ASGHAR

The stories

 

Mushkil kaam: Who killed more people in the last riots? A debate between two rioting factions, concludes with a single question, why is it difficult to kill children?

 

Hariram-Guru samvad: A satirical dialogue between the teacher and the student on world politics.

 

Aag: Which is bigger: fire in the belly or a house on fire?

 

Hariram-Guru samvad II:  Guru educates Hariram on why India belongs only to the Hindus, until Hariram baffles him with a single query.

 

Drain mei rehnewali ladkiyan: A world where all women live in drains away from the world above. When a man ventures into the drain and wants a woman, his masculinity is demanded as a price.

 

Raja: A jungle tale of how the roles of the leader and the thief have been reversed.

 

Dilli pahunchna hai: A mob of hungry citizens take over a train to reach Delhi, to challenge the government

 

Sargam cola:  A tale of how middle-class art lovers are prevented from patronizing the performing arts due to expensive tickets and the snobbery of the upper class. A poor man can’t listen to Bhimsen Joshi because he can’t afford tickets. He stands outside the auditorium hoping someone will give him a pass.

 

Hariram-Guru samvad III: The teacher and student continue: this time the teacher wants to know what differentiates a developed country from a developing country.

 

Cast: V.Balakrishnan, Varun Aiyer, Amitash Pradhan, Divya-Rajan Sriram, Mohammed Imtiyaz, Janani Narasimhan, Nand Menon, Devendra Kumar Singh, Meera Sitaraman and Sunandha Raghunathan

 

Lighting design: Divya Rajan-Sriram

 

 

The author

 

Asghar Wajahat is a Hindi scholar, fiction writer, novelist, playwright, independent documentary filmmaker and a television scriptwriter, who is most known for his work, 'Saat Aasmaan' and his acclaimed play, 'Jis lahore nai dekhya, o jamyai nai'. He has published five collections of short stories, six collections of plays and street plays, and four novels. His brilliance spares nothing and no one. Be it the farce of democracy or development, the crassness of communalism or consumerism – Wajahat’s pen hits like a slap without a sound. Riots, revolution, common man, religious man, poverty, peace and all else that drive a writer, become bullets for his biro. The author writes about the simple man, the clever man and the politician – but his truth is minimal, subtle: "The hallmark of Asghar Wajahat's writing is its steadfast refusal to strike any loud notes.”

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