00:00તાવ પ્રથમ તો વિશ્વ રંગભુમી દિવસ્ની સવને શુબેચ છાઓ
00:04વિશ્વ રંગભુમી મંચ આજે એવા વણા કે આવીને ઉભું છે
00:11કે ત્યારે આખી દુણ્યા માં હીંસા ને વિભાજન ખુબ વધિગે ઉછે ત્યારે રંગભુમી માત્ર મંચનથી ર�
00:32વિશ્વભરના રંગકરુમીવા કર્તવ્વ્યાને કર્મકર્તા આવ્યા છે કુજરાતનો રંગભુમીનો ઇત્યાસ
00:52ને સાઈટ વેશ લખ્યા આથા એના પછી સૌથી પ્રથમ નાટક આવીં લગ્ભક 850 ની આજુબાજુમાં લલીતા દુખ
01:00દર્શક જેમાં સ્તરીની વેદના સ્ત્રીપરના આત્યાચારની વાત હથી એના પછી રંગ્ભુમી આગળબતી ગઈ
01:30પરંગમંજ તર્પ ખુબ આકર્શાયા છે આનંદની વાત છે તા પણ આહું બન્યુતુ જારે સીનેમાં આવીં
01:35ત્યારે ત્યારે વિચાર્યો કે થીએટ્ર ખલાસ થઈ જે પણ થીએટ્ર ટક્યું આવીં ત્યારે ત્યારે
01:44ત્યારે તીએટ્ર ટક્શે કારણ્કે લોકોને લાય્વ પર્ફોમંસ જોવાં વધારે ગમે છે એક્ટર સામે જી�
02:08મૂટા ભાગના થીએટ્ર ગ્રુપ પાસે ને રેએર્સલ ની જાગ્યાઓ ખુબ મોંગી પડેશે એનાધી પ્ય પ્રીસે
02:24મૂટે તો સર્કાર તરુતી આભી જગ્યાઓ વી થાએ આવા ના ના ના ના હોલ બને જેમાં વ્યાજ્ભી દરે રંગ્ય
02:30તેમે રીહર્યાજ્યો રીહર્યો કરીશ્યો કરીશકે તો કદાચ ગુજરાદ ભેરમાં એમ કઈ શકાય વધારે લોક
03:00દાખ્લાદ કે જઈશંકર સંદ્રી સરકાર નું ગુરૂ છે તો એમાં થીએટર કરમીઓ ને થ્વાં જૂથને પર્વાડ�
03:22તો મને લાગે છે કે થીએટર પ્રવૂતીને વધારે વેગ મરશે મરશે માં યુવાનોને નવા એકટરસ માટે એકજ �
03:52જેતા આવતાજ રહેતા કદાચે ઉબને કે સોમાં થી દસ કે પંદર જેણા ટકી જાએ કારણ કારણ ટકું પણ ખુબ �
04:13જેપટ્તતગ ખેતંદે જેપણ જારા જાણ જાણરાદેંંલાતથણ જેંજિંડ જાણા જારાતંય જેજાંતં દીાણાં
04:33I am here at this festival and I am talking about my part.
04:37And as I have also said to the Gujarati Theatre,
04:40that the interest of people is now.
04:42Now, Natak is a person's presence.
04:46If there is no interest in people, Natak can survive.
04:49So, that is what I see in this festival reflected in this festival.
04:53That the interest of people,
04:56gives them life and happiness.
04:59So, for me, that is what it is.
05:01There are challenges.
05:02So, where there is a challenge,
05:04if we take a challenge and get angry,
05:06or take an obstacle and say that we cannot do anything.
05:10The second thing is,
05:11if there is a challenge,
05:12let's overcome this.
05:13It is an opportunity to grow our own,
05:15and creatively think that the work we have to do is do it.
05:19And obstacles will come, challenges will come.
05:21So, what are we going to do?
05:22Let's move on.
05:26Theatre is a form.
05:28It is a form of magic form.
05:29So, if there are changes in society,
05:31they will reflect in the theatre,
05:33they will reflect in the story,
05:34they will reflect in the design,
05:36they will reflect in the design,
05:36they will reflect in the technology.
05:38The technology is bigger.
05:39If you have seen 20-30 years before,
05:41from that time,
05:42there are technological advancements.
05:46They will reflect in the design,
05:48and they will reflect in the design.
05:49So, I think all of those are good changes.
05:51And,
05:52there are changes with time,
05:55and they also need to come.
05:57But the spirit of theatre is there,
06:00which is community,
06:01people,
06:03voice.
06:03If you have a passion,
06:06you will be able to do it.
06:07If you have a passion,
06:08You will be able to open yourself.
06:09But,
06:10don't give up.
06:11I can never forget that.
06:13I can't remember the nature of the film.
06:16I'm a very passionate actress.
06:20That's great.
06:20I have done everything in the theatre,
06:21and I have done everything in the beauty.
06:23I have done everything,
06:23because everyone is internally actors.
06:28I have done everything in the role,
06:32in the regular life,
06:34in my own life,
06:35my husband,
06:36who are married,
06:37my spouse,
06:38all of them have done everything.
06:40Everybody is an actor and in today's time, we remember that whether on stage or off stage,
06:50you are acting.
06:51You are different in the office, you are different in the family circumstances, you are different
06:56with your children.
07:00We are inborn actors and we remember that it has been a long tradition of theatre.
07:09There is an expression in every region, there is an expression.
07:13There is a script, gestures, makeup and costumes.
07:23There is an expression in every person, there is a mind in the inside.
07:29There are all aspects of theatre.
07:32We are in the background of the theatre, which is not in the background of the theatre.
07:35The regional theatre, the regional expression of a performing art is very different.
07:42We remember that we have all the regional theatre.
07:46There is a great variety in India.
07:48We are here, in the background of theatre.
07:55We are in a theatre.
07:56We are in the architecture, I was in a 40-year-old student.
08:00architecture student and theatre student, I am saying that theatre spaces in Bharat
08:09and Vishwam, which are the ones that have been written in particular theatre space,
08:19then theatre space has also influenced the content. For instance, Shakespeare has worked
08:26In the United States, there was a Globe Theatre, a Globe Theatre, and there was a Globe Theatre
08:34which was a great Shakespeare play.
08:37There was a Greek tragedy.
08:40It was an amphitheatre.
08:43There was a large 10,000 audience of people.
08:46It was written in Sanskrit.
08:47It was written in Sanskrit.
08:50It was a different architecture.
08:53It was influenced by playwriting.
08:56It was a main stage.
08:57In Sanskrit, there was a simultaneity.
09:03There were two characters in my mind.
09:06There were paintings in this culture.
09:12It was written in Sanskrit.
09:14There were a modern theatre, so-called.
09:19Unfortunately, the proscenium is written and written.
09:26We are pushing the audience.
09:33We are telling the audience that the picture frame is in the theatre.
09:39We have said that the proscenium is in the theatre.
09:42It is a fourth wall of theatre.
09:45We have to break the audience.
09:47We have to speak with the audience.
09:50Why do we speak with the audience?
10:00We have their own characters.
10:05how they are the images of theatre.
10:06We have conversations with the parties.
10:07We know that the role of theatre is in the theatre.
10:08So, it is.
10:09It is a new theatre theatre.
10:12There are people in the theatre.
10:13Oh, theiódhi, the event is,
10:17the events in the theatre.
10:19How do you feel about this exhibition?
10:26Exhibition is all about Natak Fest 2026 4th edition.
10:36The exhibition has been integral part of the whole festival.
10:40Exhibition is all about Natak Fest 2026 4th edition.
10:52My father is Hasmukh Bharadi.
10:55Gujarati Theatre has been published in the National Book Trust.
10:59Gujarati has been published in English and has been published in the Theatre Media Center.
11:04It has been published in the National Book of Gujarati Theatre.
11:08It has been published in the exhibition.
11:14The students, Natak Chahakow,
11:19They have been published in the National Book of Gujarati Theatre.
11:25The theatre has been published in the making.
11:29It has been a long process.
11:31It has been a history.
11:32It has been an evolution.
11:34So, we have opened this exhibition.
11:37It is not a classical theatre.
11:40Fortunately, people have asked questions.
11:42I am asked.
11:45If we are going to do the future theatre,
11:47what is the future theatre?
11:49We have asked questions.
11:51So, what do you think?
11:53Future of theatre is very bright,
11:58but there are challenges.
11:59The OTT platform and we have been raised in the mobile show.
12:05But, the live connection, the liveness, it's only a theater and a performance.
12:14The issue of the club and screen is fine at a moment, but I have the human touch, I have
12:22the vision, the waves, the energies, the live theater will die.
12:29Nobody can avoid this.
12:34The only difference probably would be compact theater.
12:40In the big theater hall, we have the same, but in any world, in any world, in any world, in
12:50any
12:50situation, we have the same, because there is a live interaction, we have the same.
12:58I have the same.
13:00There is a theater.
13:02There is a theater.
13:04You are not saying that it is a theater.
13:06The big theater is a big one, because there are 1000 people, or there are 1000 people.
13:13There are this stadiums, and you are playing in a different kind.
13:22But there is a different way.
13:24If we don't talk about the theatre,
13:26the live performance,
13:27what we're talking about,
13:29we're talking about.
13:30We're talking about compact setting.
13:34And we're talking about it.
13:36It's not a change.
13:38It's not a theatre.
13:39Black box studio theatre is very popular.
13:42Because,
13:43there is an intimate relationship between
13:46art and prekshak
13:48is possible.
13:49In any way,
13:51we're talking about the acting area.
13:53Beyond the Procenium,
13:54we're talking about the M.K. Rehna
13:57Diggdashik.
13:58We're talking about 3-4 levels.
14:02There's a balcony.
14:03There's a little distance.
14:06There's a little distance.
14:08There's a little distance.
14:09It's possible.
14:11In the exhibition,
14:12we're talking about the address.
14:15We're talking about the address.
14:19Theatr Media Center.
14:22Theatr Media Center.
14:23Theatr Archives.
14:24It is the only one
14:27in the world.
14:28Gujarati Theater Archives.
14:30Theatrushik.
14:32There's a collection.
14:36We have a collection.
14:37There's a group of manuscripts.
14:39There's a writing,
14:41These are production scripts.
14:43There's costumes.
14:46There's a text.
14:47Srinikar Sundari, Bapalal Nayak,
14:49aapna jaanita kala karo,
14:51aapna 40-50 ni aas paas perform,
14:54khub karta, sri padro karta,
14:56emni saadhi ho chay maari paas se,
14:58sachwai ne raakhi chay,
15:00it li aar headgears se,
15:01jay aapna paagadi ho judhi judhi judhi jatni,
15:04ke Shriwa ji ni hoi, Marathi hoi,
15:06ke saurashna amuk gaam ho ni hoi,
15:09including maari aattak baraadi chay,
15:11baraadi paagadi paan,
15:13saurashna area ni chay,
15:15ne aapand chay maari paas se,
15:16it li aar, eek
15:18aarkaivs chay, jay maa costumes,
15:20headgears, footwear jatni,
15:22moja di ho khe, ane models
15:24haa waktte khas attraction raha chay,
15:26theater models sammeh bana vya chay,
15:28jwelleri bana vya chay, bana vya chay,
15:30naatak maa upiog maa thati thi, ane
15:32aarkaivs ane museum vach chay,
15:34difference chay,
15:35museum it li jay authentic hoi,
15:38wapraailu hoi,
15:40jay raja maharaja hoa ke commoner ze
15:42vaapri hoi, enu collection hoi,
15:44theater archives is a collection
15:47where, naatak maa,
15:48jay authentic hoi, ene,
15:51adapt kari nae,
15:54ee, ee, ee,
15:55vastu banao cho, jay characters
15:56vaaprae chay, ee, museum na thi,
15:59ee, aarkaivs chay, ane, ee,
16:00difference, samaj wo,
16:02aapna maa te, jaruri chay, kye, leather,
16:04dhar, suppose,
16:05chaamda ni vashtu,
16:07originally vaapraati hache,
16:08paan naatak maa, ee chaamdu tame na thi,
16:10vaaprawa na itran kal laak,
16:11ba kal laak na naatak maate,
16:13chaamdu dekha hai, ee wu material lai ne tame,
16:17prekshak ko saame,
16:19paes karo cho ne, enu,
16:22aarkaiv se, enu collection chay,
16:24which is extremely, extremely important
16:26for people to understand this.
16:28Atle, ameya,
16:30exhibition raakyu chay.
16:34Yuvano, maa te khas hai,
16:40kaewaanu, ki performance,
16:42inle, stage upar ubhaare wu,
16:44age matra theater na thi.
16:46Stage upar ubhaare wu,
16:48aapna apna pal lai chay, aapna
16:50hero, hero in laagye, ee,
16:52ee, ee, ee, aspect chay, paan,
16:53theater naa biji, biji, ghani badi
16:56vidhau chay, theater nao,
16:57backstage chay, theater making
16:59direction chay, theater naa
17:02costumes, ee vidha chay,
17:04ee nao, ee nao, ee, ee nao, ee,
17:06aspect chay, maa, tammeh, specialize
17:07kari chakou, tammeh, set
17:09design maa, specialize kari chakou,
17:11tammeh, naa, architecture maa,
17:13specialize kari chakou, design kari chakai,
17:16aap, baddha, judha, jae, aspect chay,
17:17theater, ille, hero kee, heroine
17:20banwa nao, cha, na, rakhine,
17:21tammeh, biji, bijha, aspects
17:23of theater, jaanon,
17:25shikho, ne maanon.
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