• Source: Neelam Mansingh Chowdhry
    • Dr. Neelam Man Singh Chowdhry (born 14 April 1951) is a Chandigarh-based theatre artist who has worked around the world. She was awarded the 2003 Sangeet Natak Akademi Award in the Theatre Direction category. She was the recipient of the 2011 Padma Shri Award. She is Professor Emeritus at Punjab University. Her well-known plays include Kitchen Katha, The Suit, Yerma, Nagamandala, The Mad Woman of Chaillot, Little Eyolf, Bitter Fruit, Naked Voices, Stree Patra and Gumm Hai.


      Early life


      Neelam was born in 1950 and grew up in Amritsar, Punjab. She finished her Master's degree in art history from the Punjab University, Chandigarh. She graduated from the National School of Drama in Delhi in 1975 and got trained under Ebrahim Alkazi.


      2023


      തമാശ / तमाशा (The Joke) 2023
      Thamasha (2023)
      Thamasha is a critically acclaimed Indian theatrical production directed by the celebrated Neelam Man Singh Chowdhry and premiered in 2023. The play is an adaptation of the thought-provoking works of iconic Urdu writer Saadat Hasan Manto, renowned for his raw and uncompromising exploration of societal issues and human frailties.
      The production is enriched by the contributions of Vajinder Kumar as Associate Director, alongside a talented team comprising Subin K K (Light Design & Stage Manager), and performers Sarath Meraki, Shibil Paravath, Garggi Ananthan, and Aswathy Raj, whose compelling portrayals bring Manto’s narratives to life with emotional intensity and authenticity.
      The play is a visual and emotional masterpiece, with its innovative staging, nuanced performances, and striking lighting design elevating the storytelling. Thamasha delves into themes of identity, morality, and societal absurdities, reflecting Manto's timeless critique of human behavior and societal hypocrisies.
      Garnering widespread acclaim, Thamasha has been showcased at prestigious international theatre festivals, marking it as a significant contribution to contemporary Indian theatre and a testament to the enduring relevance of Manto’s works.


      References

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