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In eternal dusk a ravaged Mandodari sits waiting... sitting there, alone a thousand years… scarred and naked without a shred of clothing, no defense against the elements, animal or man - questioning fate - challenging the ultimate. Her body filled with scars stand testimony to her suffering. Her desolate surroundings echo death and destruction. What were the sins committed by her to warrant such a punishment? Was it the hand of God or man? Would her silence reveal the answer? For the first time, after a thousand years Mandodari breaks her silence… She opens up with the secrets of her life. Was it a regular childhood she had? An ordinary husband? Was an ordinary life possible with Ravana, the great Lord of Lankapuri as her husband? Oh! Ravana – the name that brings loath and fear. Who was he? Did he really have ten heads? Was he the jealous, lustful and selfish one as history says? Is Ravana really an evil demon as he is being portrayed? Was Ravana a loser, just because he didn’t win the war? Was it an ethical war? Why was he murdered? Was it fair dragging Mandodari naked and molesting her in front of the whole army? Who was to blame, Rama or Ravana? Or was it her karma? Who decides karma? Is it always right? It is only Mandodari, who can explain… Enough! The questions of a thousand years will be answered now. History will be re-written. This story is not Ramayana. It is Ravanayana . . . Yes, it is Mandodari’s Ravanayana. . .
Borrowing from Sanghadasa's Jaina version of the Ramayana, Mandodari-one of the least known characters of the Hindu epic-is finally given a voice. Considered to be one of the most beautiful apsaras, she was married off to the mighty Ravana, the legendary king of Lanka. In her story, she speaks about her struggles after her marriage, her insecurities and her pious nature that challenged her husband's growing aspirations. She narrates the rise of Ravana's power and the blunders he made that ultimately caused the downfall of Lanka. Despite her husband's faults, Mandodari loved him and advised him to follow the path of righteousness. Ravana's defeat in a thirteen-day war turned him into a villain. But what if he were the real hero on his side of the war? What if his downfall was a result of scheming to push him out of power? This is Mandodari's story.
The stupendous work by Kavalam Balachandran, in which he endeavours to demythify and reconstrue the saga of Ramayana from a diametrically opposite perspective, is a landmark event. Indeed, it is the fruit of a long haul of research, imagination and logical thought process by which faces, places and events are reoriented to concoct a plausible narrative. Do read it to the end, as this genre of books does not happen every now and then. -Dr. Alex Paikada Writer, Historian and Poet
Features 6 National Bestsellers Ramayana: The Game of Life – Book 1: Roar with Courage Ramayana: The Game of Life – Book 2: Conquer Change Ramayana: The Game of Life – Book 3: Adopt Patience Ramayana: The Game of Life – Book 4: Stand Strong Ramayana: The Game of Life – Book 5: Radiate Confidence Ramayana: The Game of Life – Book 6: Think Big to Win Authentic narration of the epic with life lessons The RAMAYANA is not a story. It is a way of life. It is THE GAME OF LIFE. A good game is full of twists and turns at every stage and this magical epic arms us with valuable tools to deal with anomalies in our own lives. These quirks turn us into valiant warriors in the face of the most challenging situations.
The Untold Story of Sita replaces the traditional narrative of Sita's life as told in the Ramayana with Sita as she truly is -- an incarnation of the great Devi Narayani. Sita comes to Earth to join Sri Ram in setting the foundation for a new civilization at a time when humans are becoming separate from the natural world. She seeks to embed a great love for the forests and rivers, plant and animal life in the hearts and minds of the people, and to share the high spiritual accomplishments of the great women rishis and sages, many of whom you meet along Sita's journey. This is a story of a woman's wisdom, courage and strength, her love for the manifest and unmanifest worlds, and her selfless sacrifices for the welfare of all. So step into Sita's time and see what life was like during a more spiritually more advanced age, when there was an understanding of Dharma, not just as duty but as an alignment with the higher forces of love that make possible the preservation of our world.
The Ramayana, one of the two pre-eminent Hindu epics, has played a foundational role in many aspects of India's arts and social norms. For centuries, people learned this narrative by watching, listening, and participating in enactments of it. Although the Ramayana's first extant telling in Sanskrit dates back to ancient times, the story has continued to be retold and rethought through the centuries in many of India's regional languages, such as Hindi, Tamil, and Bengali. The narrative has provided the basis for enactments of its episodes in recitation, musical renditions, dance, and avant-garde performances. This volume introduces non-specialists to the Ramayana's major themes and complexities, as well as to the highly nuanced terms in Indian languages used to represent theater and performance. Two introductions orient readers to the history of Ramayana texts by Tulsidas, Valmiki, Kamban, Sankaradeva, and others, as well as to the dramaturgy and aesthetics of their enactments. The contributed essays provide context-specific analyses of diverse Ramayana performance traditions and the narratives from which they draw. The essays are clustered around the shared themes of the politics of caste and gender; the representation of the anti-hero; contemporary re-interpretations of traditional narratives; and the presence of Ramayana discourse in daily life.
In an age where academic curriculum has essentially pushed theatre studies into ‘post-script’, and the cultural ‘space’ of making and watching theatre has been largely usurped by the immense popularity of television and ‘mainstream’ cinemas, it is important to understand why theatre still remains a ‘space’ to be reckoned as one’s ‘own’. This book argues for a ‘theatre’ of ‘their own’ of the Indian women playwrights (and directors), and explores the possibilities that modern Indian theatre can provide as an instrument of subjective as well as social/ political/ cultural articulations and at the same time analyses the course of Indian theatre which gradually underwent broadening of thematic and dramaturgic scope in order to accommodate the independent voices of the women playwrights and directors.
A selection of stories where young boys win their spurs on the journey to manhood. Includes: The Curse of the Lambtons; Revenge ; Promises to keep.
Molora - Based on The Oresteia by Aeschylus In this reworking of Aeschylus’ Oresteia, Klytemnestra and Elektra face one another in a dramatic confrontation. Attempts to come to terms with their violent past echo testimonies delivered in Apartheid’s wake throughout South Africa during the Truth and Reconciliation Commission. RAM: The Abduction of Sita into Darkness - Based on The Ramayana by Valmiki Farber’s potent revisioning of this age-old text is a raw and probing contemporary work which places the loss of the Feminine Divine, and thus our lack of spiritual and moral equilibrium, at its visceral core. This is a Ramayana for a new world. Mies Julie - Based on Miss Julie by August Strindberg Transposed to a post-apartheid kitchen – a single night, both brutal and tender, unfolds between a black farm-labourer, the daughter of his master and the woman who has raised them both. The visceral struggles of contemporary South Africa are laid bare, as John and Mies Julie spiral in a deadly battle over power, sexuality, mothers and memory.
She was a thirteen-year-old comely maidens, who was among the Gopis separately, but she was above all. She did not see Krushna but knew more about him than them. She was unmarried, though married. She is not Subhadra but partly so. Bhadra, the mysterious, since her early youth had said boldly, “What I have got, it is a dream to sixteen thousand Gopis.”