The academic year 2015-2016 saw various academics addressing students on literary theories, texts and movements. Some screenings were also held.
In Conversation with Craig Brandist, Bakhtin Scholar
The academic year began with a talk by Dr. Craig Brandist on 4th August. Dr. Brandist examined "The Early Soviet Critique of Indo- European Philology and the Rise of Post-Colonial Theory." Anuja Dasgupta captured his enlivening talk.
Dr. Madhu Grover on Existentialism
Dr. Madhu Grover gave an exemplar talk on "Existentialism and Literature" on 28th August. Using a variety of media, Dr. Grover made the conveyed some key aspects of the school of thought. Anuja Dasgupta covered the event.
200 Years of Pride and Prejudice
The English Literary Association held a talk on "Pride and Prejudice: After 200 Years" with Professor Darryl Jones, Dean at Trinity College, Dublin on the 1st September. Alongside theory, Prof. Jones also discussed trivia, keeping the audience engaged. Anuja Dasgupta captured some moments.
Tea-à-Tête!
On 1st October, Jabberwock organized the much-awaited Tea-à-Tête, an informal interaction between the students and teachers of the English Department. The student body and faculty bonded amidst food, games, conversation and laughter in the New Common Room. Swara Shukla, one of the two Editors-in-Chief of Jabberwock, was behind the lenses.
Screening: The Duchess of Malfi
On 3rd December, the ELA organized an adapted screening of "The Duchess Of Malfi", written by John Webster. The version screened was the much acclaimed version produced and directed by Dominic Dromgoole and Julian Birkett. The bits of the play screened were carefully chosen to encompass all its major themes and issues . This included the introduction of Basola, the wooing scene between the Duchess and Antonio, the death of the Duchess and the denouement of the play.
In the discussion that was led by Ms. Ruksana Shroff and Ms. Dipti Nath, several points were put forth regarding the politics of reading a play vis-a-vis experiencing it as a visual production. On one hand where the reading experience communicates a severely dark, bleak and sombre picture, the adaptation incorporated several comic situations that almost negated the tragic intensity of the play. Moreover, the on-stage dramatic techniques such as enunciation, fillers, background score and stage setting proved distracting to the situation and its eventual impact on us as an audience. The issue of presenting characters in a set, definite way also took away the opportunity to indulge into the characters’ psychological ambiguities. This constant comparison with the written version of the play, hence. disabled the audience from appreciating the production as a work of art in its own essence. The overall takeaway was that the production left much to be desired.
Saumia Bhatnagar
In the discussion that was led by Ms. Ruksana Shroff and Ms. Dipti Nath, several points were put forth regarding the politics of reading a play vis-a-vis experiencing it as a visual production. On one hand where the reading experience communicates a severely dark, bleak and sombre picture, the adaptation incorporated several comic situations that almost negated the tragic intensity of the play. Moreover, the on-stage dramatic techniques such as enunciation, fillers, background score and stage setting proved distracting to the situation and its eventual impact on us as an audience. The issue of presenting characters in a set, definite way also took away the opportunity to indulge into the characters’ psychological ambiguities. This constant comparison with the written version of the play, hence. disabled the audience from appreciating the production as a work of art in its own essence. The overall takeaway was that the production left much to be desired.
Saumia Bhatnagar
Screening: Waiting for Godot
The second installment of the screenings undertaken by the English department was that of the Absurd play “Waiting for Godot” by Samuel Beckett. In an enthralling series of snippets and previews from interviews and stage productions, the audience learnt about the essence of a meta-theatrical text that constantly moulds itself according to the medium of reception. Steve Martin presented his views in the first clip, explaining how language and structure remain stable whereas the comedy of the play is deliberate. The difference in direction taken by the director can alter the play indefinitely – a corruption that was noted to have stemmed in several film productions.
Dr. Madhu Grover then discussed the ambiguous relationship between text and performance. This was followed by Bill Irwin’s take on a personal God, a predominant theme in Beckett’s play. What ensued was a closer understanding of the character of Lucky through a video that discussed his origin. After drawing parallels between the antics of the protagonists and Laurel and Hardy, and a discussion on theatrical music and effects, the focus shifted to Billie Whitelaw’s performance of “Not I.” The audience noted certain common themes in Beckett’s works, as explained by Harold Pinter. From common themes of existence, body, sin and nothingness, we moved to ideas of confession, suffering and death, the fragmented sense of being, and the breakdown of identity and the self. Other topics discussed included Whale Keirey’s commentary on the performative aspects of the play, and Gogo’s idea of something that gives us the impression that we exist, the notion that kept Estragon and Vladimir waiting endlessly in the play.
Vrinda Batra
Image: Deyasini Chatterjee
Pre-Litmus 2016: In Conversation with Tenzin Tsundue
On 2nd March, activist and poet, Tenzin Tsundue addressed the student body in the first pre-Litmus 2016 event. Tsundue's talk was titled "Shangri La to GPS Maps: Stories of Tibetan Myths and Legends". Using anecdotes, film and photos, Tsundue made the topic lively and engaging. Anuja Dasgupta recorded the evening.
Pre-Litmus 2016: In Conversation with Dr. Bharati Jagannathan
On 9th March, the ELA organized a talk with Dr. Bharati Jagannathan as the second pre-Litmus event. Dr. Jagannathan teaches History at Miranda House, and spoke with considerable expertise on "The Bodies of Women Bhaktas: Myths or Biographies?" Anuja Dasgupta caught her in action.
Background Image: Anuja Dasgupta