Chaitanya Bagul - Performing Arts Centre Blackbook - 3 PDF

CHAPTER 1: INTRODUCTION
1.1INTRODUCTION OF THE TOPIC

Art is the psychological need of the society an integrated part of life.
Excavating past and forecasting future is an inseparable phenomenon of human life. Man has eagerly exploited various
forms of media for expressing his feelings since ages. It is probably in this urge to express that lies the embedded birth of
arts like painting, sculpture, literature, dance, music. Along with food, clothing and shelter expression is an equally basic
need of human that is his personal skill and can be converted into an art. It can happen in any form like
POETRY Recitation and writing,
MUSIC Singing, playing an instrument or writing lyrics,
DANCE -Choreography and performing
THEATRE -Direction and performing.
These are all known as performing arts but they are incomplete without the support of technical arts like light designer,
set designer, sound designer, costume designer, makeup designer.
PERFORMING ARTS CENTRE
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1.2PAST, PRESENT AND FUTURE

PAST:
Theater has existed since the dawn of man, as a result of human tendency for storytelling. Since its inception,
theater has come to take on many forms often utilizing elements such as speech, gesture, music, dance, and
spectacle, combining the other performing arts often as well as the visual arts, into a single artistic form.
In olden times number of people taking up performing art as their career were few thus they did not demand an
exclusive space dedicated only for them.
PRESENT:
The societies of economically developed countries across the world have created provisions for defining
themselves culturally. Most people, especially the young, enjoy theater and other performing arts, because
despite being practical and physical, it also involves emotions and feelings.
Carving a career in the performing arts is an exciting but arduous task. Performers need extensive and prolonged
training and practice to acquire the necessary skills, knowledge, and ability to interpret music, dance and drama
at a professional level. Career options available in this area are that of a performer, teacher and choreographer.
performing artists can find employment in kala Kendra academies, Tv channels, dance troupes etc. Channels like
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MTv, Zee tv, Sahara and V organize talent hunts from time to time for budding artists.
Organizations like the Indian council for cultural relations, art India foundation, etc., Sangeet research academy,
academy of Indian music and arts, Bharatiya vidya bhavan etc. Often stage theatre and dance productions.
Well-known musicians and groups perform in concerts, appear on radio and television broadcasts, and make
recordings and music videos.
FUTURE:
With a rich and varied cultural heritage in the form of dance, music and theatre, the need for a pedestal for the
expression of these arts to provide maximum exposure to the artist is needed. Under the guidance of great personalities
youngsters are working. But in reality these people dont even have space for rehearsals and they have to hire halls
either from school, colleges or then some multipurpose halls.
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1.3 AIMS OF THE CENTRE

Provide a platform for the students to achieve technical, practical and theoretical knowledge in performing arts.
Provide a forum that will achieve a healthy interaction between the artist, performer and the visitor.
Satisfy the recreational and educational needs of the society to a certain extent, by the virtue of a cultural centre.
Provide an area for live performances like drama, dance, orchestras as well as poetry reading, debates and
speeches.
Development of young people by providing various means of expression through arts.
Creating conducive atmosphere to allow self-exploration and self-discovery.
Exposing young people to understanding and appreciation of cultural and social aspects of the arts.
The activities carried out in the centre shall be of experimental nature.
To create a place which makes the mind and body relax.
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1:4 NEED OF THE CENTRE
The cultural background of Pune is the amalgamation of different cultures and to maintain these cultures together
is our social responsibility.
Film institute of India takes care of the films and documentaries. But the question arises of the performing arts. In a
city like Pune all the basic requirements like the technicians etc. are available but are in a fragmented manner.
the concerned people have to visit different places in order to fulfill their requirements.
Day by day the masses involved in arts is drastically increasing demanding more facilities. Hence the
requirement of a centre that provides all the basic requirements like sets, music, lights, costumes, makeup, a
record directory of all the artists, directors, technicians as well as a rehearsal and performance space with a fullfledged library is proposed in the city.
With a rich and varied cultural heritage in the form of dance, music and theatre, the need for a pedestal for the
expression of these arts to provide maximum exposure to the artist is needed.
There are various enthusiastic groups of people working for different art forms under well-known personalities.
JAGAR: Mr.Madhav Vaze, Mr.Gajanan Paranjpe.
SAMANVAY: Mr.Ashutosh Palandkar, Mr. Kiran Yadnopavit.
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ASAKT: Mr. Mohit Takalkar.

KALAHARMONY: Ms.Shefali Lahoti.
Under the guidance of these great personalities youngsters are working. but in reality these people dont even
have space for practice and they have to hire halls either from school, colleges or then some multipurpose halls.
The societies of economically developed countries across the world have created provisions for defining
themselves culturally. Most people, especially the young, enjoy theater and other performing arts, because
despite being practical and physical, it also involves emotions and feelings.
Carving a career in the performing arts is an exciting but arduous task. Performers need extensive and prolonged
training and practice to acquire the necessary skills, knowledge, and ability to interpret music, dance and drama
at a professional level.
Career options available in this area are that of a performer, teacher and choreographer. Performing artists can
find employment in kala Kendras, academies, Tv channels, dance troupes etc. Channels like Mtv, Zee tv, Sahara
and V organize talent hunts from time to time for budding artists.
Organizations like the Indian council for cultural relations, art India foundation, etc., Sangeet research academy,
academy of Indian music and arts, Bharatiya vidya bhavan etc. often stage theatre and dance productions.
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Musicians and singers also perform in nightclubs, restaurants, for weddings and other events. Well-known
musicians and groups perform in concerts, appear on radio and television broadcasts, and make recordings and
music videos. you also have the option of starting schools and devoting time for teaching.
As, Pune is gaining drastic impetus in the field of arts there needs to be a support from the society in terms of
awareness and appreciation. This center would also welcome the lay man thus helping the performers to give
their best.
The existence of this centre would benefit all alike the performers, the technicians, the teacher, the learner, and
even the person who wants to find out his unknown skill.
There are schools and institutes offering training in performing arts. Some are purpose designed and others just
happened due to lack of space or funds or awareness. There is no place where one can learn two different styles
of a particular art under one roof.
Talent can survive with whatever normal conditions are but it grows up efficiently in better conditions mind and
intelligence wise.
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1:5 WHAT IS PERFORMING ARTS
Theater and dance are two of the world's major performing arts. And both have a deeper, more therapeutic and
psychological impact than was first highlighted in the ancient texts of Bharat Muni's Natyashastra and Aristotle's
poetics.
Theater is as old as civilization and is found in all cultures. In fact, the roots of drama are religious. It was a sacred
part of community life, and their entire belief system.
Performing arts include acrobatics, comedy, dance, magic, music, opera, juggling, marching arts, such as brass
bands, and theatre.
Artists or performers who participate in these arts are actors, comedians, dancers, musicians, and singers.
Performing arts are also supported by workers in related fields, such as songwriting, choreography and stagecraft.
Performers often adapt their appearance, such as with costumes and stage makeup.
Performing artists are available for public presentations in a wide variety of venues such as museums, theaters,
colleges, parks and recreation facilities, fairs and festivals, as well as private and corporate functions, school. In
addition to the standard narrative dialogue style, theatre takes such forms as opera, ballet, classical Indian
dance, and pantomime.
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To be a performing artist one must have attractive appearance, facial expression, an ability to interpret roles and
stage presence. Performers have to spare time every day for practicing. They must also keep in touch with the
general public. Besides professional training; dedication, talent and the right contacts can help a performer to
become well established. Every art form has got three phases:
FINE ART
APPLIED ART
COMMERCIAL ART
1:5:1 DANCE:
The essential premise for dance teaching centered upon pupils coming to know and understand dance through
PERFORMING DANCE
CREATING DANCE
VIEWING DANCE
in a well-structured dance education, equal attention must be given to these three inter-related strands and children
should be encouraged to acquire the appropriate skills and knowledge related to individual aspects. The three
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components performance, composition and appreciation provide the basis for the various established courses in
dance.
Dance is the primeval expression of joy and wonder in any part of the world, transcending bar of culture and
development. Dance as a structured entity was essentially part of the devotional process. When combined with song
and story-telling, dance metamorphosed into theatre. One aspect or the other predominates theatre and the
performing arts as we recognize them today.
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The Natyashastra, the earliest Indian text on the subject, speaks of Ekaharya (solo dance) and the Anekaharya (dance
as performed by more than one person). Written between 200 BC - ad 200 by Bharatmuni, the work divides dance into
Nritta i.e. pure dance and Nritta i.e. expressional dance or pantomime.
While the former is an act of beauty, not seeking to convey any meaning, the latter depicts emotions through facial
expressions, movements of the eyes, and stylized gestures of the hands (Mudras, less commonly known as Hastas).
The choreographer designs and composes dance sequences and co-ordinates the stage settings, music, costumes and
supervises rehearsals. Choreographers must have creative or imaginative powers and an ability to interpret music and
compose dance routines for solo as well as group performances. They must be able to work along with a team.
Prospects in this field are expanding with more and more stage and Tv shows.
Pune is known for its wide cultural diversity and reach. Puneites have long been considered connoisseurs of the
performing arts.
SALSA: a partner dance said to be a fusion of various dances that originated mainly in Cuba.
RUMBA: a sensual form of dancing having two sources, African and Spanish.
TANGO: distinctive dance form said to have Argentinean origin.
CHA CHA CHA: is a Latin American dance said to be of Cuban origin.
JIVE: a ballroom dance come from the U.S.
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WALTZ: a present modern form of ballroom dance from England.

BALLET: a concert form of dance comes from France and Russia.
TAP DANCE: an American style origin from various forms like the Irish solo step dance English clog dance and
African dance moves.
Bachata: a form of dance that originated in the countryside and rural areas of the Dominic republic.
Hip-hop, jazz ,belly dance.
Dance in contemporary times
C V CHADRASHEKHAR
The question of relevance of classical dance in any time does not occur to me simply because it is not a
social issue or a new idea. It has been around for ages and will remain so.
Dance is an experience in itself for both the performer and the audience.
Experimentation should be like Chafekars Nrityaganga which is not a new form in an old bottle, but a whole
new style in itself.
Bharatanatyam and Odissi exponent Sonal Mansingh
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What is most vital in dance- communication. It is like a bridge between the dancer and the audience. Visual
aesthetics are important but your expressions both facial and physical are very important to make the
connection. Dance is an amalgamation of all arts, including music and poetry.
Manipuri exponent Darshana Jhaveri
Every occasion in Manipur is celebrated with some form of the dance and it is great to see it has moved to the
stage today.
Anuj and Smriti Mishra-Kathak dancers
I think its my responsibility, as a part of younger generation of classical artistes, to spread the tradition. The
audience abroad has a craze for our traditional dance forms that is missing in India. It is necessary to introduce
the classical arts to public so that they can absorb it as much as possible.
Lata Pada, founder director of Sampradaya dance creations, Canada
An institute which aims to popularize the south Asian dance forms in the country. The strength of the school is in
its inter-cultural works. She believes in mixing traditional dance forms like Bharatanatyam with contemporary
themes. Her choreography incorporates cricket techniques. She says, cricket is an elegant sport and the
techniques are an art in itself. Thus merging the two forms happened naturally.
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Rocky Poonawala, dance instructor

While salsa rules the roost as ever, people now also want to learn something different.
Sandip Soparkar, dance instructor
While the younger set prefers the cha cha cha which involves a lot of moves, the older set prefer more sedate
dances like the waltz
Vaibhav Singh, Sumeru dance school
Bollywood dancing and salsa being crowd favorites people are exploring new genres. While ballet is restricted
to the young ones due to the flexibility it requires, tap dance can be mastered by anyone.
Shiamak Davar institute of performing arts (Sdipa)
We specialize in western dancing and that is what we are known for. But we do conduct workshops of other
dance forms like the salsa and dandiya on and off.
Belly dancer Diva, Canada
This form is new to India. People here see it as a form of exercise rather than a dance. There are many
misconcepts about bell dancing and thats why it hasnt become popular yet. Its not a seductive dance form
designed to catch a mans eye. It is supposed to be an expression so soul because it is a solo dance and not a
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group one. It is often confused with cabaret. She has a hearty laugh on the Bollywood freestyle dance
sequence.
HR Manager Sandeep Chougule, Bharatanatyam artist
Chougule performed his Arangetram a few days back. His performance proves that while few male dancers in
the city take up classical dance, the trend has definitely picked up in the last couple of years. There is a
realisation now that classical dance needs great discipline and it is no more a womans domain.
Parimal Phadke, first male exponent in Bharatnatyam
Says it is a radical shift, but the trend has begun and should only increase in the coming years. Performing
outside India is different. NRI audiences observe you and are emotional, critical and analytical about your
performance. Male students are learning classical dance because they think the form is a good way for them
to get a strong foundation in dance.
Swapna Kurudkar, teacher
Men have a misconception that if you start learning classical dance, that involves a lot of grace and
expression; you will adopt these traits that is completely untrue. The major awareness has come through these
reality shows that demand a classical round for both the male and female.
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Manisha Sathe, Kathak exponent

Being gifted with technical perfection, aesthetic approach, sensitivity and imagination. Choreographed over
200 items in traditional Kathak, including dance dramas and ballets. dance is my breath. I was always inspired
by Birju Maharaj Ji. Today the youngster should take classical dance as their career. Kathak is a dance that
develops your personality, sense of music, versatility and imagination.
Salsa is making strong waves in the city. Its most talked about in pubs, gyms, colleges and work places. With
many youngsters and professionals wanting to learn the dance form. Salsa classes are mushrooming.
Vaishali Sohoni, salsa teacher
It is basically a club dance and has a lot of scope for creativity.
B. Datta , Salsa instructor and it professional
Salsa is vibrant, stylish and a fun dance which could be a passion that will last for a lifetime. It is a disciplined
form of dancing where it needs to take care of posture and gesture, foot and hand movement, dressing. All
this drives people towards salsa. Its a great cardio activity.
Mangesh Lele, veteran salsa exponent:
Reality shows have helped a lot make salsa a popular form. Corporate sector introduces salsa as a stress
buster. Its a healthy source of recreation and sheer enjoyment.
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Shashank Verma ,owner of my salsa world:

Though MBA was fun but after handling my own dance school. I have realized running a business helps you to
learn what you can never in any MBA school. My world and horizons have been expanding and Im following
my passion, something the MNC culture does not let you do.
1:5:2 MUSIC:
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Musicians, singers, and other artists play musical instruments, sing, compose or arrange music, or conduct groups in
instrumental or vocal performances. They may perform solo or as part of a group. musicians, singers, and related
workers entertain live audiences in nightclubs, concert halls, and theaters featuring opera, musical theater, or dance.
Many of these entertainers play for live audiences; others perform exclusively for recording or production studios.
Regardless of the setting, musicians, singers, dancers and theatre artists spend considerable time practicing, alone or
with a group, with orchestras, or other musical ensembles.
1:5:3 DRAMA:
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Drama is different from dance because it involves a linguistic element, and the physical expression of emotion is less
powerful but it is the linguistic content of drama that makes it apparently easier to teach than dance, for the words
enable the actor to say who and where he is. Teachers get lost in dance because they look for content, a subject, and
the content of dance is dance.
Drama will inevitably lack truth and substance if it is neither the outcome of a stimulus nor the stirring of the creative
imagination. Drama cannot exist outside the elements of which it is compounded: thought, feeling, and imagination,
vocal and physical expressiveness. The development of speech is clearly one of the most trenchant examples of
symbolic form relating closely to the growth of the intelligence and general cognitive powers. Psychologists argue
vigorously about the relationship between speech and thought. Drama provides an imaginative context for speech
that enlarges the situation and calls on a greater effective motivation.
Comparing films and theatre is difficult...films and theatre are both ways of expressionsfilms are more polished in their
presentation and can boast of a bigger share of the marketbut when it comes to quality, theatre has its own
reckoning and never will you see a bad play...! So, if you have money, patience and willingness...watch them both!
The theatre basically embellishes only three factors namely performance audience a place common to meet but then
theatre enlivens the space and the space you are in has its own size, shape and its source of light as well.
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Needless to say that the sets, costumes, music, makeup etc., go to form the language of theatre and thus a centre
containing all these provisions is a must. Lets not forget that the dramatic experience evolves out of a beautiful and
meaningful melanchy of all these factors.
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CHAPTER 2: METHODOLOGY
2:1 NGO IN THIS FIELD
2:1:1 JAGAR:
JAGAR is one of the most reputed and recognized force in the field of experimental theatre; thanks to the hard
work put in over the last 3 decades! The group has grown in strength in terms of its member base as well as the
repertoire of plays and performances. The group has the right mix of youth and veterans to take it to the next
level.
20th June 1977 was the day when JAGAR was formed by a group of youngsters who believed in enjoying the
process of creativity and concern for the artist's right to fail! Since then JAGAR has been constantly active in
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parallel theatre and under taking various experiments. Our repertoire contains numerous indigenous plays,
translations and adaptations of classics, theatrical forms of poetry and short stories as well.
JAGAR has been performing at various national and state level theatre festivals.
Performances at NSD (New Delhi), Kolkata, NCPA (Mumbai), Bharat Bhavan (Bhopal) are a few of our significant
achievements along with a host of awards won at various competitions.
JAGAR, right from the beginning decided to have two fold theatre activity: Theatre for the grown-ups and the
children.
The very first executive committee of JAGAR (in the year 1977) :
PRESIDENT : Vasudev Palande
SECRETARY : Madhav Vaze
TREASURER : Sudhir Bhandkamkar
MEMBERS : Gajanan Paranjape, Shyam Bhutkar, Anand Ghanekar, Ashok Joshi, Shyam Joshi, Sulabha Joshi
and Sanjay Dadarkar
We believe that children should be encouraged to, interpret a theme and express themselves in their own way
through the medium of theatre. In the process, they should discuss with one another and should never be asked
to imitate teachers and parents.
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Raw theatre : this children's theatre might seem rather raw, however, it's literally 'their' theatre! A time will come
when children would get introduced to the sets, lights, costume, make-up etc. They would learn that all of these
along with music and acting make the language of the theatre.
In short, 'JAGAR' recognizes the truth that no society could have a rich theatre unless it has a meaningful children's
theatre.
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2:1:2 SAMANVAY:
Samanvay, Pune' will complete 15 years in May, 2007. Started in 1992 by theatre enthusiasts from pt. Satyadeo
Dubey's workshop; Samanvay has provided theatre space for passionate theatre activists.
The activities started by participating in various one-act play competitions. However, the nature of such
competitions was short term and the plays came to an end as they succumbed to the limits and had to be
withdrawn after a few shows.
An intimate theatre- 'Snehsadan' - was started where 'Samanvay, Pune' started performing its plays regularly,
bearing various hardships. This activity brought forward a new class of audience. Hat collection ensured the
survival of this activity.
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Over the years 'Samanvay, Pune' has grown progressed enriching its participation in the cultural milieu by being
involved in theatre activities all over the nation.
The passion for theatre remains undeterred throughout these years and it will continue for thecoming years too.
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2:1:3 AASAKT :
Aasakta, an experimental theatre group from pune has emerged as one of the leading performers in Punes
theatre scenario. Since inception, in 2003, the group has produced several Marathi productions. Fresh talents,
innovative and exclusive production value, precision in technique, contemporary aesthetics and unique,
contemporary content have been the attributes of each of Aasaktas production.
Apart from staging own productions, Aasakta has been instrumental in executing two landmark productions on
Marathi stage. Entire Aasakta team is involved in the production execution of two plays produced by,
Maharashtra cultural centre, Pune. the plays are Chhotyashya Suttit and Fridgemadhye Thewalela Prem.
Aasakta began the journey as a small conglomerate of college students aspiring to do theatre of their own
choice. Participating in various one-act play competitions was an integral part of this journey and the economics
as well. Winning several prizes and re-cycling the prize money to produce new plays built the organization up.
However, talented, young, energetic and dedicated team members have been the core strength of the group.
The group has so far had approximately 150 performances of all plays that it has produced on its own. To add,
the performances of Chhotyashya Suttit and Fridgemadhye Thewalela Prem would make this number reach 200.
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We are guided by eminent personalities such as Vijay Tendulkar, Mahesh Elkunchwar, Amol Palekar from time to
time.
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2:1:4 INDIAN FOUNDATIONS FOR THE ARTS (IFA):
VISION STATEMENT
To ensure that the arts, in all their diversity, are nurtured and valued because they enrich individual and community life
and are critical to envisioning the future of our society.
MISSION STATEMENT
To enrich the practice, knowledge, public access to, and experience of the arts in India, by providing strategic support
for innovative projects and capacity building across the arts.
BELIEFS AND VALUES STATEMENT
The arts are indispensable to individual and community well-being. Support for the arts should be widely accessible
without prejudice to class, language, religion or gender. It is vital to encourage reflection on the arts as well as reflective
arts practices. Transparency, mutual trust and give-and take must characterize the business of arts philanthropy.
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TO FULFILL OUR MISSION

We make grants to encourage research in the arts, strengthen underlying artistic processes, overcome constraints on
creativity, and seed innovation; to address unattended and urgent needs in specific areas of artistic endeavor; to
create space for the exploration of new connections and alliances in the arts.
WE SERVE AS A RESOURCE
For the arts community, providing information and advice on management issues, training opportunities, relevant
expertise, material resources and alternative avenues of support; for the donor community, providing information, ideas
and evaluation to assist existing arts donors, and to stimulate the growth of new initiatives to support the arts.
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2:2 RESEARCH METHODOLOGY THROUGH DIFFERENT TRAINING AND PERFORMANCE SPACES
The national school of drama is one of the foremost theatre training institutions in the world and the only one of its kind in
India. It was set up by Sangeet Natak Academy in 1959 as one of its constituent units. In 1975, it became an
independent entity and was registered as an autonomous organization under the societies registration act XXI of 1860,
fully financed by ministry of culture, government of India.
The training in the school is highly intensive and is based on a thorough, comprehensive, carefully planned syllabus
which covers every aspect of theatre in which theory is related to practice. As a part of their training, students are
required to produce plays which are then performed before the public.
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The school has two performing wings repertory and theatre-in-education. The repertory company was set up with the
aim of providing a platform for graduates to produce and perform creative theatre on an experimental and later
professional basis. The second performing wing theatre-in-education was established in 1989 with the objective of
promoting theatre amongst children in the age group of 8 to 18 years.
GENESIS
The objective of the repertory company was to provide a platform to the graduates of the school in their
academic interest and to perform plays professionally. However, with the passage of time, it became one of
NSD's major institutions working on contemporary and modern plays and introducing experimental works on a
regular basis.
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THEATRE IN EDUCATION
The major focus of the company is to perform creative, curriculum based and participatory plays in schools
specially designed and prepared for children of different age groups. The major thrust of the plays is to create an
atmosphere to encourage children, to raise questions, make decisions and choices with an awareness of
themselves within larger society. The company consists of a group teachers working with
SCHOOL
Idea to set up an institution in theatre first germinated in a seminar on education organized by the Sangeet
Natak Academy in 1956. With the financial help of UNESCO and committed to the cause of helping students
realize their aspirations in the field of theatre, the theatre institute itself, finally came into existence two years later
on the 20th of January 1958. In July 1958, the Asian theatre institute (ATI) was taken over by the Sangeet Natak
Academy (SNA) - Indias premier institute of music, dance and drama .
PERFORMING SPACES
Four performing spaces available on campus for the staging of its productions.
ABHIMANCH AUDITORIUM
Seating arrangement for 350 persons.
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SAMMUKH AUDITORIUM
Seating arrangement for 150 persons.
BAHUMUKH AUDITORIUM
Seating arrangement depends upon the set approximately 75-100 persons.
The Prithvi theatre has been designed not only for performances, but also for rehearsals, discussions and
meetings. In short, it should inspire the greatest possible interest in the professional theatre. In order to do this, they
have chosen to build a thrust stage with the audience arranged in a steep bank on three sides of the acting area.
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At the rear of the thrust is a small open-end stage intended to be used as a background and entrance rather
than an acting area.
This is a form that has been widely used in for centuries, in traditional performances. Their aim is to rediscover the
intimate and compelling actor/audience relationship that has been lost in todays theatre.
Such an arrangement should also be ideal for music recitals as the back row is no more than 25 feet away from
the centre stage, artificial amplification becomes unnecessary and they succeed to approach the intimacy of
the old music room.
The entire building is air-conditioned including the dressing rooms. The theatre will be run on a non-profit basis.
The hiring charges are expected to cover merely the running charges.
This is what they have to say

We hope we have built a space which will be stimulating and challenging both to the directors and actors who
use it, as well as exciting and involving for the audience.
The Prithvi theatre is a subsidiary of the Shri. Prithviraj Kapoor memorial trust & research foundation. The trust was
set up in 1975 in the memory of prithviraj kapoor, to achieve the following aims:
To build a theatre to promote professional hindi theatre primarily, with all technical facilities available
Subsidizing and promoting aspiring and deserving stage artists, technicians, researchers etc.
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Managing a theatre of international standards - hosting and conducting workshops

Providing rehearsal and workshop spaces
Creating a theatre resource center and research library under construction providing medical and
educational assistance to theatre workers and their childrens.
Maehashi Debendra, father of Rabindranath Tagore, founded an ashram here in 1863. Almost 40 years
later, Rabindranath started an open-air school at Shantiniketan that gradually developed into an
international university named Visva Bharati where the cultures of the east and the west may meet in
common fellowship and thereby strengthen the fundamental condition of world peace.
Chatimtola is the place where the poet's father used to meditate. Leaves of the Saptaparni trees are given
to graduating students at the annual convocation. The prime minister of India is the chancellor of the
university. Some of the famous students of Visva-Bharati include India's former prime mister the Ms. Indira
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Gandhi (1917-1984), world famous film director Mr.Satyajit Ray (1921-1992) and Nobel laureate Amartya
Sen.
Open air education as opposed to being cloistered in the four walls of a classroom became a reality here.
At the kala bhavan and the Sangeet bhavan the arts were given their rightful place in the Indian
education system. Eminent people from all over the world came to Visva-Bharati during its peak period.
Visva-Bharati became a central university in 1951.
2:2:4 AMBALAM, BANGALORE :
Ambalam, centre for performing arts, formerly, the Naadaanta academy of dance and music (r) is a registered
trust set up in 1989 by T.V. Ramprasadh and Indira Kadambi in Bangalore.
The activities of the centre are threefold

The centre has been training several dedicated students in India and abroad and some of them have blossomed
into talented performers. Students from abroad visit the centre annually to undergo intensive training in
Bharatanatyam, Carnatic music and related subjects.
The centre organizes workshops and lecture demonstrations by eminent artists in the field of dance and music
The centre conducts festival of music and dance "Parampara" featuring eminent and upcoming artists.
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Indira teaches at Nrityagram near Bangalore, where classes are held in Gurukula tradition. What is really special
about her commitment is that she has trained the children of the villages, surrounding Nrityagram.. - Chitra
Mahesh, the Hindu :T.V.R Amprasadh belongs to the new legion of musicians who are experts not only at
demonstrating their art but also experts in analyzing the science of holds workshops that explore the birth and the
evolution of different aspects of the art - India Journal,
2:2:5 LALIT KALA KENDRA, PUNE:
Centre for performing arts at university of Pune is popularly known as Lalit Lala Kendra. It was established in 1987.
The uniqueness of these courses is very evident that for the first time in India full time, professional and residential
courses in dance, music and theatre with Gurukul pattern were offered. By incorporating the Guru-shishya
parampara the centre pays tribute to the thousand-year-old music and dance oral traditions.
Centre tries to strike balance between the rich cultural heritage of India and awareness of contemporary
sensibilities of the young creative minds. Centre is one of the non-aided, self-supporting departments of university.
It is needless to say that the centre has very limited resources and hence operates under financial constraints.
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2:2:6 SUDARSHAN HALL , PUNE:
This is one of the places in Pune that provides space for rehearsal as well as for the final show. Basically it was
supposed to be a multipurpose hall that was later converted into an art space. Now it is widely used by theatre as
well as by music and dance experts and also amateurs for exploring new heights of performing arts.
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3:1 EDUCATIONAL INSTITUTIONAL CAMPUS

A campus is a physical environment created when buildings is constructed to allow to institute to Flourish. It should be
a quite comfortable oasis apart from normal congested world but not isolated as institute and region in which it is
situated will mutually benefit from proper interaction.
An institute being a place of learning develops a student intellectually and plays a major role in Influencing the
students way of thinking and perceiving various aspects of environment and life.
For a long time in India, advancement of knowledge was verbal through conversations and arguments. This has a
great impact on the Indian way of teaching and learning. The culture and teaching thus formed demanded a mix of
residential, religious and community spaces forming an educational campus.
Staff student ratio: To maintain a steady rapport the teachers, each must have a team of 8 to 10 students under his
guidance. Only then will the student get the kind of education he deserves. The overall ratio of full time academic staff
to students should not be less than 1:10.
1. Have substantial practical experience of visual arts.
2. Should promote education through use of audiovisual aids and other similar techniques.
3. Should encourage use of computers, which form an integral part of the present education.
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4. Format the program so as to relate the theory to practice and bring in specialist tutors while solving a special design
problem.
5. Keep in touch with latest form of education followed worldwide.
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3:2 THE PSYCOLOGY OF AN ARTIST:
All human beings are blessed with a certain amount of sensitivity and artistic inclination. When the sensitivity of an
individual is above the ordinary level, an artist is born. An artist has qualities of noticing all finer details of his
surrounding, his involvement with every aspect of life, foresight and Mind, which help to unravel the numerous
features.
An artist is like a porous pot absorbing every bit of detail that down. This porous nature result in a lot of experience
being stored in him, are extremely complicated and constant. An artist requires a certain amount of privacy. He
cannot conceive amidst which then needs vent in some form or other. The thought processes of an artist others,
the mind of an artist goes through phases- some during which his mind is most active, and some during which, it is
sluggish, and easily influence.
During the latter phase, he is most likely to be influenced in his work by another more dominating mind, and is in
the danger of creating something, which is not original.
Thus, his thought process and conceptualization of ideas needs to be carried out in private. However once he has
conceived, he likes to be amidst a hub of activities and with people. It is then for him to analyze his work in the
light of other peoples views and ideas. If after many criticisms, Appreciation and analysis of his work among
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classes of intellectuals, the end result attains Acceptance, and then it is a master piece- the artists stamp of
individuality.
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3.3 UPCOMING TRENDS IN PERFORMING ARTS

3:3:1RESEARCH IN THEATRE AND ETHNOMUSICOLOGY
The research and ethnomusicology section carries out research and training activities in the performing arts as
well as archival recordings and documentation. Theatre development centre conducts research, archival
documentation and training in all aspects of theatre. The data collection is aimed at being comprehensive in
nature and information is grouped under:
Personalities, institutions, productions and themes.
Documents, publicity material, audio and video recordings photographs, designs and plans for sets, lights, decor,
make-up sketches, costume visualization etc. are included in this material. Care is taken to adopt a proper
methodology with a view to computerized storing, archiving and retrieval designed to meet the requirements of
the performers, critics and scholars. Often facts, apparently trivial, offer new insights, and the objective is therefore
to collect information on established as well as not so established categories
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3:3:2 MACHINE MUSIC:
The music of the future may well consist of sounds made by machines. The synthesizers and other electronic
instruments do not make their own sounds. They produce an electric sound signal that goes along a cable to an
amplifier and loudspeaker (like an electric guitar).
These machines can make many different types of sound signals, giving a wide range of sounds. They can imitate
other instruments or conjure up entirely new sounds. The compiler is important in electronic music because it can
control music-making machines and even create the music that they make.
ONE MAN BAND:

Popular music makes great use of electronics sounds.one of the pioneers French musician Jean Michel Jarre. He
was one of the first musicians to create an ironic orchestra in which he performed all the music himself. This can
now be done easily by computers.
COMPUTER CONTROL:
This is an ordinary computer which , amongst many of its other uses , can be linked to electronic instruments.
Music software on small discs enables the computer to store , process and create musical notes. It can be turned
into a recording studio , it can correct wrong and mis-timed notes and even compose.
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3:4PERFORMING ART AS THERAPY:
It is unique way of looking at art. therapeutic way in every sense of the word. drama , music, art, dance, group
and drum therapists among others swear by the therapy as one that is complete stress buster and also one that
keeps you in good health.
Danseuse Suchitra date who advocates dance therapy says through dance and music you employ all parts of
your body and that includes even your brain- both left and right sides. It just does not teach you how to dance
but acts as a form of exercise to keep yourself physically fit.
Bharatnatyam for kids who have extremely busy schedules. dance can make them relax and improve
concentration as well. Drama, drum therapist Dabale says through drama and story therapy such people get a
platform to speak whatever they feel because they are in character and people observing them will only see the
character and not the person. Drum cells are a great way of dealing with negative emotions. Eventually by
beating the drums you get all the negative energy out making you feel good about yourself. If you concentrate
in music it makes you forget about all your troubles and lead to a state of relaxation.
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Group therapy involves group based activities like discussion and games which instill a sense of team work. When
these addicts eventually leave their treatment these art forms can be something that can fill the vacuum that the
absence of their addiction leaves.
Music and dance therapies are not just a way of dealing with stress but some of these can help mentally
challenged or those suffering from illness. Music has a very strong emotional aspect and when a patient hears it
we have observed that either his\her symptoms decrease or they become more bearable only proving the point
that music helps. These people cannot change the situation they are in but it can instill a sense of happiness in
them. Also teaching them forms of art like painting, dance and music is a way of teaching them some skills in
making them believe that even they are capable of doing something.
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4:1 AUDITORIUMS
With every change that occurred into the drama there was a corresponding modification in the idea of
auditorium. The auditorium today is inseparable part of performing arts. Rather it is bare fact that every expression
on word 'theatre' originated from the Greek word Thetron meaning a place where people can see and hear
performances.
One of the basic forms of entertainment in society is the gathering and the interaction of people. The human
emotions are expressed in various forms of performances of these arts becomes main forms of entertainment.
Although the history of these performances traces back into time, no special arrangements were made to
provide a special place for them.
However taking advantage of its topography Greeks first attempted to provide a place for public performances
and the area of performance and viewing area was separate. The valley served the purpose of stage and the
hills was used by the audience. Later the slopes were converted into tiered seating. Gradually back curtains,
orchestra pit, seating were developed. With these developments finally the idea of closed auditorium was
evolved.
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The evolution from natural open air auditorium to closed auditorium with modern amenities is a fascinating one. In
rich countries, the form of performance and techniques of arts differ due to difference in cultures and history and
so design of theatres. But intensity of relationships between the audience and performer is universal.
AUDITORIUM SEATING:
The seating is usually laid out in straight or curved rows.
The rows may be straight across the entire theatre or the side banks may be canted or the entire rows may
be curved.
Back-to-back distance between rows of seats with back: 760 mm.
Back-to-back distance between rows of seats without back: 60 mm.
Width of seats with arms: 510 mm.
Width of seats without arms: 460 mm.
Unobstructed vertical space between rows : 305 mm.
For normal maximum distance of seating from gangway : 2000 mm.
Minimum width of the gangway: 1070 mm.
AISLES :
Aisles should run at right angles to the rows to avoid pockets.
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These may be straight or curved, parallel or radial.
SEAT FINISH:
Upholstery variations include the box spring. The spring back and the padded back seats, which are
luxurious and comfortable.
Veneer back seating is suitable for har usage like in schools.
Acoustical control is more satisfactory with the upholstered types.
Acoustical considerations :
1. convex and irregular surfaces aid sound diffusion; domes, vaults and other concave surfaces may
cause acoustic problems.
2. Higher ceiling for longer reverberation time is required; typical hall volume 3.5 -7 cu.m / audience
seat.
3. Design of the ceiling, wall surfaces and finishes for either absorbing or reflecting sound according to
stage or dias.
4. Care should be taken to restrict the reverberation time upto 1-1.2 seconds.
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SOUND REINFORCING SYSTEM:

A central space just above and slightly in front of the proscenium opening to accommodate a cluster of
loudspeakers may be needed.
The control console for the sound system should be at a central location in the audience seating area.
LOCATION OF ORCHESTRA PIT:

For musical productions, the most convenient location for the a orchestra pit is between the stage and
audience, to enable both performers and the orchestra to see the conductor.
When the orchestra pit is not required for a production, its open area can be filled in and used for
additional auditorium space or as an extension to the stage.
Small orchestra ( dramas ): 10-12
Medium orchestra ( operas and ballets ) : 25-40
Full orchestra ( some operas ) : 120
BACKSTAGE :
Backstage should be large enough for shifting the sets and scenery. Also part of it should serve as a scenery
dock for the sets not in use.
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If a separate workshop is not provided the backstage has to serve that purpose also should be treated with
sound absorbent surface to reduce the infiltration of sound in the auditorium.
It should have a loading unloading platform with a driveway connecting a large door.
Should be well accessible to areas like the green rooms, property store but should not disturb the performer.
STAGE:
Size is governed by the arrangement of sets around the stage.
A too deep stage may hide the view of people in balcony.
As such this is governed by the sight lines wings in form of vertical partitions are used to increase or
decrease the width of stage as and when required stage should be properly connected to the allied
spaces to allow smooth functioning.
REVOLVING STAGE:
Single revolve:
1. Three complete sets can be arranged on this stage without dropping the curtain.
2. This type of arrangement becomes a compulsion in thrust type of stage.
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Twin revolve:
1. In some cases where large sets has to be erected twin revolves are used the sets are built on two
halves each on a separate revolve. The junction between two parts of set had careful alignment.
2. The twin revolve system is not used as a permanent installment but is tailor made for particular
productions only
STAGE FLOORS:
A good stage floor is actually composed of several layers.
The subfloor should be made of softwood such as pine or plywood.
These materials are resilient and tough and will hold the nails and fasteners.
Traditionally a heavy, canvas ground cloth can cover the subfloor but it can wrinkle or tear when the heavy
scenery is moved over it.
Can be painted only a few times before it starts deteriorating and is lousy for tap dancing.
Quarter inch tempered Masonite has all of the qualities need for a good stage floor surface.
It has an added advantage of being fairly inexpensive and individual sections can be replaced as needed.
One drawback is that it has the tendency to warp when first painted, it can be reduced if the boards are
painted from both the sided before being nailed to the subfloor.
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LIGHTING AND SOUND CONTROL ROOMS:

Are located at the rear of the auditorium.
The dimmer room must be away from the stage. Care should be taken to avoid sound generated by the
equipment reaching the audience.
Dressing/changing rooms and corridors are to be a source of noise.
Scenery dock should be planned at the stage level and accessible from the stage and loading door.
Some control of the stage door is necessary to keep out unauthorized persons.
AUDITORIUM ATMOSPHERE:
The quality of an individuals response and the quality of performance depend partly on the fact that it is
an experience shared with each other.
Auditorium atmosphere depend on the quality of the design but practically as well as the aesthetic factors
are involved.
From actors point of view the audience should not be split in parts.
There should not be a visually disturbing feature in the audience.
Such things can be caused due to a structural projection near the stage or a balcony coming low on the
back seats.
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Material, color, texture have an effect on auditorium atmosphere. They should help to create a respective
frame of mind before the performance.
BLACK BOX THEATRES:

The flexible staging of these theatres encourages and demands, ingenuity from the production design
team.
These new design is the result of the experimental theatre movements that broke down the visual and
psychological barriers created by proscenium stage.
In black box theatres (as they are painted black and have a simple rectangular shape) the seating is
generally on movable bleacher like modules that can be arranged in any number of ways around the
playing space.
The black box theatre was developed partially as a reaction against the artistic confines of more formal
type of stage space.
Consequently, there isnt a great deal of specific stage equipment associated with it.
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4:2 LIBRARY
LOCATION :
The aim of a well-designed library is to form an environment which will provide access to books, information
and audio-visual material in conditions of comfort, economy, efficiency and security.
In most cases the library forms a part of a large complex of buildings.
The location of a library is dependent on the ability to attract users and readers.it should be easily
accessible from the centre of activity such as shopping or entertainment and also conveniently related to
transport.
STACKING:
Wall shelving should never be higher than 2m (preferably 1.8).
Island shelving in lending libraries should not be higher than 1.5 m
No shelf in public areas should be lower than 300mm from the ground.
CLOSED STACK:
The bottom shelf can be as low as 75mm from the floor with the top shelf not more than 1.9m thus preferred
total height is 2.3m (7 shelves total).
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OPEN STACK :
In this type more room must be provided for readers for browsing and cross traffic. Mainly used when
readers have access to the stacks. Provision as cross aisles is important. Main aisles should be minimum 1.5
wide.
Height of island stacks : 1600 mm (4 shelves)
Height of wall fixed stacks : 1850 mm (5 shelves)
Height of bottom shelf from the floor : 400 mm
vertical distance between shelves will be approximately 270 mm
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STUDY / READING AREA :

Depending on the aims of library there will be difference between browsing and seriously study areas the
most economical layout is one with reading tables in the centre with shelves round the wall recommended
size of every table is 900mm x 600mm each reader allowance in the reading area is 2.3 sq.m including the
circulation in the room.
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4:ART GALLERY / EXHIBITION:
LOCATION :
This space facilitates the display of paintings, sculptures, prints and photographiy.it mainly concentrates on
the display of work economy, efficiency and security.
In most cases the display forms the core of any exhibition facility.
The walls that enclose the space need to provide large, uninterrupted surfaces.one option for doing so is to
provide a space between the ceiling and the floor above containing the service equipment.
The overall space design should be such that the exhibits are given the main attention
Daylight is an optional issue and is mostly used in permanent collection galleries. For the flexibility in the
display area artificial light and ventilation is preferred.
Services should be provided for comfort of public and care of the material on display.
Good access is important.
Plain surfaces and finishes are normally recommended as styling
Details, patterns and textured finishes can conflict with the
Items on display
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These spaces should be placed near the main entrance for the convenience of the visitors and avoids
passing through other departments to reach a special display.
In exhibition hall : convenient public circulation keeping in view the element of surprise and proper lighting are
very important
Open exhibition areas: would be very efficient with the properly designed hardscapes provided it is not
obstructing the circulation path.
LAYOUT OPTIONS
Separate alcoves have been provided for display of different categories. The large central area solves the
problem of congestion that might occur in the alcoves during peak hours.
Exhibits along the curved wall give an easy arrangement the visitors without any odd corner.
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Separate compartments with a central large space having a display in a circular pattern
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CHAPTER 5: CASE STUDIES

CASE STUDY 1: GOA KALA ACADEMY, PANJIM, GOA
5.1.1 PROJECT INFORMATION
Name of the project:- Kala Academy
Location:- Punjim, Goa
Architect:- Charles Correa
Client:Plot area:- 32400 sq.m.
Duration of Construction:Climate:- Hot & Humid
Context:- Urban
Structure:- R.C.C
INTRODUCTION
The Kala Academy Goa stands out as a premier cultural institution in the country considering the ever growing
commitments to preservation, propagation, documentation and enrichment of the cultural, literary, musical both
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folk & classical and dramatic traditions in the state. And with the establishment of the West zone cultural center of
which goa is part and parcel, its vistas have traversed the state borders enabling it to play its assigned role on the
cultural firm ament of the country.
Audiences in the Kala Academy have three venues to choose from, the Deenanath Mangeshkar Kala Mandir
(AC Auditorium), the Open Amphitheatre and the Exhibition Hall.
The Kala Acdemy has also four Schools of Music viz. The School of Indian Music, The School of Western Music, The
School of Drama and The School Of Dance.
Performances ranging from concerts to plays and varied exhibitions held from time to time form a major
attraction for Goa's people and tourists.
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5:1:1 PROJECT DETAILS

Architect: Charles Correa
Client: Government of goa
Year of completion: 1970
5:1:2 LOCATION MAP:
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5:1:3 SITE AND SURROUNDINGS:
Site is rectangular with the longer side abutting the road.
On the north is the Mandavi river. On the south is a road with no prominent structures on its sides.
Accessibility : entry through 4 gates,2 for pedestrian and 2 vehicular
From the campal side of Panaji , one of the tree lined avenues along the road.
One for services and other for pedestrians.
5:1:4 ACCESSIBILITY :
Bus terminus distance :- 04 km
Train terminus distance :- 25 km
5:1:4 TOPOGRAPHY: Gentle slope towards the river

5:1:5 ORIENTATION: Building is set forth in the plot and setbacks give larger expanse for spaces uninterrupted by traffic
noise.
5:1:6 CLIMATE: Hot and humid zone, good air movement.
5:1:7 PLOT AREA: 26850 sq.m
5:1:8 PARKING:
Almost half of the part is reserved for the parking but such an extensive parking used very occasionally.
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Pedestrian and vehicular movement is segregated for better circulation and for noise free atmosphere in the
complex.
Parking is covered with trees which us good in summer but not in heavy monsoon.
5:1:8 POSITION OF BUILDING:
Building is set forward in the plot and setback gives larger expanse to be separate from traffic noise.
Spill over activities are remain free from the traffic noise, pollution and vehicular movement.
5:1:8 MASSING:
Building is raised on stilts in certain areas which creates semi open spaces, shaded spaces.
Height of the building is kept low to ensure good air movement.
Offsets are widely spaced.
North south wall has a blank facade with less openings to prevent heat gain.
5:1:9 ACTIVITY ORGANIZATIONS:
Administration block is raised on stilt under which is an informal waiting, through this space there is access to all
the other activities.
Waiting area, reception, art gallery, open air theatre, auditorium and library are some of the facilities on the
ground floor.
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Exhibition space, library facility, art gallery, auditorium, canteen.
5:1:10 MATERIAL AND FINISHES (VISUAL ANALYSIS):
Traditional and local material (laterite) for the exterior.
Pergola with bamboo and creepers.
Columns are detached slightly from the walls and floor slab extended beyond the walls and turned upwards. It
gives lightness to the whole structure.
5:1:11 STRUCTURES:
Structural system is RCC with column grid forming 6m and 5m bays.
200 thk concrete wall is finished with sand faced plaster.
Flooring and terracing with a combination of Tandur stone and china mosaic.
5:1:12 LANDSCAPES:
The structure is set forward with ample space for the lawns and landscaped areas in the rear.
Also in the parking dense plantation is provided along the periphery.
5:1:13 SERVICES :
The drainpipes are taken through large columns.ac is given at many places. Acoustics treatment well done.
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5:1:13 PLANNING:
In this complex, most of the part of the building is raised up on stilts to allow a free movement of air and also to
people to various spaces especially in the waiting area.
The waiting is well lit and naturally ventilated. Through the waiting there is a access to all other activities.
In this complex, most of the parts of the building are raised up on stilts to allow free movement of air and also
people to various spaces especially in the waiting area.
Offsets are wide in order to avoid wind shadows. The south wall is with fewer openings to avoid heat gains.
Exhibitions and competitions for children (drawing and painting, etc.) Programs on elocution oratory, mimicry.
Library facility- Both books and cassette library with soundproof booths.
Art gallery: for exhibitions almost throughout the year. Accessible from all spaces has been provided.
The office block is raised up on stilts and one enters the space below which is a large, informal, central waiting
space. Through the waiting there is an access to all other activities. The waiting is well lit and naturally ventilated.
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5:1:14 BUILT UP AREA ANALYSIS ACTIVITY ORGANISATION:
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5:1:15 DETAILED ELEMENT STUDY :
AUDITORIUM : Deenanath Mangeshkar Auditorium.(1982)

Capacity 1000
Public entry from the front foyer. Vehicular entry up to stage.
Allows variety of acoustical conditions ranging from speech to plays to sitar recitals and orchestra
arrangements.
Walls are painted illusions of an old Goan theatre, are treated acoustically and made of plaster of Paris plus
sand so that they are visually opaque but acoustically transparent.
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AMPHITHEATRE :
3000 capacity.
Have a sound control room, stage lights and curtains.
No fixed seats.
Space below the tiers is effectively used for workshop.
Sufficient gradient of the floor and the fan shape makes it a successful amphitheater.
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TRAINING ROOMS :
Sound proof air conditioned rooms are given for music and dance practices.
There are polygonal spaces adjoining the auditorium.
These odd shaped but well utilized rooms are rented out to people for rehearsals.
LIBRARY:
Has book, audio and video cassettes, films, musical discs, paintings, slides, photographs and various
Mainly used as a reference library.
Terracotta items and models of the contemporary artists are also on display in the library.
This library facility is extended to the staff and the students of the academy, scholars, research workers, art lovers,
critics, and artists from all over India and outside.
ART GALLERY:
Placed under the amphitheater.
It is artificially lit and ventilated.
CAFETARIA:
Free-flowing, semis open space. Has a scenic view of the river.
It also serves as a meeting place. Has marble mosaic flooring.
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CASE STUDY 2: NATIONAL CENTER FOR PERFORMING ARTS

5.3.1 PROJECT INFORMATION
Name of the project :-National Center for Performing Arts
Location :-Mumbai,Mharashatra
Architect :-Philip Johanson
Client :-
Plot area :-32400 sq.m.
Duration of Construction :-
Climate :-Hot & Humid
Context :-Urban
Structure :-R.C.C
INTRODUCTION
The center provides the stage and experimental theatre to the professionals as well as the amateurs.
The total campus designed as group of theaters Varying in capacities and hence varying the facilities and its use.
The campus consist Tata Theatre, JBT Theatre, Auditorium, Art gallery , Library, Experimental theater and Teaching
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& Research facility suits. The Tata theatre Is a complete study in technology and aesthetic-being the first of its kind
in India for music and dance, whereas the Experimental Theatre must be noted for its accomplishment in the
flexibility of function.
Considering the above intimated function of design and technology, the N.C.P.A. complex can certainly be
regarded. As being worthy of study.
SITE AND SURROUNDINGS
The N.C.P.A. Is situated at Nariman point, the southern most nib of Bombay, towards the end of the marine drive A
spacious plot of 8 1/2 acres was specially reclaimed from the sea thus creating a perfect stage for this
magnificent structure. With a squarish periphery, the plot is encompassed by a concrete chaos of commercial
structures on two flanks and the Arabian sea on the other two.
The verticality of the surrounding high rise building is an antithesis to the seer linear expanse of the N.C.P.A.,
thereby rendering a sense of openness to the entire stratum.
ACCESSIBILITY
Bus terminus distance :- 20 km
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Bus stop at here is exactly outside of the building on the Jasubhai Shah road .And it also known by the name of
NCPA.
POSITION OF BUILDING
Building is spread almost all over the site. It has 6m setback from main road. and on the adjacent side parking
area comes between the building and road.
PARKING
The area in front of the Godrage theatre is provided for parking And basement parking is also provided. Which is
not accommodating a sufficient no. Of cars. The provision for two wheelers parking is made by providing side
parking along internal roads. Surface and basement parking is provided and have separate entry for vehicles.
SITE PLANNING The contours of the plot embrace an expanse of 81/2 acres footing dimensions of approximately 190mx 170m.
among the three prominent entrances the main entrance is approachable directly from marine drive. Initially this
driveway was intended to be a fair weather entry but it is not being availed of for its purpose.
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LANDSCAPING
The NCPA also has garden spaces for outdoor gatherings. These include,
Open Air Plaza: With an area covering 28,000 sq. ft., the Open Air Plaza can be used for a variety of cultural
functions. It can accommodate between 500 -1250 guests.
Sunken Garden: It can accommodate between 75 100 guests.
Tata Theater Garden: It can accommodate between 75 100 guests.
Experimental Garden: It can accommodate between 50 75 guests.
The other entrance which is collateral to the inner bay at the west corner is better: expositional as the VIP
entrance and also is serviceable for backstage The road leading to this entrance continues further and
terminates at the parking area.
This patch provides a vista from where one experience a sweeping view of the Tata theater, experimental theatre
and the plaza. The experimental theatre is also accessible from this route.
A separate parking has an entry opposite hotel Oberoi. And is also linked to the main parking. This is also used, by
the administration and research block.
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STRUCTURE
An extraordinary feature, is that the two terminal points of the building are built on independent pile foundations,
one will observe 2" wide cut in the floor extending upward on wall & ceiling.
This cut is filled with mastic compound of a kind that wilt exclude water without transmitting sound vibrations. The
plant room is located in the basement is structurally isolated from the building.
The elevator block itself is constructed as a completely separate building. This is done to avoid vibrations from
entering the building.
All conduits & other piped services crossing such insulation joints have been provided with specialty detailed
flexible connections.
CONSTRUCTION DETAILS
Special precaution was taken for all auditorium doors to prevent any noise from entering in, as well as, any
escape of sound from the auditorium. The auditorium doors are sand-filled without any cill below.
Chairs are upholstered at back so that whether occupied or not the sound absorption is same.
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MATERIAL AND FINISHES
FLOORING- Externally rough kotah ,internally polished marble.
STAIRCASE Almost all the staircase and lobbies & LOBBY are carpeted.
WALLS Concrete, finished plaster, painted
TOILET Ceramic tiles DOORS & -Wooden doors with glass panels
WINDOW EXTERNAL Expose concrete, rough plaster The earthiness of these structures are
FINISHES effectuated by the use of Malad stone.
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CASE STUDY 3: BHARAT BHAVAN
Name of the project :- Bharat bhavan
Location :-Bhopal, Madhya Pradesh
Architect :-Charls Correa
Plot area :-20600 sq.m.
Climate :-Hot & Humid
Context :-Urban
Structure :-R.C.C and Load Bearing
INTRODUCTION-Bharat Bhavan is a multi-arts complex without parallel in Bhopal, India housing a museum of the
arts, an art gallery, a workshop for fine arts, a repertory theater, indoor and outdoor auditoria, rehearsal room,
and libraries of Indian poetry, classical and folk music providing interactive proximity to the verbal, the visual and
the performing arts.It is a place for contemporary articulation, exploration, reflection and innovation. Located
near the picturesque bada talaab of Bhopal,
SITE AND SURROUNDIANG-This art centre is located on a particularly beautiful site -a gently sloping plateau
overlooking the Upper Lake and the historic city of Bhopal across the water. Shape of site is rectangular and
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having a gental slope towards the lake. One side is abutting the residential premises and two adjacent sidea are
facing the road.
ACCESSIBILITYBus terminus distance :- 05 km

Bus stop is around 300 m from Bharat Bhavan on main road.
POSITION OF THE BUILDINGBuilding is spreded almost all over the site. It has 6m setback from main road.and on the adjacent side parking
area comes between the building and road.
PARKING
All the vehicles are parked outside the main campus on the side of 18m wide road. The parking is angular marked
and well segregated for two wheelers and four wheelers .This is paid parking and there is a separate watchmen
at security cabin who co-ordinates the parking. Since the road is low medium traffic density road, this proves to
be an effecting\ve solution and does not allow the vehicles to come into the campus at all.
However covered parking in the campus would have been ideal and furthermore, during the time of big
performance the area allocated for four wheelers is inadequate
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PLANNING-The layout is done keeping in a view the functional aspect of all activities in plan and section very
efficiently. One enters the complex from the stepped terrace and through the different courtyard progresses
towards the lake on the rare side. Entrance is through the `court of fountain which act as a waiting spill over and
interaction space.
1- Gate
2- Parking
3- Structure
4- Courts
The courtyards: The courts of Modern art and Tribal art are accessible from this court which exposes the art and
artists directly to the citizens. Also, The visitors can take part in different activities.. Charles Correa the architect
found here the possibilities of a series of terraced gardens, which would be seen cascading down to the lake. The
visitors enter at the highest level and walk down a pedestrian spine, flanked by a pattern of courtyards, to reach
the various parts of the complex. Each curve and space defines itself. Each of the part of the building is distinct
yet flows easily one another, linked by meandering paths. The total effect is one of the surprise and pleasure.
There is always a moment when the eye can rest and the mind contemplates.
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ROOPANKAR
The only museum of its kind in India which houses both contemporary urban art and together with tribal art
Roopankar has two fully equipped workshops for print making and ceramics facilities for bronze casting and stone
carving are also available. Camps and workshops are organized to bring urban and folk artist face to face and to
throw open new avenues of creativity through dialogue and confrontation Several solo and group exhibitions of
Indian and foreign artist are organized by Roopankar museum.
RANGAMANDAL
This is a professional repertory which has at its disposal a fully equipped indoor auditorium The Antarang.and
open air theatre Bahirang with the spectacular location of the lake and studio theatre abhirang. Rangmandal is
a professional repertory to create a sustained theatre movement that becomes a way of life rather than
spasmodic activity. Numerous plays and stage shows are held here.VAGARTHVagarth has a library of more than
7,000 books of poetry in 14 Indian languages and recordings and video-cassettes of major poets. This centre
provides an excellent platform to the writers for interaction through lecture, recitation, translation and
publication.Anhad (A library of classical and folk music) -Anhad work of documenting both classical and folk
music and organises musical concerts
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LANDSCAPING-
The landscape forms an integral part of the campus. Natural contours of the site have been effectively used to
the sunken court and terrace garden at which a number of cultural programmers organized. The terrace garden
has well maintained lawn. The main court has fountain in the center, while the other two have green spot and
sculpture. The steps in the courtyard gives the traditional touch to the structure.
Landscaping does not over emphasize the courts. All the courtyards are treated differently with side steps forming
seating for interaction. One enters the complex through the court of fountain where water is used as a
landscaping element as it cools the space and also makes it a lively space.' The other courts are enhanced with
sculptures and some plantation. The courts are paved with the local stone and lawn between the joints. Terrace
gardening has beer done formally with lawns and golden Durant plant. Colorful Bougainvillea adds a colour to
the spaces.
LIGHT AND VENTILATION-
The lighting, most crucial part in museum spaces to enhanced by providing sky lights this not just light up the
interiors, but are also designed aesthetically in organic shapes. Which act as interesting forms from outside. The
openings are large, wide, geometrical with the sense of proportion which allows the free air movement
throughout the structure.
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STRUCTURE :
Structural grid system is used. An asymmetrical form is achieved by removing some modules and creating voids.
For this gently sloping site, cutting and filling is minimized by designing a terraced layout. Materials used for
construction are local sandstone and brick.
The walls are in exposed brickwork and stonework. Courtyards are paved in local brown sandstone known
asBhopal-stone.
MATERIAL AND FINISHES-
Flooring -Red stone
Walls -Finished plaster for internal wall, Stone walls of redish sandstone
Toilet -Ceramic tiles
Doors & Window -Wooden doors
External finishes -Exposed sandstone.
SERVICES-
Water supply -Water supply is taken from regular municipal line.
Drainage -Sewage line connects to main city drain, No specific provision for rain water drain
Elecricity -The main tranformer of 439 KW is located near service entry, generator backup
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A.C. -Centralised AC is provided.
Fire fighting -Fire hydrants and fire extinguisher are provided.
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Site selection criteria
Site should not have acute angle to avoid a weastage of spaces.
Rectangular site is preferable ,to have maximum usage of space.
The location of the site should in the vicinity of the main city.
Site should be easily accessible by public tranceport so the accessibility is important.
About Pune
The city of peshawas.
The military cantonment base, and the city of peths.
The city of pateleshwar temple, the parvati as well as the osho commune.
The city of sawai gandharva and pune ganesh festival the city full of pubs and discotheques, the oxford of the
east, the pensioners paradise, the vibrant youth capital.
the city drenched in age old traditions yet city is moving in to a new millennium in terms of art, education and
technology.
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Chapter 6 : Site analysis

LOCATION-
INDIA
PUNE, MAHARASHTRA
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Why in Pune?
Pune is the cultural capital of Maharashtra as well as a well-known institutional centre. Pune has always been an
important city throughout in the history of Maharashtra as well as India.
The cultural back ground of Pune is the amalgamation of different cultures to maintain all these cultures together
is our responsibility.
Pune city emerges as a curious combination of ideas and new social orders. With rich and varied cultural heritage
in the form of performing arts, the need for guidance and expression of these arts to provide maximum exposure
to the performer is needed. So, providing them such a centre will promote all these activities.
Justification of Site Selection
Fergusson College is an area in Pune city which is lies in the centre of the city.
This area is well linked to the areas like Shivajinagar, Deccan, Narayan Peth, Sadashiv Peth, Aundh, Kothrud,
Sinhgad Road of Pune by PMPML buses.
This area has lots of cafes, entertainment areas, restaurants, shopping malls and shops and is one of the major
areas of Pune.
Important roads like Fergusson College Road, Jangli Maharaj Road originate in this area.
Considering the current scenario as well as in the near future there is a demand for an art centre to come up.
Site is located in Fergusson road, Pune.Site area- 23,000 sq.mt.
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18 M F.C.Road is along site.
CLIMATE
Climate Table
Jan Feb Mar Apr
Mean daily maximum temp (C) 28
Mean daily temperature (C)
Mean daily minimum temp(C)
20
30
22
34
36
26
0 0
Three
35
28 29
12 13 17 21
Average precipitation 0
May Jun Jul Aug Sep Oct Nov Dec

30 27
26 25
26
24
23 23 22 22 21
3 12 17 10 12 8
30
28
27
25 25 22 20
19 15 12
2 0
distinct
Summer
Temperature range: 8(C) to 35(C)
Monsoon
Monsoon months: June to September
Winter
Annual rainfall: 722mm
season:
Summer months: March to May

Winter months: November to February
Temperature: Daytime 29(C) Nighttime 10(C)
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ACCESSIBILITY
Outside
Airport: 13 Km
Pune Station Railway Station: 5 Km
Shivajinagar Bus Stand: 2 Km
Swargate Bus Stand: 4 Km
Inside
Bus Stop: 100 M
Rickshaw Stand: In front of site
SERVICES
Water Supply: By PMC. The main waterline is going from adjacent road.
Drainage lines: By PMC.
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BIBLIOGRAPHY
BOOKS
1.Asian Architects part 2
2. Auditoriums-Ar.John Mathue
WEBSITES
3. www.maharashtragazetier.com
4. www.charlscorrea.com
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CHAPTER 1: INTRODUCTION

1.1INTRODUCTION OF THE TOPIC

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

1.2PAST, PRESENT AND FUTURE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

1.3 AIMS OF THE CENTRE

PERFORMING ARTS CENTRE

1:4 NEED OF THE CENTRE

PERFORMING ARTS CENTRE

ASAKT: Mr. Mohit Takalkar.

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

1:5 WHAT IS PERFORMING ARTS

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

WALTZ: a present modern form of ballroom dance from England.

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

Rocky Poonawala, dance instructor

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

Manisha Sathe, Kathak exponent

PERFORMING ARTS CENTRE

Shashank Verma ,owner of my salsa world:

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

2:1:4 INDIAN FOUNDATIONS FOR THE ARTS (IFA):

PERFORMING ARTS CENTRE

TO FULFILL OUR MISSION

PERFORMING ARTS CENTRE

2:2 RESEARCH METHODOLOGY THROUGH DIFFERENT TRAINING AND PERFORMANCE SPACES

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE

This is what they have to say

PERFORMING ARTS CENTRE

Managing a theatre of international standards - hosting and conducting workshops

PERFORMING ARTS CENTRE

2:2:4 AMBALAM, BANGALORE :

The activities of the centre are threefold

PERFORMING ARTS CENTRE

2:2:5 LALIT KALA KENDRA, PUNE:

PERFORMING ARTS CENTRE

2:2:6 SUDARSHAN HALL , PUNE:

PERFORMING ARTS CENTRE

3:1 EDUCATIONAL INSTITUTIONAL CAMPUS

PERFORMING ARTS CENTRE

PERFORMING ARTS CENTRE