Chenai Art Theatre & Masquerade are Unlocking Theatre in Chennai

THEATRE UNLOCKED

Chennai Art Theatre (CAT) and Masquerade – the Performance Group (Chennai), two of Chennai’s popular event producing companies, come together, for the first time, to host a SPECIAL WORLD THEATRE DAY EVENT.

World Theatre Day is celebrated on MARCH 27^th annually, since the 1960s, across the world in a big way. In Chennai too, city’s theatre groups have individually for the past few years celebrated MARCH 27^th.

Masquerade started celebrating WORLD THEATRE DAY in the year 1997, when its Founder-Artistic Director, Dr. S. Krishna Kumar, came back from Berlin, after a stint at professional theatre in Germany, where he met international artists at a World Theatre Day celebration in 1996. Since then, Masquerade has celebrated World Theatre Day annually.

This year, Masquerade joins hands with Chennai Art Theatre, headed by A. Charles & Gowtham Ganesan, to bring SIX of city’s prominent stage drama companies on this GRAND OCCASION.

This is the largest coming together of city’s theatre groups in more than a year, since the city went into LOCKDOWN due to COVID-19.

CAT & Masquerade are UNLOCKING THEATRE back to its LIVE status. Hence THEATRE UNLOCKED.

Over 6 performances on 26^th & 27^th (3 performances each day, at 4 pm, 6 pm and 8 pm), 6 city groups will stage the event.

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THE SIX PLAYS AND DETAILS:

26^th March – 4 pm – Naveena Koothupattarai presents BAHISHKAARA (Relegation) – in Tamil

Synopsis:

Bahishkaara (Relegation) brings together the untold stories of unsung heroes from the great Indian epic. The play seeks to unearth the tales of Duryodhana, Aravaan, Shikandi and a few other overlooked yet salient characters through music and dance.

Conceived & Directed by Aadhira Pandilakshmi & Sathish

Running Time: 45 minutes (approximately)

Tickets here: Checkout  https://in.bookmyshow.com/plays/bahishkaara-relegation/ET00308214 

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26^th March – 6 pm – Narjaya presents PASI (Hunger) – in Tamil

Synopsis:

A man, a woman and abundance of time. It’s funny, it’s scary and it’s real.

‘Pasi’ is a Tamil absurdist fiction written by Padmasri. Indira Parthasarathy, who is the only Indian writer to have won both the Sangeet Natak Academy and the Sahitya academy award. Crafted in a space supended from time, ‘Pasi’ (hunger) is a play to look forward to.

Cast: Kamatchi Kaleeswaran  & Karthik Gowrisankar

Written by Indira Parthasarathy

Directed by Karthik Anantharaman

Running Time: 45 mins (approximately)

Tickets Here:  https://in.bookmyshow.com/plays/pasi-hunger/ET00308217 

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26^th March – 8 pm – Veshadharis present ASHWATTHAMA – in Tamil

Synopsis:

Is Ashwatthama still alive?

A delusional depiction of a meeting between Ashwathama and Parikshit the last heir Pandavas… Come and witness the battle of gratitude and grief… with a dose of contemporary overtones and satirical humour

Written by Chandrasekar Venkataraman

Directed by Sudarsun & Chandrasekar

Running Time: 45 mins (approximately)

Tickets Here:  https://in.bookmyshow.com/plays/ashwatthama/ET00308213 

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27^th March – 4 pm – Stagefright Productions present – COFFEE  – in English

Synopsis

Three couples, three different conversations and coffee. Some humorous, some hilarious, some whacky! Sure to leave you entertained!

Title: A Love Story

Written by Rajesh Rajamani

Performed by Vinithra Madhavan Menon and Abishek Joseph George

Directed by Sandeep John

Title: Arranged

Written by Belinda Peter and Zubin Vincent

Adapted from Holidays! by Ethan Tucker

Performed by Susan Jacob and Zubin Vincent

Directed by Zubin Vincent

Title: Surprise

Directed by Deepa Nambiar

Running Time: 45 minutes (approximately)

Tickets Here:  https://in.bookmyshow.com/plays/coffee/ET00308215 

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27^th March – 6 pm – MASQUERADE presents G.O.M.D… (Of Gods, Girls, Graves) – in English

Synopsis:

A woman, Goddess nonetheless… A man, a grandson with a duty… and their gripes and coffin tales! Two hilarious takes on marriages, affairs, legacies!

Devised for stage / Directed by Krishna Kumar. S

Running Time: 60 minutes (approximately)

Tickets Here: https://in.bookmyshow.com/plays/g-o-m-d-of-gods-girls-and-graves/ET00308216 

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27^th March – 8 pm – Theatre Arlequin presents THE HEART HAS ITS REASONS – in English

Synopsis:

Two different scenarios…two variations on the same theme ….. quest for a soul mate !!! Or is it sole mate ? Come with your funny bones… if not with a mate.

Titles:

The Language of Love : Language is essentially a tool of communication that should bring people together in an exchange of ideas. However some people use language to incite hatred or to hide the truth: politicians are masters in this. So sometimes it is necessary to invent a new language… especially for love.

The Mating Game: Since time immemorial man’s quest for a mate has involved meandering in a tortuous  labyrinth  of relationships and lost chances. One wrong word or a gesture can break a burgeoning romance. So what is the secret to this mating dance? Perhaps it is just the hand of destiny!

Directed by R. Amarendran

Running Time: 55 minutes (approximately)

Tickets Here: https://in.bookmyshow.com/plays/the-heart-has-its-reasons/ET00308218 

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Each of the performances would be followed by a moderated audience Interface with the Director/Production Company (if the company is open to it!)

For further details, buzz me (KK) at 9884029865 & A.Charles at 9841495497

World Theatre Day 2019 - Presenting ANTIGONE...

We're excited. It's another WORLD THEATRE DAY. But for us it's not just another WTD this 2019. This is our 21st WTD celebrations, which we started back in 1998. And this WTD, on March 27, we fructify with our long-cherished production - ANTIGONE - adapted, devised and scripted putting together multiple sources that include but not limited to Sophocles, Hölderlin and Brecht...

The universality and contemporaneity of ANTIGONE is undeniable, and is resonant in today's war-torn, strife-ridden world as well as India, as ever.

EVENT: Performance of ANTIGONE
Medium: Theatre performance
Language: ENGLISH
Duration: 70 minutes
Date: 27 MARCH, 2019 (one performance only on its premiere)
Venue: ALLIANCE FRANCAISE DE MADRAS, Chennai, India

Stay tuned here as well as here for further details...

Surendra Verma's FROM SUNSET TO SUNRISE

We Present to you...

On OCTOBER 7 & 8, 2017

At Spaces, Besant Nagar, CHENNAI

Time: 7:15 p.m

Duration: 1hr 50 mins (with 10 min. intermission)

All Are Welcome - Entry Free

BRER RABBIT CHRONICLES...

Love and War in the Time of Call-Era

Non-Disclaimer: This is an opinion post and not a review. However, it is not devoid of review-elements!

I saw the play Flame of the Forest produced by JustUs Repertory in association with The Madras Players, written and directed by Gowri Ramnarayan and acted, in most parts, by people whose features I could not delineate and would have failed to recognise had I not known their faces from previous exposure to the cultural legions of Chennai. So much for mood lighting. In fact I left with the feeling that the play would as well have worked better - given a certain decent tautness of the script that surfaced on and off to remind you that a play can transcend the production if well written - with just a few parcans for general lighting.

Now to the author: my first exposure to Gowri Ramnarayan was in 1997 when I 'also' figured in a local production of Vijay Tendulkar's KANYA DHAN, translated into English by her (which incidentally was performed by a travelling Mumbai group on the same day as the FLAME in a near-by venue). And my recent closer acquaintance to Gowri Ramnarayan started in 2005 through her Dark Horse and an acting stint in her second oeuvre Rural Phantasy. My admiration for her as a translator and writer is high. The essence of translated and/or adapted work of art is that it must not mess with the quintessence of the original. She seems to be a master craftsman at that.

I have not read nor can I claim to read Kanya Dhan because I can not Marathi; but, having read both Kanayazhiyin Kanavu (which became Rural Phantasy) and Sivagaamiyin Sabatham - Sivagaami's Vow - (which has now inspired the Flame of the Forest), as well as my share of acquaintance with one Prof. Neelakanta Sastri's works, I can earnestly acknowledge her honesty and dignity as a translator and history-oriented writer. Now here is the truth: among her four stage works that I know of, only one is original. FLAME. Even her Dark Horse is largely made up of Arun Kolatkar's original writings, around which and the poet's personality and life itself the play revolves. So I would like to see a totally original conception and creation from Gowri Ramnarayan before I would involve myself in the analytical vocation of a literary critic that I was trained 8 years for through my Ph.D period. Nevertheless, I would still do it gingerly because I am not qualified to critique a work that involves areas of music and dance I don't know the grammar of!

About the productions: Gowri's conceptual vision as an artistic director is coupled with the dramaturg in her. As a result what one gets - if one gets to meet her and hear from her about her show before the show hits the public eye, that is - is a very rich visceral image stretching grandiosely over two hours of performance time in our mind's eye, where she makes you visualise the resplendent colours of the scheme, not to mention the entire texture and the hardness or softness of the light. I still remember her explaining the last tableaux of Dark Horse, with the golden halo behind the Arunachaleswara posture that Drithiman goes into! But somehow for some reason I have often found T.S.Eliot true: "Between the idea/And the reality/Between the motion/And the act/Falls the Shadow... Between the conception/And the creation/Between the emotion/And the response/Falls the Shadow."

In a sense this is very true of most artistic directors (those I would call artistic since there are a lot of hacks who masquerade as either artists or directors in Chennai) because of the kind of circuit we work in. It has not to do with the paucity of talents or raw materials or designers who can envision the director's mind. It simply has to do with our inability to push the boundaries of creativity in a compromise to hit the stage as scheduled so that our fear of 'the longer you soak, the soggier it gets' gets allayed. I do not see the point. A finer thing would be to not set a production target date. Work on the paper and at rehearsals till you reach the stage where it can be shared with the first public, meaning your designers, then set a target date and start run throughs or tweak throughs. Of course, for that you need patient artists or at least actors, who understand the creative process and plod on. For the rest, there are bedroom farces and leave-your-brain-in-the-freezers 90 minute entertainers where you can keep your cellular phones on!

Coming back... I have personally listened to Gowri explaining the visuals in Dark Horse and with the then given resources I could not even produce 10% of her colourful vision on stage when I helped technical assist one of the runs in Chennai. Then, Rural Phantasy too... I remember her elucidations of what she had envisioned. I hope she got what she wanted. I really can't comment on it since I was an accessory fixture to the sets and lights on stage during the performance. Hope I didn't disturb her vision, standing out as an odd-piece of jigzaw that refused to paste itself properly. And now FLAME: I have heard from her once about the production plan. It sounded great. Probably as a result of that descriptive session, the show disappointed me.

FLAME is a play I would like to draw parallels with Via Dolorosa by David Hare, Sticks and Bones (to a limited extent) by David Rabe as well as his best screenplay film Casualties of War (starring MJ Fox and Sean Penn), Andorra of Max Frisch, Friedrich Dürrenmatt's Romulus the Great and some others. The reason. It talks about war and the senselessness of the same in a society bereft of any values. The play much reminded me of Duerrenmatt's Romulus the Great and its final scene where Romulus, the last Roman Emperor (according to the play) and Odoaker, the invading Teuton meet after the plot has managed to create a greater anticipation for the better part of the 2 and half hour story. When they finally meet, we realise how both actually hate war. Astounding work Romulus is. Similarly FLAME in the scene where Pulikesin and Mahendra Varman meet. Of course there is only one side here lighting the candle, while the vile jackal under the skin of cow that Pulikesin is, he promptly and expectantly backstabs the Pallava king. Mahendra Varman is an artist trapped in a Kshatriya body (much like Arjuna in Mahabharat) and he pays the price for not behaving the Warrior he was. It is a humane work, FLAME is, much needed in these times of (misguided) Love and War in the Time of Call-Era.

However, much as I liked the play, I doubt how many would have appreciated it as a read. For its part, the script is not without its little faults; the pace for example. As a work of writing, the action decides a certain tempo for the plot to develop, in the case of any playscript. Since it is not always possible to create a frenetic tempo just to engage the nails to the teeth at the print level, the director has to find a way to balance this slowness when the work goes on performance, especially in a climate where grey means boredom and miscomprehension of slowness for lack of tempo. Perhaps this is then one area where the production failed. Especially given the fact that the playwright and the director are one and the same. Often the sag in tempo was glaring. It could be due to several factors. Nevertheless, in a work that is polemical, the production must close the gap between the page and the stage. Agreed that it was the opening night; still... one expects the work to open in good shape. The opening night word could make or mar a production and that has happened in the past everywhere. The fade-ins and -outs and cross-fades added to the woes. A simple rule of thumb of lighting for theatre is that before or even as the actor reaches the space of action, the light must find him/her. The light almost always came after the actor started speaking, leading one to conjecture the technicians perhaps did not get to attend or have the comfort of enough run throughs. This further abetted the problem of concentration. It made listening to the dialogues difficult. I mean, there was a lot of discourse and subtext in the story.

The point further is: the play is a treatise play. And the problem is: most Chennai audience have no aesthetics for such plays. You provide them comedies, they appreciate. So you could imagine my chagrin when I was more concerned about the cellphone ringtones I kept hearing because the performance failed to grip the audience who had turned up 1) because they have heard or read Kalki's work, 2) to hear and watch some good Carnatic music and Bharatnatyam Dance (that have become the draw in Gowri's shows) or perhaps because 3) Priyadarshini GOvind was dancing (similar to T M Krishna singing in RP earlier). One of the three or all. In any case, so you reap as you sow! And how do you expect an audience that is used to Sabha dramas or Kutchery listening and Dance watching to suddenly behave in a way one would expect an ideal theatre-goer to behave. It is high time we used mobile jammers in the auditorium. In the end, I felt cheated and deprived of what could have been an exhilarating experience given the potential for production. Now, I cannot even claim to do a proper review of the show because it was a very harrassed watch. FLAME is a nice literary work like RP as well as Dark Horse. We are perhaps not yet ready to be treated to theatre productions of these plays. But, brave then is Gowri who keeps walking Via the metaphorical Dolorosa everytime she creates her Iyal-Isai-Nataka creations.

Having said this about the production, I still do not hate everything about the production (psst! psst!), except that it is the misfortune of earnest theatre practitioners of Chennai to be caught or stuck with an audience that is in an eternal cycle of elitist and socialite warp. No one wants to watch a play with total attention. No artist can expect to spellbind all the audience all the time, but audience must realise that they have an equal responsibility to put an effort to make the show happen. Even where it may not bother the actors on stage, it does to your friendly neighbour. One of these days the "sssshssss!" are gonna turn "quiet or quit". Then the friend in the next seat may turn the fiend that pokes your ribsides! On the other hand, if we really do push the stakes on the audience by transferring the weight to them by giving intense scripts with emotionally draining and challenging and risky performances, we really can salvage some genuine audience. For the rest, the word is QUIT. Or go watch farces. But are we ready to lose those few hundred or thousand bucks in the bargain? I guess so! Not that anyone's salary or income in Chennai comes solely out of theatre as of now.

By the way, I visited the performance on the premier night, on 29th June 2007, the Friday.

Infant J and the Black Sea

Retrospecting....

Play: On Account of Being A Woman
Script: Manasi Subramaniam
Direction: Yours Faithfully
Performed by: The J Theatre
Produced by: SIE Trust & JBAS College for Women
Rating: 2 and half stars (may be!).... out of.... PITY!

I survived. It was not as bad as I feared. Believe me, at one point, it just wasn't happening. Not especially when a key player drops out of the show on pretext of parental disapproval a week before the show and a new person - who has not been physically optimal - has to step in to all those lines and reblockings! We just barely scrapped through 2 run throughs before the show. And everyone except myself were optimistic the show is going to hit headlines for all the wrong reasons. Well... as for me, I was realistic that this is a still-born. And so we moved into the Tech day, where to further add value to my negative beliefs, a lighting rig and focus that normally takes 5 hours took 8 hours. It was not complete when we decided to stop the focus to bare minimum and get on with the tech as the players had to go home, each carrying an IPC 144 (read Parental for P) and curfews ranging from 5 pm back home to 8 pm. I went home blissfully sure that the infant J was headed for crucifixtion even before the wine and wafer day!

And then it all kind of came through on the opening night. I would attribute it mainly to a 400+ strong home crowd. It was like a local cricketer going into bat on home ground. Of course, the cast slipped and shlepped around initially. But once the initial jitters vanished and the crowd warmed up, they went through it smoothly. I wouldn't say this production is my crowning glory. It won't even get into my Top 20 productions, it won't! But no damage done. The tech areas worked pretty smooth. Since the set was unit and needed no change... since the props were not too many and the cast handled the same themselves... and we had focussed hands on sound and lights... things seemed a lot better than I sound. Had it been otherwise, the onstage performance would have looked bad. It had its draggy moments, to confess. I stand charged for this offense and accept the verdict.

It was amateur theatre, no doubt. Some of them have diction problems even. But again, considering the background of some in terms of their lineage, as well as their past institutions, it was like adult education programme in theatre. Add to it, couple of them are first generation college goers. Probably that was the most significant aspect of this. Early evening, before the show last night (24th), I was talking to a press friend of mine who had come to meet us. I told her precisely this. I may not have got the same satisfaction had I worked with any other college (that leave alone has a heritage and tradition in theatre) where some of the students come to do studies after having matriculated from some of the creme-de-la-creme schools in city and elsewhere.

I am not trying to make it sound like these are losers of the planets when it comes to education; but: there are some very bright kids. And pedigreed financially and/or culturally as well. I mean, these kids have basic theatre skill sets in them. This is one thing for which I am jealous at them. Some of them from the not so upper echelons of schools in Chennai have an active street theatre background or more zealous school-day-affairs, they come equipped with a good body language. Add to it, having been through life with a big L I F E at an early age, they are able to identify layers and subtexts in the script.

It is not an easy script. It may look straight-forward and black&white, but believe me, Manasi has done a pretty good job. The craft is pretty decent, the way the script swings between dealing with the issue seriously and providing comic thrust when the going gets a little too grave. And by design or accident, she has also provided enough scope for people to double up, get enough time to change costume, be in two places at the same time without making it sound obvious... etc. And it ends with solving the problem it started with. Not the core of the play's thesis is sorted out. Which is a good thing. You can only present problems on stage and leave the end ambivalently. Apparently, I was told, one newspaper that carried the story about the show yesterday (yes, story. Where do we get Reviews these days!!!) signed off saying the end left the audience puzzled. Can't the audience be given the liberty to conjecture? Have the comedies by the city theatre groups dullened the intellectuality of theatre going audience? I guess this is where my crusade in theatre is. Veer off those hard-core comedy only audience back to THEATRE.

This is a play within a play. A journalist whose ass is being hauled up now and for good, has to get a story to convince her editor-boss to get a stay on her job. It's a man's world. And she has a Jerry on her hands whose lazy-bone attitude stalls things. He is chill madi-ed so to speak your local teen lingo. In this situation, she stumbles on a group of women who have taken refuge inside an NRI woman's organisation and refuse to go home until their husbands sign legal contracts to treat them better. And the cops are having a tough time, being the only ones who are let in there because of their badges... but are let in to provide protection to these women who are striking against beings of their (read men) own ilk.

Talking of body work, the Act 4 interrogation scene of one of the victimised woman (a hallucinatory scene) I had designed as a mime on domestic violence with actors also doubling up as molesters and sadists. The afternoon 11.30 show for college students actually left a few girls genuinely crying at the sadism on stage. For all that, these girls didn't even put their finger nail on the victim, in the course of mime. I thought that was success with S for them. When your audience identify with your character and not just laugh...laugh...laugh... Anyone with a 8-bit memory in their backsides for timing could make any audience laugh!

Talking of laughter, the play turned out to have plenty more to laugh than we had expected. The performance was 1 hr and 2 mins long. Dealing with DV and Harassment. And when I cumulatively put together the audience reaction over three shows vis-a-vis laughter (hahaha sort, not just the grin on your face!), each show had an average 40% laughter. And that's not bad. The play was entertainment, gave people something to laugh at... no mere punch-bag foot-longs of one liners. And when the audience identified themselves with the script and hooted and jeered the men as well as clapped for the women who took aggressive stance at men... it was EMPOWERMENT all the way. This was one production that I have done till date that was entertainment cum empowerment, proving once again my belief that theatre is not just a 9-inch long battery operated gizmo that gives shocks of laughter-release for the unreleased, but a cutting edge tool that can truly respect and seek to elevate their higher cerebral functions even while providing them a certain emotional cathartic release. Would you believe: I made announcements to the crowd to put their mobiles on silent, not bring beverages or crush plastics while eating inside audi, etc etc... and also said "feel free to applaud or even whistle".

90% women... clad to the extent where I have never before seen such a densely concentrated assemblage of black clothes from the crown Jack broke to the heel Achilles got hurt, with an occasional flash of a pair of eyes and uncreased foreheads. I truly felt like that Doctor chap in Rushdie's Midnight's Children, having to get to know his patient (in my case, clientele) in EMIs through two holes in a bedsheet! But when my announcement went on air and the play started, I could see pairs of hands from inside these black hoods creeping up, flashing gleaming nails polished with flourescent reds and irridiscent blues, vanishing into their labio-dental openings! And what whistles we had! All in the secure knowledge of their anonymity insured by the darkness enveloping the audience part of the venue.

At the end, when the Feminist activist slaps her Superintendent husband, couple of older women actually stood up and gave a standing ovation. My god... Manasi you missed the afternoon show of your own script! It was, to get back to reality, not even a 70% good performance, as the cast was still groggy from the hangover of the previous night premiere. But the hysteria they whipped up! So, it was at the end, not a nightmare as I had thought earlier at all. It was not something I would get delirious over. As I said, I had done at least 20 more better shows than this. But for the sheer experience of realising what it is to be a woman... and a woman inside those mass of textiles with so much pent up... to be a first-generation learner getting empowered to speak for themselves... it was worth it. In the process, I became aware what it is to most of the times be a man (sometimes I felt like the sole survivor after the 7 day deluge left on Noah's Ark only the denizens of Amazonia and myself as I walked the last 2 months into that campus on MKB Road, connecting Mount Road on the West and TTK Road on the East)! How inspite of the fact that this Unicorn walking inside their secure precincts could throw discomfort. It was like Abimanyu creating chaos inside the Kuru Chakra Vyuha... only to be decimated to a higher realisation. POWER IS ALL ABOUT POSSESSION OF SPACE. SPACE THEORY IS REAL. MAN STILL HAS NOT LANDED ON MOON. Because when I searched for him in the moon in the light of the lamp held by the Lady in the Moon, I couldn't find him; but I found myself! A new dimension added to the artist in me.

Art, Abstract Art, Avant-garde!

Art to me is a survival skill. It is an extremist subterfuge of individual mind that revolts against the lack of aesthetic ways to project the internal rumbles of human existence in response to external happenings. Art tries to portray reality invariably. Even when it is the surrealist art of a painter such as Salvador Dali or the French cubists, symbolists, impressionists and pointilists, it has reality as its base.

Pointillism (note the DOUBLE LL), for the uninitiated, was a very brief movement that attempted to portray, paint or project everything on canvas through points... of various sizes and layers of clarity.

Getting back to reality! Art can reflect life... else where shall the mind take points of reference from? As much as man created god, man created and creates art. From what he knows best. Life. Hence any art is real. Like B.B.King said once about music. "There is no good music or bad music, there are only good performances or bad performances". How true!

A work at its root - whether existing and re-produced in the case of a theatrical presentation, or executed to its concreted reality on canvas or any projectable material that can hold the conception and ideas in a defined form in the case of a painting, sculpture, installation etc... is basically existent in the human mind before it can be translated for the view of others. So, it is abstract as long as it exists in the domain of the unseen, in the vast space of the conceiver's mind. Only its realisation is precise or unclear. Hence concrete or abstract. Hence, as a natural existence, good art or bad art. And thence, good artist or bad artist. When I say concrete I mean clarity. Even the so called abstrct art can be clear. The colours, the daubing, the sketching, the shades, the deliberate chaos of pastelling may look hazy that for people who are not focussed it may seem like un-sense. I use the word consciously as an apposite opposite to sense. If one delves into the history of abstractionism, it would become clear. I have been delving into this territory for more than 2 decades now and it neve ceases to amaze me as much as post-modern art.

Artists don't vegetate. They can't. They try to overcome the banality of our mundane existence and aspire to transcend to a higher level. Art can also be escapist when it becomes a vehicle for expression of their suppression or repression or smothered lives under political anarchy and fascism. A classic example is the way Abstract Art came into existence.

Abstraction in art is often misunderstood for modern art... or art that cannot be comprehended. The word "abstract" is the most profoundly misunderstood, misquoted, misused and misinterpreted word in human language. When one cannot understand, people conveniently term it abstract. Not fair, especially when given the rise, development and history of Abstract Art, which is sometimes made synonymous with the term "non-figurative" because there are no clear portraits or natural depiction or concrete form discernible.

Abstract one should understand is a deliberate act of disfiguring the concrete or the real or the formative. Why? Why would one deliberately disfigure? Because they cannot or are not permitted to express clearly what they want to. We shall not talk about representations that are inchoate (verbally) or illegible (in calligraphy) or improperly expressed (some conceptions are not yet ready to be expressed and people are in a hurry to say, or they don't have enough vocabulary to express thoughts too big for words yet) or badly painted. We are talking of any sort of subversion. To explain: a person who is infracting or infringing but smart enough to say only part of the actual, yet the information is basically correct and true and complete and satisfactory enough to the receiver. To elucidate and exemplify: The Pandavas act of saying "Ashwathama atho..." Before the actual true sentence could be completed, Krishna chooses to blow the conch so that the full sentence "Ashwathama the elephant is dead" falls in Drona's ear at "Aswathama... is dead". That is a finer level of subversion. In art, subversion is committed to express that point of view they want to, but will not be entertained or encouraged or would even lead to subjection. We know very well what happened to Antigone in the Greek Myth, don't we? We know what happened to Prometheus who dared to bring light unto mankind, don't we? And there are examples... So, art has to use subversions, subterfuges, artifices, conceit as a form of expressing itself. The people who are the intended targets always get to comprehend abstract art.

So where then could it have been born? It was born when suppression was born. At which point of human history did it achieve its height? During the turn of 19-20th century in France... at the birth of 20th century... during the Nazi regime. The Jews, the Poles and the Islamic community are pastmasters of Abstract Art. Because they are the most subjected race. Of course, the Jewish subjection goes back to Shakespeare and Elizabeth. I like Shakespeare's works as brilliant watershed for performance, but I disaver from his projection of his villains. Shylock: who portrayed him? Shakespeare the Christian. Caliban (I provide this specific link because it is an article closer home to my own politics of The Tempest by William Shakespeare): who created him? Shakespeare the Christian. But what Shakespeare himself moral? Was he not a fag? Did he not stoop to please Elizabeth and the authority? True portrayal of the negative would come from those who are of the same stock and have suffered and portray to show the angst and the pain and the effects thereof on them and on the related community or society or civilisation. So, Shakespeare is a villain who deliberately disfigured truth to his own ends. Shakespeare was a subvert. But we are digressing.

The Poles, the Jews, the Islamic. I would suggest you all to take a look at the Works of Joan Miro, Wassily Kandinsky, Kasimir Malevich, Jackson Pollock to get an idea of how varied Abstract in Art can be depicted, and yet with clarity. The moral of the story, as I conclude: to make clear to people who are confused about Abstract. I shall now proceed to do the same about Post-modernism, which is often confused as well.