Binkamache Sanwad
Director:
Alok Rajwade
Writer:
Dharmakirti Sumant
Alok Rajwade
Writer:
Dharmakirti Sumant
Synopsis:
A fifty year old ‘Bhosanka’ buys a smart phone because his Nokia 3202 gets thrashed under a train. As he swipes the card to buy an ‘I phone 6’, he is plunged to a wrestling ring which is placed on a smart phone LED screen. There he meets an old, nostalgic college friend Abeka, porn star Loly Loly, rationalist ‘Mopremimadhyam’, right wing enthusiast ‘Oot’, R.K. Laxman’s/ ‘Wednesday’ (film) fame ‘Common man’ meaning ‘Comya’ and the wrestling Anchor. In this abominating world of WWE wrestling, Bhosanka asks futile questions about decadence of language, morality, post liberalized India, and the emerging hedonistic, hegemonic and tyrannical politics and economics of India. All his whatsapp friends vote Mr. Modi, and finally ‘Euphoria’ wins. This auspicious win of the ‘euphoria’ is stained by a trypophobic facebook image, which makes them realize the hidden poverty & exploitation. The dreadful realization is also celebrated as pain is celebrated in WWE. Celebration wins.
Gandish Garbachov a philosopher once said, that whatever is created will extinct at some point of time. But what happens to the ‘waste’ that this extinction creates? What are the material measures of this ‘waste’? Can this waste be measured in length, width, height, size and depth? Nature has a system to deteriorate the matter that is created. Matter is also transformed. But we are living in an era where a certain type of waste piles up. The waste neither transforms nor perishes. Waste keeps occupying space. Recycling is a myth. The amount of waste is so much that it is impossible to recycle. The waste is occupying our mental, physical, and creative space. ‘Dreaming’ can be a very enriching exercise but the waste is so much that it has occupied the space of the subconscious from where dreams are created.
From 1867 to 1925 Gandish wrote extensively on ‘the decadence of language and the limitations of dreams.’ He was awarded Nobel and Puletser but still remained unnoticed. Google has published all the writings of Gandish, it is free too. But it is so extensive that reading synopsis is better. The play ‘Binkamache Sanwad’ (‘Useless Conversations’) is a short synopsis of Gandish’s work.
Gandish Garbachov a philosopher once said, that whatever is created will extinct at some point of time. But what happens to the ‘waste’ that this extinction creates? What are the material measures of this ‘waste’? Can this waste be measured in length, width, height, size and depth? Nature has a system to deteriorate the matter that is created. Matter is also transformed. But we are living in an era where a certain type of waste piles up. The waste neither transforms nor perishes. Waste keeps occupying space. Recycling is a myth. The amount of waste is so much that it is impossible to recycle. The waste is occupying our mental, physical, and creative space. ‘Dreaming’ can be a very enriching exercise but the waste is so much that it has occupied the space of the subconscious from where dreams are created.
From 1867 to 1925 Gandish wrote extensively on ‘the decadence of language and the limitations of dreams.’ He was awarded Nobel and Puletser but still remained unnoticed. Google has published all the writings of Gandish, it is free too. But it is so extensive that reading synopsis is better. The play ‘Binkamache Sanwad’ (‘Useless Conversations’) is a short synopsis of Gandish’s work.
Writer's Note:
N/A
Director's Note:
This play is like a dream sequence. The dream sequence in which we all exist today.
We do not know how to deal with the over information we all are bombarded with. We cannot escape the huge flood of information constantly showered on us. We cannot bifurcate between the less important and more important information. Everything has become same. Everything seems same. The way we talk, the way we think, the way we act, whom we vote; all seems pre decided.
We constantly go through contradictions. On one side the euphoria of ‘Achhe Din’ and on the other side the scary silence, nervousness and disquietedness. The disparity between these two poles is massive. The play talks about the void between the two poles. Necessary and unnecessary. The character in our play, ‘Bhosanka’ goes exactly through all this, and so have I.
This is my fourth play with Dharmakirti. We have worked as writer- director for last 4 years. He has the perfect sense of the current social state. He captures the correct essence - blending sociology, emotionality, and all the deep inner conflicts one faces, in his writing. The understanding of the current scenario seemed very sharp and insightful to me in this play. It feels good to be associated with a writer who helps to capture our times in words.
We have tried to explore the music, sets, lights, acting style in such a way that reflects our mental state, and have tried to go as close as possible to the actual feelings while living, in a subverted way.
We do not know how to deal with the over information we all are bombarded with. We cannot escape the huge flood of information constantly showered on us. We cannot bifurcate between the less important and more important information. Everything has become same. Everything seems same. The way we talk, the way we think, the way we act, whom we vote; all seems pre decided.
We constantly go through contradictions. On one side the euphoria of ‘Achhe Din’ and on the other side the scary silence, nervousness and disquietedness. The disparity between these two poles is massive. The play talks about the void between the two poles. Necessary and unnecessary. The character in our play, ‘Bhosanka’ goes exactly through all this, and so have I.
This is my fourth play with Dharmakirti. We have worked as writer- director for last 4 years. He has the perfect sense of the current social state. He captures the correct essence - blending sociology, emotionality, and all the deep inner conflicts one faces, in his writing. The understanding of the current scenario seemed very sharp and insightful to me in this play. It feels good to be associated with a writer who helps to capture our times in words.
We have tried to explore the music, sets, lights, acting style in such a way that reflects our mental state, and have tried to go as close as possible to the actual feelings while living, in a subverted way.
Cast List: |
Credit List: |
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Music: Saaket Kanetkar
Set Design: Ravi Choudhary Costumes: Kalyani Kulkarni-Gugle Make-up: Ashish Deshpande Light Design: Aniket Kale Stage Management: Girish Joshi, Shirin Tikhe, Abhilash Mhatre, Akshay Khaire Publicity Design & Paintings: Suneet Wadke Special Thanks: Parna Pethe & Hrishikesh Nagaonkar Management Assistance: Prashant Vaishampayan Production Manager: Soumitra Gapchup |