:Varmland
186:Sanskrit
164:Baladeva
149:Pandavas
145:Kauravas
111:Synopsis
63:Sanskrit
258:Studies
221:theyyam
205:Bengali
175:Pauravi
171:Krishna
61:) is a
389:Bhasa
153:Bhima
89:Bhima
77:Vyasa
75:, by
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437:>
211:The
147:and
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49:or
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