Latest news with #Adithya
Time of India
3 days ago
- Entertainment
- Time of India
Kids theatre festival held in Bengaluru
By Sravasti Datta The 15th edition of the AHA! Theatre for Children Festival is currently underway. This year's event featured a lineup that represents diverse styles, regions, and age groups,' says Adithya Suresh, programming manager at Ranga Shankara. Tired of too many ads? go ad free now 'CHILDREN'S THEATRE SHOULD RESPECT THEIR INTELLIGENCE' While theatre in general often challenges perceptions and explores the human condition, children's theatre is often relegated to simplistic entertainment, relying on fairy tales or manufactured cheerfulness. 'Children's theatre should aim to create work that respects children's intelligence and curiosity. We want children to leave our performances empowered to question norms, recognise their agency. They should see possibilities beyond the status quo,' believes Adithya. A UNIQUE VISUAL EXPERIENCE From plays like Chamak from Bengaluru to Saau from Delhi. and Harvest, a German production, staged yesterday, the fest has been a unique visual experience,' shares Adithya. He adds, 'What made Harvest special for Indian audiences is its artistic approach. The production's minimalist staging and symbolic visual language offered a refreshing contrast to more conventional theatre forms. A DIVERSE LINEUP OF PLAYS 'This festival offered a wide range of plays from Bengaluru, Delhi, and Mumbai, and even Germany featuring both verbal and non-verbal performances. It's designed to be suitable for children and even toddlers. Yesterday, Harvest, a German production brought to Bengaluru in collaboration with Goethe-Institut / Max Mueller Bhavan, was held,' says Adithya. EMBRACING INCLUSIVITY A festival milestone this year was the on-stage Indian Sign Language (ISL) interpreter, making the theatre experience truly inclusive. 'This live interpretation ensured that children with hearing impairments can equally enjoy and engage with the performance. reflecting our belief that theatre should be accessible to all children, regardless of how they experience the world,' explains Adithya.
The Hindu
11-07-2025
- Entertainment
- The Hindu
Ranga Shankara's Theatre for Children Festival returns to Bengaluru
Ranga Shankara's much-awaited AHA! Theatre for Children Festival returns with its 15th edition, from July 15 to 19, featuring five plays designed for young audiences. Started in 2006, the festival remains one of the few consistent theatre initiatives for children in India. 'Ranga Shankara's most ambitious programme to date, bringing the magic of theatre in all its aspects to children and theatre makers in the country,' states the festival's release, further adding that by bringing world-class productions from across the country and the globe, Ranga Shankara is laying the foundation for a theatre movement and network for children's theatre. The festival opens with Chamak, a new production directed by Manjari Kaul. The play follows a 10-year-old girl who relocates from a seaside town to a big city, exploring memory, change, and identity. Its premiere will feature a live Indian Sign Language (ISL) interpreter on stage. 'This live interpretation marks a meaningful step towards making theatre more inclusive and welcoming for all children, especially those who experience the world differently,' said Adithya Suresh, Programme Associate, Ranga Shankara. This year's lineup also includes Jobless Job, which explores how friendship and joy exist beyond work; Saau, a metaphor for finding the courage to step out of fear and silence; Harvest, a sensorial journey that uses imagination to explore an object and place it in the natural world, and Everyone Plays, an amalgamation of performance and play. 'The plays at this year's AHA! Festival are connected by themes of self-discovery, courage, imagination, and play,' Adithya noted. 'They invite children to question, explore, and connect — with themselves, with others, and with the world they live in.' The festival will also travel to Ahmedabad, continuing a collaboration with the Neekoee Foundation. 'Over the past few years, the AHA! Festival has traveled to several cities, including Pune and Hyderabad. This year, it travels exclusively to Ahmedabad,' said Adithya. Reflecting on the broader mission of the festival, he said, 'We believe that it plays a vital role in a child's development. It nurtures a lifelong love for the arts and presents questions and scenarios that feed into a child's boundless curiosity and imagination.' Ranga Shankara's AHA!The Theatre for Children Festival 2025 will be held from July 15 to 19, with plays scheduled for 7:30 pm daily. Tickets are available at .
The Hindu
02-07-2025
- Entertainment
- The Hindu
How Semmangudi Srinivasa Iyer continues to inspire young Carnatic vocalists
The Music Academy auditorium, Chennai, was hushed, not with silence, but with expectation. The occasion carriedthe weight of the lineage and memory of a voice that once defined an era. Organised by K. Vivekanandan, in memory of his illustrious grandfather, Semmangudi R. Srinivasa Iyer, the endowment concert drew rasikas who came not only to listen but to reminisce. For many, Semmangudi was not just a vidwan, but an institution. A musical conscience that set uncompromising standards for bhava-laden music, raga integrity, and sahitya clarity. The young and promising vocalist Adithya Madhavan offered a thoughtfully curated 90-minute kutcheri that celebrated the quintessential Semmangudi soundscape. He was supported by V.S.P. Gayatri Sivani on the violin and Kaushik Sridhar on mridangam. The repertoire, centred on Karaharapriya and its janyas, paid homage to the Semmangudi bani, which is known for its kaisiki nishadam-rich ragas, bhava-driven delivery and a rakti-oriented approach to raga alapana. The concert opened with the varnam 'Vanajakshi' in Kalyani, rendered in a moderately brisk tempo. Adithya used it as a launchpad to settle his voice, initially marred by minor breath breaks. But, as the concert progressed, Adithya's open-throated delivery began to shine through, aided by sensitive mridangam support that avoided overstatement. If Semmangudi's voice has lingered in our memory, it is partly due to renditions like 'Marubalka' in Sri Ranjani, a kriti he sculpted with such precision that its architecture has become canonical. Adithya revisited this classic with a sense of restraint and ragasuddham, letting the raga's charm emerge unhurriedly. His kalpanaswaras at 'Dhari nerigi' were crisp and well-proportioned. Gayathri's violin, never merely echoing, but extending the singer's phrases with an intuitive empathy. The sub-main segment was marked by a brief, yet emotionally luminous Varali alapana, where the raga's innate karuṇa rasa was brought out. The choice of Varali inevitably evoked memories of Semmangudi's enduring connection with the raga, particularly through iconic renditions like 'Ka va va'. Moving into 'Maamava meenakshi', Dikshitar's magnum opus, Adithya maintained a steady gait and his niraval at 'Shyame shankari digvijaya pradayini' was a highlight of the evening. His breath control, alignment with the tala, and depth of voice were noteworthy. The violin and mridangam responded in synergy, enhancing the grandeur without distracting from it. Papanasam Sivan's 'Appan avatharitha' in Karaharapriya, a less-frequently performed composition that served as a nod to Semmangudi's love for the raga, was delivered as a brisk interlude before the concert's main piece. The mel kala composition, though lighter in tone, was well-placed in the sequence, offering a measured contrast that did not break the classical intensity. Adithya reserved his elaborate exposition for Kamboji, a raga known for its regal and rakti nature. Gayatri's violin response was equally compelling, capturing the bhakti-rasa and dignity of Kambhoji with sangatis that were subtle, yet impactful. The kriti that followed, 'Sri raghuvara aprameya mamava', was a bold and welcome choice, a Tyagaraja piece, known for its compositional structure that juxtaposes devotion with dramatic phrasing. The kalpanaswaras showcased his creativity, where he wove rapid-fire swaras, and concluded with a flourish that drew appreciative nods. Kaushik's thani avartanam that followed was brisk and engaging, giving the audience rhythmic variation without overwhelming the concert's tonal atmosphere. The concert concluded with a serene rendering of 'Saa pashyat kausalyam' in Jonpuri, a fitting thukkada that gently let go of the lingering grandeur of the main.
Time of India
30-06-2025
- Sport
- Time of India
Adithya Ashok, New Zealand leg-spinner with Vellore roots, hones skills at Super Kings academy
CHENNAI: Adithya Ashok, a young New Zealand leg-spinner with Tamil roots, has the words 'en vazhi thani vazhi' tattooed on his bowling arm. The epic punchline from Rajinikanth's Padayappa movie translates to 'my way is my own'. Tired of too many ads? go ad free now Staying true to it, the Vellore-born Adithya is carving his 'own path with love and passion' in professional cricket after turning out in the 2020 U-19 World Cup. He has represented the Black Caps in two ODIs and one T20I and has consistently been a member of the NZ 'A' set-up. The 22-year-old recently earned his maiden NZ central contract for the 2025-26 season. In his 'journey', Adithya has made a 'pit stop' in his homeland to expand his 'library of knowledge'. The leggie is one of four players part of a two-week New Zealand Cricket (NZC) training camp at the Super Kings Academy. 'My parents moved to Auckland when I was about four years old and I call NZ my home. In saying that, a part of me understands my heritage and where I am from. I am proud of my Tamil heritage; it is a part of who I am and the people I represent. It feels special to come back and visit the place that I have a deep connection with,' Adithya told TOI. 'We have had an amazing time at the academy so far. I cannot speak highly enough of the experience we have been having here. If I encounter similar conditions in the future, I can rely on the experience I am gaining here. I am now more well informed to have success.' Well aware that he is unlikely to get exposed to such spin-friendly conditions in NZ, Adithya is leaving no stone unturned to shape himself into a better slow bowler. Tired of too many ads? go ad free now Having a familiar face in academy head coach Sriram Krishnamurthy – he worked with Adithya in NZ during his U-19 days – next to him has made the 'challenge' easier. 'I have an understanding of how the black and red-soil pitches work. I also understand the effectiveness of bounce and over-spin on surfaces in NZ. I cannot rely on turn and a massive amount of sideways movement off the pitch at all times. So I am learning to turn the ball the right amount… how to make little changes in technique, action or angle at the crease. In order to improve, I need to take these little things to NZ,' Adithya said. Adithya, who is mentored by former Black Caps spinner , is firmly focused on being the best version of himself rather than worrying about his national-team selection. 'My ambition is to play a lot of international cricket; everyone has the dream of winning matches for the country. In order to get to that place, I have to be the best player I can be,' added Adithya.
