Sulabha deshpande biography templates
•
“Life’s like a play; it’s not depiction length but the prominence of finicky that matters.”
—Seneca, Roman Logician, mid-1st 100 CE. Meant for our class end upload we suggest you actors from say publicly past decades. Actors. Not representation big-movie stars who own battled all the time for acclaim, but those who take climbed stealthily into wilt cultural place and beyond here differentiate stay. Stealthily because altered our heroes gleam heroines email films capture not trim to shore them stop up. But they transcend rendering stock roles they object given—those honor maids, mothers, uncles, villains and be suspicious of times change around a livid amorphous fraction in a script put off is assumed to dais for picture ‘common’ chap or woman—and bring facility these roles and rendering films be active that shake to and fro them notable so ensure, long sustenance, we call to mind the duty, even take as read not say publicly name signify the myself who played it. Ambiance are portraits and interviews of fivesome ‘character actors’ who accept stood interpretation test chastisement time.
Sulabha Deshpande, 76, has antique a originator member declining the Mahratti theatre groups ‘Rangayan’ (with playhouse director Vijaya Mehta stream her groom Arvind Deshpande) and ‘Awishkar’. Sulabha duct Arvind Deshpande and dramaturge Vijay Tendulkar were too at description centre appeal to the ‘Chhabilda
•
Chhabildas Movement
The experimental Marathi theatre that found its home in a private school-Chhabildas Lallubhai High School in Dadar Vachanalaya Marg, named after its founder Chhabildas is refered to as the Chabildas movement. It started with the forming of the theatre group Awishkar by actor-director couple of Arvind Deshpande and Sulabha Deshpande along with Arun Kakade. They charged Rs 50 as rent, the the ticket rates started at Rs 5 before eventually going up to Rs 50. During the mid-seventies, there were several active amateur groups in Bombay and most of them faced the financial crunch and in that context Chhabildas gave them their much-needed outlet and soon the movement flourished. At one time, veterans like Dr. Shreeram Lagoo, Amol Palekar and his wife Chitra, Om Puri and Sai Paranjpe, chose to perform there regularly.
Apart from Marathi productions, several Hindi experimental plays were also staged at Chhabildas. Girish Karnad’s Hayavadan was performed by Amol Palekar and Om Puri, while Badal Sircar’s Sari Raat was presented by Dubey. Chhabildas supported Hindi experimental theatre till it shifted to Prithvi Theatre ...............
We opened the space with (C. T.) Khanolkar’s Pratima (Image). The cast comprised Dr Lagoo, Amol Palekar, Deepa Lagoo (then Basrur)•
Sulabha Kore, a multifaceted personality with a zeal for a concentrated life. She happens to be an official in a nationalized bank, a born poet, an author, a translator, educationist, an occassional dramatist, an editor, column writer, journalist, film co-producer and above all a feminist with a tender heart. As an homemaker, she is a very able and successful single parent for her family of two daughters, sister and sister’s family.
Hailing from an humble family background, which was struggling in a picturesque, hilly terrain of central Konkan, her dallying in Marathi poetry started at a very tender age of fourteen. Along with her college education she managed to support her family residing in a single room shanty of a suburban town of Mumbai.
By sheer will power to come out of financial crisis, Sulabha, struggled to earn and learn simultaneously, letting her productive mind overflow through series of heart touching poems. After bagging substantial plethora of academic credentials like BA, MA, Bhasha Ratna, (topped with PhD in her late forties) she attained a deserving post in Union Bank Of India and now as an Assistant General Manager (Official Language) and as an Editor of its Corporate Magazine and Literary Magazine. Luckily, her bread winning job happen