
Happy Birthday Yuzvendra Chahal: From Fairytale Wedding To Shocking Divorce—A Life Full Of Twists
Today marks the birthday of Indian cricketer Yuzvendra Chahal, and fans across the country are flooding social media with heartfelt wishes. Known for his clever spin and witty charm, Chahal has been a key player for Team India in white-ball cricket. While his on-field achievements continue to shine, his personal life has also made headlines recently with the news of his divorce from Dhanashree Verma. As Chahal celebrates his birthday today, the spotlight remains on both his professional journey and personal growth. Stay tuned for more updates on Yuzvendra Chahal's career milestones, love story, and life after divorce. https://zeenews.india.com/photos/sports/happy-birthday-yuzvendra-chahal-from-fairytale-wedding-to-shocking-divorce-a-life-full-of-twists-2935473 Updated:Jul 23, 2025, 08:10 AM IST 1. Love at First Dance: How Chahal Met Dhanashree During Lockdown
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Yuzvendra Chahal enrolled in Dhanashree Verma's online dance class in 2020, sparking an unexpected connection that quickly turned from virtual learning to real-life romance. 2. Dance Teacher to Life Partner: The Unlikely Love Story Fans Adored
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Their professional bond evolved into a personal one, with mutual admiration, values, and chemistry—earning them the reputation of being the most relatable celebrity couple post-pandemic. 3. Fast-Tracked Feelings: When Chahal Decided He Didn't Want to Just Date
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Unlike many modern romances, Chahal was clear from the start—he wanted marriage, not dating. His commitment won over Dhanashree and fans alike. 4. The Engagement That Broke the Internet
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On August 8, 2020, their Instagram engagement post took social media by storm, trending instantly and drawing millions of reactions across cricket and dance communities. 5. The Intimate Gurugram Wedding That Captivated India
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The couple tied the knot on December 22, 2020, in Gurugram. Their wedding blended tradition with modern aesthetics, winning hearts across social media platforms. 6. From Reels to Real Love: Becoming a Social Media Power Couple
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Their adorable dance collaborations and cute captions quickly went viral, branding them as 'Insta Couple Goals' in the influencer and sports world alike. 7. Pitch-Side Support: Dhanashree's Constant Presence in IPL Stands
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Dhanashree cheered Chahal from the sidelines during IPL games, becoming a fan-favourite cricket WAG and showcasing her dedication publicly. 8. A Marriage Made for the Gram: Public Affection Won Fans Over
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Their frequent joint appearances, photos, and videos reflected a deeply affectionate bond, giving fans couple content they loved to share and emulate. 9. The First Signs of Trouble: Fewer Posts, More Speculation
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By 2023, their joint content disappeared, replaced by vague Instagram stories—fueling curiosity and gossip about a possible rift in their relationship. 10. Unfollowing Each Other: The Move That Confirmed Fans' Worst Fears
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Fans noticed Chahal and Dhanashree unfollowed each other on Instagram, with Chahal also deleting all shared pictures—causing 'Chahal divorce news' to trend instantly. 11. Cryptic Instagram Story Sparks Emotional Speculation
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Chahal's 2025 post about pain, character, and resilience was widely interpreted as a reflection on his marriage—sparking emotional responses and fan theories. 12. Mutual Divorce Filing at Mumbai Family Court Goes Public
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In February 2025, the couple was spotted at Bandra Family Court, filing for divorce by mutual consent—confirming the rumours that had been swirling for months. 13. Chahal and Dhanashree Requested Cooling-Off Waiver
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Their plea to skip the mandatory 6-month waiting period suggested they had been separated long enough to make a firm, respectful decision. 14. Divorce Finalized in July 2025: End of a Fairytale
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The Mumbai Family Court granted the divorce in July 2025, officially bringing their 4.5-year-long relationship to a legal and emotional close. 15. Public Yet Private: A Dignified End Without Drama
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Despite media frenzy, both maintained grace and dignity—choosing not to publicly bash each other, earning praise for mature handling of their personal lives. 16. Fans Left Shocked and Divided Over Their Breakup
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Social media reactions ranged from heartbreak to support, with thousands sharing memories of their favourite moments and speculating what went wrong. 17. Chahal's Post-Divorce Focus: Cricket, Family, and Moving Forward
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Post-separation, Chahal has shifted focus to his career and fitness, showing signs of emotional recovery and determination—prompting new fan support. 18. Dhanashree's Continued Rise as a Choreographer and Influencer
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Dhanashree remains active in the dance and influencer scene, posting motivational content that subtly reflects her personal strength post-breakup. 19. A Relationship That Defined an Era of Cricket WAGs and Reels
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Their story symbolized a new-age relationship built in public, with digital intimacy, reel-life chemistry, and cross-platform fan following. 20. Lessons from the Chahal-Dhanashree Story: Love, Limelight, and Letting Go
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Their relationship serves as a reminder that even picture-perfect love stories can end—with mutual respect and a touch of heartbreak in equal measure.
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Carlsen admits 'slow' mouse speed, acknowledges Indian GM Sarin's strength ahead of Esports World Cup 2025 chess event
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Educational qualifications of Ajay Devgn's family? The actor has studied till..., Kajol is a dropout, Nysa Devgan pursued…, Yug Devgan studies in…
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The Theatre of Ratan Thiyam: Profound Beauty on the Modern Stage
I remember Ratan Thiyam, almost always dressed in black, performing an elaborate curtain call along with his actors at the end of his show. Together they would all go down on their knees and touch their foreheads to the stageboards so as to thank the audience for coming to the performance. The grace of this gesture in some sense encoded the essence of Ratan's theatre work – its formal rigour and its elegance as it walked the fine line between performance and secular ritual for, and of, the modern stage. One the most celebrated theatre makers of India, Ratan Thiyam, who passed on July 23, 2025, in Imphal at the age of 77, was in command of many roles at one and the same time throughout his life. He was a theatre director of brilliance, but was also a writer and a poet, a theatre teacher, a guru, a distinguished organiser and a leader – heading institutions like the National School of Drama as its Director (1987–88) and as its Chairperson (2013–17), while creatively shaping the artistic style of the renowned Chorus Repertory Company that has performed across India and the world to great acclaim for more than four decades. However, let me begin this tribute to Ratan by taking a step sideways. It is said that there is a philosophical connection between landscape artists, horticulturalists and theatre makers. All of them understand the effects of a slant of light, the depth of shadow, grades of colour, chiaroscuro, and the inter-relationships, by placement, between nature, humans and objects. I had the occasion several years ago to visit the Chorus Repertory Company, located at the edges of Imphal city, and I vividly remember the nearly three-acre site: the neatly trimmed hedges, the small pond, the clusters of trees with blossoming vines wrapped around their trunks, the flower beds, the vegetable patch, and the gravelly pathways connecting one part to another. The vegetables harvested from the fields fed everyone who lived on site including Ratan. He lovingly introduced the garden, the water body and the plants, many of which he had planted himself. Also read: Ratan Thiyam, the Risks He Took and the Future of Indian Theatre Working the land was a part of the daily routine set up several decades before the connections between agricultural activity and theatre practice had come into focus, as they have done now. Apart from this there was, and still is, another routine in place – of practising movement, breath, vocalisation, song and music derived from the vocabularies of Manipuri dance traditions, martial arts and ritual practices. This training happened in a cluster of buildings set amidst the landscape, that included an exhibition space, a rehearsal space, and a blackbox theatre equipped with light and sound systems. Away from the noise of the city, the Chorus Repertory as imagined by Ratan functions as a sort of ashram, where skill is transferred to the shishya – student – on a daily and continual basis, a mode of transmission different from the segmented time-tables of 'modern' theatre training institutes. But back to the theatre maker and the horticulturalist, and their understanding of atmosphere – which is objective and subjective, material and non-material, at the same time; something that you can breathe in and recognise it to be joy or peace or melancholy for instance, but not know what it is that you have drawn into your lungs. Ratan's use of light and shadow in theatre is unparalleled. He was able to create degrees of darkness on the stage – experienced as sometimes dense and sometimes diffuse with a precision that requires an exact understanding of the properties of lighting apparatus. At one moment the lights dimmed so low that you might see nothing but the glint of sequins on the potloi (the structured skirt worn by Manipuri dancers) as a group of performers glide across the stage; at another moment you might see a slash of light illuminate fingers wrists and upper arms flickering against the cyclorama – leaves, insects or distress signals from a drowning chorus? From the dark upstage you might see a tall, white fabric umbrella, held firmly by an actor, float downstage, to form a halo ─ marking a passage to the heavens? The tumultuous clang and flash of hand-held gongs deafen and blind the spectators as the chakravyuh gains the velocity of a tornado in a circle of red beams. And who can forget the often-cited image of an elephant materialising on stage as if in a dream, in his memorable production of Agyeya's Uttarapriyadarshi! These are stage effects that cause the heart to pound. Almost nobody understood the magic of the image in theatre better than Ratan Thiyam. And almost nobody used the proscenium arch theatre, also known as the picture-frame stage, better than him. The picture-frame stage, brought to India by the British to house their theatricals, has given rise to much debate. The proscenium, as we know, is the architectural frame that edges the opening of the stage. The major experiential convention it produces is a play of dark and light; the stage being illumined while the audience is in darkness is as much an emotional experience as it is material. What effect does such architectural framing have on traditional forms and their grammars? How does it change our viewing habits and our expectations? Ratan Thiyam's work, performed primarily in the proscenium, disturbs assumptions and generates a contradiction. Even when he remodelled traditional grammars, and reshaped gestures drawn from Manipuri martial arts and dance forms so as to align them with the enclosing edges of the frame, Ratan produced performances that have often been understood as, or even become synonymous with, Indian theatre. A description that we must inflect, gloss and interrogate by keeping his remodelling, his refashioning of form stance and music in mind. Ratan Thiyam's luminous stage work exceeds description; what stays in our memory is his love for the craft of theatre, and the beauty it can produce. It reminds us that meaning-making in theatre is not by word alone but by all the elements that make up the performance – from minutiae such as glinting sequins and flying tassels on costume, to the voluminosity of shadowed tableaus and grand battles choreographed to thunderous percussion that judder the very foundations of the auditorium. Our homage to Ratan Thiyam: the person who ignited the spell of material fiction that is theatre; the one whose aesthetic and pedagogical imagination enhanced the discourse of modern Indian theatre.