NATIONAL

th19 January 2018

FESTIVAL 2017-18

Organised by : NATIONAL COUNCIL OF SCIENCE MUSEUMS

Ministry of Culture, Govt. of India Venue : NEHRU SCIENCE CENTRE, Mumbai

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NATIONAL

SCIENCE

DRAMAFESTIVAL 2017-182017-18

NEHRU SCIENCE CENTREDr. E. Moses Road, Worli, Mumbai – 400 018,

Tel: 022 2493 2667Email: director@nehrusciencecentre.gov.in

www.nehrusciencecentre.gov.in

Participants

Organised by : NATIONAL COUNCIL OF SCIENCE MUSEUMS

Ministry of Culture, Govt. of India Venue : NEHRU SCIENCE CENTRE, Mumbai

Organised by : NATIONAL COUNCIL OF SCIENCE MUSEUMS

Ministry of Culture, Govt. of India | www.ncsm.gov.inVenue : NEHRU SCIENCE CENTRE, Mumbai

East

West

North

South

North-East

SCHOOL DRAMA ZONE STATE

Panchayat Raj High School Chasama | Odia Dhenkanal,OdishaPratt Memorial School Sagarer Aalo(The light of Sagar Island) | Bengali Kolkata, West Bengal

Sou.Sulochanabai Patankar Kanyashala Cleansing of rivers Jaldindi | Marathi Satara,MaharashtraSir Padampat Singhania School Navras| Hindi Kota, Rajasthan

Zee Litera Valley School (sen. Sec.) A Journey From Black To Green | Hindi Bhiwani, HaryanaOP Jindal Modern School Kachra Nagari | Hindi Hisar, Haryana

AKNMMA Hr. Sec. School Avaseshipukal| Malayalam Palakkad, KeralaSt. Mary’s English High School Ingalada Hejjegalu | Kannada Udupi, Karnataka

Modern English School Jhok Jhok Rail Chole | Assamese Guwahati, AssamBrighter Academy Let's Live Together | Manipuri Imphal, Manipur

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2017-18

INAUGURATIONFriday,�the�19th�January�2018�at�9:00�AMShri�Manish�DesaiDirector�General�,�Films�Division�has�kindly�consented�to�inaugurate�the�Drama�Festival.

VALEDICTIONFriday,�the�19th�January�2018�at�6:45�PMShri�Adoor�GopalakrishnanPadma�Vibhushan,�Dadasaheb�Phalke�awardeehas�kindly�consented�to�be�the�chief�guest�atthe�valedictory�and�prize�distribution�function.

National Council of Science Museums( Ministry Of Culture Govt. of India )

cordially invites you to theInaugural & Valedictory functions of the

NATIONAL

SCIENCE

DRAMAFESTIVAL 2017-18

Prof. Waman Kendre

Rohini Hattangady

Dr. Sunali Khanna

MESSAGESHema Malini

Akshay Kumar

I am happy to know that National Council of Science Museums (NCSM) is organizing a National Science Drama Festival on 19th and 20th January, 2018.

Theatre, like all areas concerned with the creative and aesthetic impulse, makes use of science and technology in various aspects. In fact, for any play to be successful it is imperative to have a strong technical team that allows the effective and powerful communication of ideas in tangible and practical ways. In fact, Science itself is very closely aligned to aesthetics, and there is a certain coherence, a certain order in all its impulses.

The festival being organized by the NCSM will serve as an effective medium of communication for removing superstitions that plague our nation. I am sure, it will allow for the creative exploration of various ideas related to the field and will address a range of scientific issues from the ethical and social points of view. The Festival will provide a good opportunity to highlight theatre as an excellent medium for communicating ideas related to science to the masses and will also draw attention to the fact that the arts and sciences are not two essentially or diametrically opposed areas of human endeavour rather have innumerable linkages and crosscurrents that align them to explore, portray, investigate and celebrate energies that though different, are equally integral to the human condition,

I congratulate the National Council of Science Museums in their continuing endeavours towards spreading theatre awareness and at this effort to create a beautiful synthesis of these fields of science and the performing arts.

I wish them all the best for the success of the festival.

MESSAGE

Prof. Sunali Khanna

It gives me immense pleasure to share my thoughts for a unique event organized by the National Council of Science Museums - NATIONAL SCIENCE DRAMA FESTIVAL.

The event to be held at the Nehru Science Centre, Mumbai on the 19th and 20th of January, 2018 is truly a one-of-a-kind endeavor that helps promote Science through Drama thus enabling easy learning for the young students and popularizing and taking science to the common man in a most entertaining manner. This festival which has various scientific theatres from across the country teaching scientific facts and concepts is seen as an interpretative technique to communicate science to general public and has resulted in creating a scientific temperament in society. No wonder the festival has gained immense popularity in the past as well.

It is even more heart-warming to know that the participants who are the best students from various states of our country contribute in the Drama Festival as actors, writers, directors and musicians thus making for a wonderful stage where "Education meets Entertainment".

I wish each student participating in this event the very best and hope that their effort in bringing science to the masses is a grand success.

Finally, I would like to congratulate the National Council of Science Museums for their innovative initiative and hope they introduce many such entertaining educational programs across the country, year after year and create a new system of interactive education to reach out to all people thus making entertainment too more meaningful.

Best wishes,

Hema Malini

MESSAGE

Hema MaliniMEMBER OF PARLIAMENT

(LOK SABHA)

Hema Malini

I am extremely happy to know that the National Council of Science Museums is organizing the National Science Drama Festival 2017-18 for school students on the topic “Science & Society” on 19th & 20th January 2018 once again at Nehru Science Centre, Mumbai. My association with this important event has been since 2010 when I had the opportunity to inaugurate the Western Zonal Science Drama Contest. The Socio-economic and political development of any nation depends on the developments in science and technology, their application and awareness in the society. Science is often felt as a subject meant only for scientists, which needs to be dispelled. It is, therefore, necessary to create public understanding of science and technology and also to communicate the message of the flip side of the developments in science. Art, Culture and Creativity have a deep and profound connect with science. Theatre and Drama are certainly the best means to communicate scientific messages, even difficult ones, in the most entertaining way.

I would like to congratulate the National Council of Science Museums for its initiative to bring in scientific awareness through social and well established traditional media like drama. In my opinion, the attempt to engage students all over the country to present even difficult scientific issues through an effective and traditional media of drama is commendable. I convey my good wishes for the success of the event and wish that the drama festival would be trend setter for propagating science and creating scientific temperament among the masses in the country using tested tools of drama and story-telling.

MESSAGE

Rohini Hattangady

Rohini Hattangady

I am delighted that that the National Council of Science Museums is organizing the National Science Drama Festival 2017- 18 for school students on the topic "Science & Society" on 19th & 20th January 2018 at Nehru Science Centre, Mumbai.

Science and technology touch our life in many wonderful ways every single day. At times, it is so simple, we almost take it for granted. At times, it can come across as complex.

Science centres and museums create awareness about science and technology. And now, by combining elements of drama and theatre, the National Council of Science Museums is making science even more accessible. Theatre has the ability to instruct while it entertains. Theatre productions throughout the ages have often been influential in setting public policy and therefore this medium plays a crucial role in increasing the awareness on scientific issues.

I congratulate National Council of Science Museums on this initiative. I wish all participants the very best.

Walt Disney, one of the world's greatest entertainers famously said "I would rather entertain and hope that people learned something than educate them and hope they were entertained."

I wish the National Science Drama Festival every success.

MESSAGE

Akshay Kumar

Akshay Kumar

It's a matter of pride for Mumbaikars that the National Science Drama Festival is being organized in Mumbai at the Nehru Science Centre. It is my privilege to have been associated with the National School of Drama activities over the decades.

It is gratifying to note that an extremely sensitive and relevant theme 'Science and Society' is wholly related to the character of this metropolitan city. Mumbai consists of people from all regions of the country with diverse educational and cultural backgrounds. There are Malyalis, Gujaratis, Tamils, Kannadigas, Punjabis, Biharis, Bengalis apart from Marathis to name a few communities. Residents follow different religions e.g. Hinduism, Islam, Christianity, Sikhism, Jainism and Zoroastrinism. The economic strata of the Indian society are also represented by the elite, the privileged and the under privileged sections of society.

Thus, Mumbai represents the cultural cross section of the billion-plus Indian population. It is heartening to learn that over 42,000 young artists from across the country have participated in this outstanding venture and the selected few would converge on the city and further enhance its image as a center for higher learning, corporate headquarters and country offices of multinationals. Thus, the financial capital of the country would see performances by artists of diverse lingual and cultural backgrounds.

It may be recalled that the twentieth century saw the rise of rational and scientific temper throughout the developed and the developing world. The scientific forces have assumed volcanic dimensions in the twenty first century as newer challenges have emerged threatening the very existence of the human species. The advances in environmental and public health spheres resulted in the advanced treatment of Polio, TB, Malaria and even AIDS. Health Disparities, Environmental Security, Natural Resources Damage Assessment, Environmental Toxicology and Health Risk Assessment justify further awareness and research.

Global warming and climate change have led to unseasonal rains, unprecedented floods which have threatened food safety and given rise to climate sensitive infectious diseases. Lifestyle modifications are inducing tobacco related ailments like cancer. Infact, goals of sustainable socio-economic development itself have been endangered.

Hence, there is acute urgency of spreading awareness about environmental and public health issues. Though governmental agencies have prepared a lot of communication modules, yet, there is scope for developing many more in different cultural contexts, regional languages and dialects. India is perhaps the finest example of unity in diversity. Therefore, we also need to prepare diverse capsules targeting different segments of urban and rural population conveying the holistic message protecting our air, water, wildlife and archeological resources. Theatre in different languages and dialects can effectively communicate and drive home the core theme of messages. All non-governmental and community resources need to be harnessed for the purpose.

I am confident that the forthcoming festival will help us not only disseminate the theme but would also sensitize the artists from all parts of the country and society at large about the message.

Dr Sunali Khanna MDS (Bom), DNB, PGDHHM, PGDMLS, CCRPresident Asian Academy of Oral and Maxillofacial RadiologyVice President Indian Academy of Oral Medicine & RadiologyMember National Academy of Medical Sciences (India)Nair Hospital Dental College,(MCGM)Mumbai, 400 008,India.Email: sunalikhanna@gmail.comMobile: +91 9821459013 / 9892662345(W App)Website: www.sunali.me

Dr Sunali Khanna

MESSAGE

mailto:sunalikhanna@gmail.comhttp://www.sunali.me/

An integral part of the socio-economic developmental process of a country is science and technology. Its primary

objective is to build knowledge base and skills of individuals and institutions. The importance of science and technology

to modern societies and the role of a scientifically & technologically literate population in promoting social and

economic development has long been recognized. In a world dominated by scientific & technological development, the

need for a citizenry engaged in and appreciative of science technology, engineering and mathematics (STEM) has never

been greater. STEM has now become part of the daily lives.

However, the harvest of STEM education can be reaped by a society if there is adequate science literacy. Science literacy

is, therefore, an urgent and important issue in our life since all our activity is being touched by products or processes of

S&T. In a country like India, where poverty and illiteracy are high, where a large section of the society has inadequate

access to science and technology education and where superstitions and wrong perception about diseases and many

social issues are widespread, Science Museums and Science Centres could play a significant role in public

understanding of science and creating a scientific awareness in the society.

One of the important objectives of science communication and popularization in India has been inculcation of scientific

temper among masses. Merely acquiring scientific knowledge does not imply to have scientific temper. Scientific temper

has, generally, little to do with science but much more with methods of science and process of scientific enterprise. It is

an attitude or mental construct to look at things with reasons or methodology to follow. Scientific temper reflects one's

logical, rational and analytical thinking, systematic and orderly way of his/her performance in all spheres of life, his/her

reasonable behaviour and conduct in the society and of course a rational decision making power.

There are various avenues for facilitating public understanding of science and nurturing scientific temper in the society.

Science drama or staging science is one of the most effective of them. Drama is a popular form of performing art; it

presents fiction or a story through performance, being often supplemented with music in its various folk forms. Be it a

rural folk drama or an urban theatrical stage show, drama has been immensely popular and a very powerful medium of

mass communication that creates a lasting effect on the minds of the audience. It is, therefore, hardly surprising that

science communicators world over use science drama as a powerful tool for communicating science to the public.

National Council of Science Museums (NCSM), the premiere organization of science communication in India, has also

adopted the tool in the form of National Science Drama Festival in India for enhancing public understanding of science,

creating a scientific temper in the society and encouraging creativity among the students. Since its inception in 2001,

this national event has remained at the height of popularity and enthusiasm in the student/teacher community.

I sincerely believe that the science drama presentations by all the school teams will be of immense value to the

students, general public and science policy makers and a unique experience to all the participants. I wish all the best to

all the participants of National Science Drama Festival 2017.

Jai Hind!

A S ManekarDirector General

National Council of Science Museums (NCSM)

FOREWORDA S ManekarDirector GeneralNational Council of Science Museums (NCSM)

Genesis

This is a famous proverb and is considered as a mantra for science centre/museums across the world for science communication. In fact all three methods mentioned in the proverb are ways to communicate and the order of writing signifies their effectiveness in ascending order. After the success of, now world famous,

thExploratorium developed by Dr in the 7 decade of last century, interactive exhibits Frank Oppenheimer became keywords for science centres/museums and can be considered as a paradigm shift in presenting science to the people.This successful model based on interaction also gave opportunity to science museum/centre professional to look for new ways of science communication through research and studies in learning outcomes. Dioramas, interactive kiosks, exhibits with one or two way communication, experience or simulation based exhibits etc. were designed and developed successfully. Still, in science and technology there were and are developments where only interactions with exhibits may not be sufficient to make a choice on the subject or concept. You really need to feel it, perhaps emotionally, in an immersive way. The 3D science shows and large format films provided to a great satisfaction of visitors where they could feel that they themselves are at the place of action and everything is happening right in their surroundings. All these were well taken by

visitors and became integral parts of the science centres/museums/city. Some of them came up standalone too in places of mass gathering.Despite of all these, the science communication reach has always been to a limited population only. e.g. In India National Council of Science Museums (NCSM) through its network of science centre/museums is able to reach just about 1 % of population. This includes its 50 year old nonstop mobile science exhibition mission having 22 museo-buses operating in all parts of the country. But the remaining population cannot be left as it is. They need to be connected with happenings in the world of science and technology for their benefit.Science is advancing and changing our lives in many ways. Wholly positive outcomes include new powers to fight disease, but there are also many areas of ethical concern. Science coverage is increasing in the media, but is dominated by high-profile, sometimes biased stories. Science communication is a growing concern for the scientific community – as a sphere of activity it is an increasing priority for most of the members of this community. The aims of science communication were also expressed in a variety of ways. One objective is to communicate scientific knowledge as such, and a distinction was made between purely factual information, versus placing the information into the context of daily life. An appreciation of the social and economic impact of science was also considered important, as was the more personal impact – incorporating science into everyday activities and communicating the relevance of science to everyday life.The government is pushing hard to use science and technology for making lives of people better. Several programmes and schemes e.g. swachh Bharat, digital India, digital economy, cyber security, genetically modified food, genome based medical therapy and so on need public understanding, appreciation and participation. In taking these messages science drama can play effective role. Science centre/museum under NCSM started a contest based on enacting science drama covering themes directly relating science & society. Initially it was done at individual unit level and was done successfully. Its success and effectiveness in communicating sensitive, controversial and difficult subjects, including those considered as taboo in society, prompted NSCM to take it to the National Level Contest in the year 2001. Now it has become really a National Event being held in almost all states and union territory of the country.

I hear, I forget; “”

I see, I remember;I do, I understand

The decision to use drama as a tool for science communication is now well established not only in India but world over as it involved people emotionally too. In fact use of drama can be traced over the course of history from the time of Aristotle, who believed that theatre provided people a way to release emotions, right to the beginning of the progressive movement in education, where emphasis was placed upon “doing” rather than memorizing. India is perhaps the only country in the world to have evolved and enunciated the theoretical science of theatre, of stage, called the Natya Shastra (Science of Stagecraft), which is believed to have been written by the sage Bharata between 200 BCE and 200 CE. It is therefore no wonder that theatre was used as an effective means of public communication in India since ancient times. History reveals that science and theatre arts (drama and dance) have a symbiotic relation that has benefited society for at least two millennia. This natural partnership continues to have positive effects on our culture. The essential purpose of primary science should be to help children make meaningful sense of the world around them. This will enable them to develop into scientifically literate adults who have a critical understanding of the ideas of science, but who also have respect, care and sensitivity for the world they live in and their impact on it. If that goal is held central to teaching, then motivation, enjoyment and a sense of fun in learning become integral to planning, as meaningful learning only occurs when children engage fully in the process. Drama is an excellent medium for harnessing these features of learning, because it can simulate real-life experience and address issues in a way that may not be possible with other approaches to learning.An investigation was carried out into the effectiveness of teaching one element of a Science syllabus, using Drama in place of conventional practical work. No statistically significant differences were detected in factual recall, but significantly more 'meaningful' learning appeared to have taken place when Drama was used. A research into the use of cross-curricular drama in secondary science had indicated that this medium enables learning of affective, cognitive and procedural knowledge. Indications from non-academic literature and informal education practice suggest that there is a gap in our knowledge between research and classroom practice. This study focused on teachers' own drama activities in five science lessons taught across schools in Cambridge, Kent, and Hertfordshire. This study explored the drama forms, teaching objectives, and characteristics by which drama was perceived to enable learning in Science. The findings revealed that drama activities were used to convey a variety of topics that have not yet been recorded in academic literature, and revealed a greater scope for the teaching abstract scientific concepts through mime and role play. These activities were perceived to develop students' visualisation through a range of modalities, which included embodied sensation and anthropomorphic metaphors. A study was carried out at the Children's University of Trakya in Turkey during the summer of 2010. All children completed the pre- and post-tests including open-ended questions in order to reveal changes in their views prior to

and at the completion of the role-play activities. The results revealed that the children had more informed views in comparison with their views prior to the role-play activities. Following the role-play activities portraying scientists' lives, there was a 40–45% positive change in children's views of the tentative, empirical and creative/imaginative aspect, and a 50–60% positive change in their views regarding the subjective/theory-laden and social–cultural embeddedness of science. The most substantial change occurred in their views concerning scientific method, with a shift of 72%. Overall results indicate that role-play/drama-oriented activities portraying scientist's life stories could be used as one of the exciting, informative and constructive ways of developing understanding of the Nature of science among children.Science drama can be a useful tool for understanding the nature of science, Science-Technology-Society relationship by providing indirect experiences to young students as well as public. Specific science concept and knowledge can also be learned with high interests. In a study, to explore the usefulness of science drama in elementary science lessons, two drama lessons on 'Manhattan Project' which dealt with social, ethical responsibility in using science & technology, and the other was 'Mom, My blood type is O' which explained the heredity of blood type were prepared. Overall responses of students and teachers on the two science drama lessons were very positive. 'Mom, My blood type is O' was successful in making students (grade 3) understand the knowledge related with heredity of blood type (71% of the students got perfect answer). In 'Manhattan Project' students (grade 5) perceived more diverse location of responsibility after the lesson, but the danger and harmfulness of atomic power was embossed. This implied the need of more careful planning for the relevant learning activities before and after the play of science drama. Two teachers perceived the science drama as a new, useful tool for some subject which is hard to deal with by other teaching method. They were also satisfied with students' high interest and engagement during the science drama.Hence the mission of NCSM using science drama as tool for communicating science to masses will surely have positive and long term effects which perhaps need to be quantified through research and studying learning outcomes through case studies.

From the organiser

Science ,theatre

and a sense of wonder

Science ,theatre

and a sense of wonder

SAMEERA IYENGARCo-Founder,Junoon

Photo Credit : Joris-Jan Bos.

n order to address this question, I think two other questions need to be asked. What is it that we want to communicate about science to masses of people? And what can the medium of theatre communicate well, that would be in the interests of science communication?

What is science? At it's most basic, it is the practice of asking rigorous questions of the world in order to understand how it works. We could be asking questions of nature, of space, of our bodies, of our brains, of physical material, and so on. Science tries to articulate underlying principles, draw out patterns and systems, and in this way, give us a mental and often visual map of the way the world works. On the basis of these underlying principles, science also speculates – or perhaps I should say postulates – possibilities that have yet to be discovered or physically observed in the material world. Black holes are discovered after Einstein's General Theory of Relativity postulates their existence (In fact, Einstein himself did not believe that the singularity, which is the Black Hole, his equations postulated could actually exist in the physical world!)Science, I would suggest, then essentially deals with the wonder of the world. That fact that the world exists in the glorious way it does, working according to laws and principles that enable the most complex and interconnected functioning – be it at the massive level of the galaxies, or at the minute level of our cells, or the even more minute level of the various nano-machines at work in our bodies and the tiniest particles that comprise the atomic world. However, the way we encounter science in textbooks and in our education systems does not always make it easy for us to understand this.

Part of the reason science is not so easy for everyone to access is because of the language of science. It is a cryptic language, with mathematics at the core of many of the science, if not all of them. For those comfortable with the language of higher mathematics, reading an equation is akin to reading a story – as the equation is read, the mind is able to see what it means. But for the rest not skilled at the language of mathematics, all they can see is a script they do not read. The communication is opaque to them.

I am sure theatre could be and is used in many ways to communicate science to people who cannot easily access scientific language. The question we have to return to is, what do we want to communicate about science? Do we want people to have the correct scientific information? Do we want to talk about how discoveries were arrived at? Or do we want to share the wonder of science, the wonder that drives science, and the wonder that science gives rise to?

If the medium of communication is theatre, then I would lean heavily on sharing the magic and wonder of science. Information can be written on a peace of paper and passed around, or be uploaded on the internet to be easily accessed and downloaded.

The story of discoveries can often end up being the story of the scientists and not of the science. But to share the wonder that is science – I would argue that theatre is a medium that lends itself to this act extremely well. Simply because theatre has the potential to transport the viewer into other worlds and other experiences, and to move them – it is a medium that speaks to the entirety of your senses, and as we well know, the feeling of wonder and beauty is evoked in the senses, not merely in one's intellect. If you are scientist or a future scientist, do a little experiment. The next time you go 'wow!' on something in science, observe where you are reacting from. Your mind may have grasped the science, but I would bet that your reaction of wonder is coming straight out of your body.

I would like to share an example of what I mean by evoking wonder through theatre. One of the most astounding plays I have seen is Complicite's A Disappearing Number, based on the mathematical relationship between Srinivasa Ramanujan and G H Hardy. Astounding because of how it used theatrical elements to share both the world of the mathematician, as well as explored what mathematical concepts meant. Ramanujan and Hardy worked on infinite series, and this became a point of mathematical reference through the play. Using projection, numbers were rained down on the characters and we were thrown into a world populated by numbers and numbers and numbers. Out of that chaos of numbers, periodically, patterns were created on stage. Concentric circles of books around G H Hardy's desk as he worked, created by actors placing books in what seemed to be a chaotic manner, but emerging as a clear pattern. And we, as watching audience, began to understand that that is what mathematics does. Takes the chaos of numbers and derives patterns out of it.

I

I have been asked to address in this article is, how can theatre be used as a medium of mass science communication, through

science dramas ?

The question

The play also tried to understand the meaning of those patterns. This was done through conversations and metaphors. A key character in the play was a woman mathematician. Her lover is not a mathematician. So here is the excuse for explanations. The topic was infinite series. And the play did something that all great theatre does – it kept the spoken information to a minimum. It simply explained the essence – and let us wonder at the fact that you could have an infinite series 1 + 2 + 3 + 4 + 5 + … but also infinite series between the numbers 1 and 2: 1 + ½ + ¼ + …. Then, textually and visually, the play introduced metaphor to ask what these infinite series might mean in philosophical terms, drawing a critical connection between mathematics and wondering about the world. The lovers ask, in the language of infinite series, can one person ever completely meet the second person, or could they only approach the other, getting closer and closer but never completely meeting? In a moving scene towards the end of the play, actors came out of the darkness, one by one, each of them pouring ash into the river (one of the characters in the play had come back to India to put his relatives ashes in the river, Ramanujan's ashes were being put in the river, and so on). As actor upon actor emerged out of the darkness and stood there slowly releasing the 'ashes' out of his or her hand, we the audience saw a line of people that kept stretching – to infinity? It certainly felt like a neverending line. In the same moment, viewing a ritual of death, we were asked to wonder about life, death and infinity – where do we begin and where do we end? The aesthetic power of the scenes of the play built the sense and experience of infinity, and one really felt transported out of ourselves, into that experience. The play had also made references to string theory, which found support in the work of Ramanujan and Hardy. Again, the play does not try to explain string theory beyond a theory of connectedness. But in that scene with the ashes, the play showed not only an experience of infinity, but also a sense of connectedness, across time and space – Ramanujan's ashes in the past, the person returning to India today, and all these other people, pouring in ashes together. Watching them, you had no choice but to experience a moving connectedness.

While A Disappearing Number explained some mathematical concepts, it's power I would say, was in making us experience these concepts. What does infinity mean, and what could it feel like, this sense of no beginning and no end? What is the beauty we experience in viewing chaos, and then in viewing patterns arising, of their own accord almost, out of chaos? What does it feel like to sense the connectedness between people who supposedly have distinct lives, but yet their paths seem to connect in actions or time or space? What does it feel like to be in the mindspace of a mathematician who spends their life contemplating the abstract beauty of numbers? This is what the play gave to us.

Most of all, one got a sense of the playful nature of mathematics, which is the key to loving mathematics. In school, most students experience mathematics as laborious calculations, not as play. In this beautiful piece of theatre, with patterns randomly appearing, with the playfulness with which so many of the scenes appeared and disappeared through the play, the sense of play pervaded the experience. As did the sense of the obsessive love mathematicians have for their subject, and the beauty they see in it. For me, this was powerful science communication. It would not create mathematicians out of the audience – but it would leave everyone with a sense of what Ramanujan and Hardy's mathematics does, and with a deep appreciation for the subject.

In order to make such theatre, the people involved have to try and understand the essential principles of the science they wish to communicate. And they also have to take the time to grasp the beauty and wonder that science is indicating – which would involve research, conversations with people knowledgeable in science, and their own contemplation of what they are understanding and grasping. Once that becomes clear to them, they can then play with how they will share the wonder and beauty they see with their future audience. Information, I would argue, is over-rated as a first communication. Share the beauty first. When people experience this beauty, some of them will reach for the information anyway. Perhaps a pamphlet could be handed out at the play that will help them reach for the information, after the play itself has moved them to do so.

Sameera Iyengar is a theatre person, and a conceptualiser and creator of arts experiences that seek to bring people closer to the arts and vice versa. She is co-founder Junoon – a theatre and arts outreach organisation, and currently Course Director of SMART - a capacity building course for theatre groups.

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India is perhaps the only country in the world to have evolved and enunciated the theoretical science of theatre, of stage, called the Natya Shastra (Science of Stagecraft), which is believed to have been written by the sage Bharata between 200 BCE and 200 CE. It is a treatise on poetic, musical and dramatic representations. It is a profound mixture of aesthetics and techniques, and in this complex mixture, the theory of rasa should also draw our attention besides the basic concept of abhinaya and its forms, which, in this essay, I will try to briefly and simply dwell upon. In his Preface to A Modern Introduction to Indian Aesthetic Theory, Prof. S.S. Barlingay (1919-1997) conjectures that Natyashastra might not be a work of a single author. “It could be a compilation of works of Drhina, Vasuki, Bharata, etc., and Bharata himself might not have been one single person. It could be the name of a 'tradition', and one could talk of Bharata as one talks of Vyasa.” We may not go into such historic complexity but it could be interesting to know certain aesthetic principles and practical propositions so lucidly propounded by this treatise. When we think of theatre, the first thing that comes to our mind is 'acting' or 'abhinaya' besides the proscenium and other accessories. Abhinaya is common to both Natya and Nritya. Let's briefly see how Natyashastra analyses the concept of 'abhinaya'.

The Concept of Abhinaya

Abhinaya is divided into four different basic kinds, viz. (a) Vachik, (b) Angik, (c) Sattwik, and (d) Aharya:

(a) Vachik Abhinaya is a verbal expression such as dialogue in drama and has its origin in Rig Veda or the book of hymns; it is based on the plane audible.

(b) Angik Abhinaya or bodily movements such as action and mime has its origin in Yajur Veda or the book of sacrifices and is based on the divine.

© Sattwik Abhinaya is the interpretation of moods, which originates from Atharva Veda and is based on astral or that which relates to a supposed non-physical realm of existence to which various psychic and paranormal phenomena are ascribed, and in which the physical human body is said to have a counterpart.

(d) Aharya Abhinaya or decorative effect such as décor and lighting and has its origin in Sama Veda or the book of melodies and is based on the plane visual.

Natya, Nritta and Nritya

Abhinaya has the three basic forms – Natya, Nritta and Nritya encapsulating the above, e.g. (a) Natya or dance drama would contain dialogue, interpretation of moods and mime, music and décor. It covers all the four planes and causes a blend of aesthetic and physical appeal. (b) Nritta belongs to the realm of angik abhinaya and said to be on the divine plane of pure dance movements. (c) Nritya is a combination of rasa (sentiment) and bhava (mood). It is that which produces aesthetic delight in dance drama. It embraces the sattwik, angik and to a lesser extent the aharya abhinaya on the astral (elevated position), divine and visual planes. We have already seen what is aharya abhinaya.

These are basic and simple explanations of highly complex theoretical principles that Natyashastra explores, but obviously even their pr imar y understanding would equip us with profounder performance perspective and depth. These are fascinating aspects of the unique ancient treatise and we might be eager to know what does its body-text contain? Let's have a quick glance. Natyashastra is the oldest surviving encyclopedic treatise on dramaturgy with sections on theory and practice of various performance ar ts. The text extends its reach into asking and understanding the goals of performance arts, the nature of the playwright, the artists and the spectators, their intimate relationship to performance arts, the nature of the playwright, the artistes and the spectators, their intimate relationship arising during the performance. Natya topics as envisioned in this text include what in western performing arts would include drama, dance, theatre, poetry and music. The text integrates its aesthetics, axiology (philosophical study of value) and description of arts with mythologies associated with Hindu gods and goddesses. Performance arts, states Natyashastra, are a form of Vedic ritual ceremony. Being the science of stagecraft, the Natyashastra gets into the micro study of theatre to defining the stage or Rangmanch as we call it.

Thinking Theatre, Thinking Shastra (Science):

India's Gift to the World

Relevance of Natyashastra today: Kavalam Panicker, Habib Tanvir and Carrying Forward of Theatrical Traditions

Kavalam Panicker (1928-2016) and Habib Tanvir (1923-2009) are other legends of Indian theatre, who have explored ancient classical and folk theatrical traditions in multiple fascinating ways. Prolific Kavalam Panicker was an Indian dramatist, theatre director and poet, who also wrote lyrics for several Malayalam films. Among scores of his plays are the most memorable adaptations of Sanskrit texts including Kal idasa's Vikramorvasiyam , Shakuntalam and Bhasa's Uru Bhangam, Swapnavasavadattam, Karnabharam, and Dootavakyam. The way he adapted Shakespeare to our own traditional theatre was very unique. Kavalam Panicker was the founder director of theatre troupe Sopanam, which later led to the foundation of Bhashabharati, the Centre for Performing Arts, Training and Research in Thiruvanthapuram, Kerala. For any young theatre aspirant it would be the most elevating experience to visit these places and watch the legacy left behind by Kavalam Panicker. He was also awarded by the Sangeet Natak Akademi in 1983.

On the other hand, Habib Tanvir charted a different route but without losing his own roots as also in the classicism of our traditional theatre. Habib Tanvir was one of our most versatile and popular Urdu, Hindi playwrights besides being a theatre director, poet and actor. Some of you might have seen him in the hilarious Hindi film called Charandas Chor (1975) directed by Shyam Benegal. The film was based on the famous play by Habib Tanvir, which he had adapted from a Rajasthani folktale by Vijaydan Detha. Habir Tanvir had also penned lyrics for the film produced by the Children's Film Society of India. For Tanvir, the true theatre of the people existed in villages, which he strived to bring to the urban educated employing both folk performers as actors alongside urban actors. His initial explorations into Chhatisgarhi Nach style gradually led to his seminal play Charandas Chor and that paved the way for many more exciting experimentations that Habib Tanvir had ventured into and is remembered even today the world over. Habib Tanvir sahab was awarded by the Sangeet Natak Akademi in 1969.

While writing an introductory book on the National School of Drama (NSD, Delhi) in Gujarati, I had the privilege and honour of meeting Ebrahim Alakazi sahab, the doyen of modern Indian theatre, at his residence in New Delhi. India's prime theatre institute, NSD was established in 1959 by the Sangeet Natak Akademi, and its first batch passed out in 1961. In 1962, Alkazi sahab joined the NSD as its director and during his tenure (1962-1977) he revolutionized the ways of teaching and performing theatre; he imbued young minds with new and vibrant energy and imagination, employing their skills in building new theatrical spaces; one of the open-air spaces under a banyan tree at the NSD, he called the Meghduta theatre, after Kalidasa's play Meghduta (Cloud Messenger).

At this juncture and in the rather 'restless' times we are living in, you might ask the questions how such old theory could be relevant to our modern times? Why should we go back to it? For what purpose? Such valid sounding questions could also invite perhaps more valid answers. Let the answer come from one of our most eminent theatre practitioners, Ratan Thiyam. In conversation with Sangeeta Gundecha, the Bhopal-based renowned classical singer and professor of Sanskrit language, he said –

Sangeeta: In our times, how do you bring the Natyashastra into practice? The reason for asking this question is that many theatre practitioners today think it is outdated. Let them say what they want to but from the outset their theatre remains devoid of Natyashastra…

Ratan Thiyam: Probably, you are asking about the modern relevance of the Natyashastra? Nothing grows without the seed, without its roots. It is well known that India's visual arts in some way or the other are connected with the Natyashastra. It won't be appropriate, if we treat Nature as outdated, and that we should not bring it into practice; I would like to think so. Let it be Bharata Muni or Aristotle or Zeami, all those great art-gurus, they had known their art very intimately. Whatever human life-story there was, whatever character or other aspects, they had thought about all that and as to what extent that could be articulated. What are the standards of aesthetic? They knew them, investigated them and wrote about them. If you could write something like that today, have a try. And whatever they wrote they never insisted upon, they never claimed what they said was the purest of all. They only said that what you could do to embellish your technique for presentation, what you could do to embellish them physically, how could you articulate human emotions, what could be its form? What is rasa, all this they said… [Natya Darshan, Sangeeta Gundecha in conversations with Kavalam Narayana Panicker, Habib Tanvir, Ratan Thiyam; Sangeet Natak Akademi; Vani Prakashan, New Delhi, 2012; a quick translation from Hindi by this author]

Ratan Thiyam (1948- ), the winner of Sangeet Natak Akademi Award in 1987, is known for his writings and staging of plays that use ancient Indian theatre traditions and forms in a contemporary context; he is often considered one of our leading contemporary theatre gurus. I had the opportunity of interviewing him in Mumbai after his staging of Ritusamharam at Prithvi Theatre. In this play, he had so beautifully and intricately adapted Kalidasa's epic poem. Thiyam runs the Chorus Repertory Theatre in Imphal. Thiyam's first theatrical production was Bhasa's Karnabharam in 1979. All his productions are grounded in Manipuri culture that eventually acquire universal resonances, and enduringly so.

The National School of Drama and Ebrahim Alkazi

The NSD has also its own repertory, the National School of Drama Repertory Company set up in 1964 with an objective to promote professional theatre in India. It is the NSD that has given Indian cinema its most accomplished and versatile actors including Naseeruddin Shah, Om Puri, Anupam Kher, Irrfan Khan, Pankaj Kapoor, Raj Babbar, Nadira Babbar, Rohini Hattangadi, Deepa Sahi, Nawazuddin Siddiqui, and many others, and theatre practitioners such as Shanta Gandhi, B.V. Karanth, Ratan Thiyam, Manohar Singh, Uttara Baokar, Prasanna, Surekha Sikri, MK Raina, Bansi Kaul, Ram Gopal Bajaj, Amal Allana and many others. This is just an illustrative list for your reference and further study.

What is interesting and significant is the way these natyakarmis or committed theatre practitioners have held on to our theatrical and performance traditions and the way they have created newer symbiotic relationships between both Deshi (folk) and Margi (classical) creative dispensations. Broadly, the Natyashastra refers to the regional varieties of folk and musical elements as 'desi' and states that these are meant as pure entertainment for common people or public at large, while the pan-Indian 'margi' elements are to spiritually enlighten the audience. India, herself, is a fusion country, a symphony of many notes, a samuha gaan (chorus) that keeps evolving every moment – in theatre, in music, in movies, in movements – in time and space. In continuum! Nirantar!

Astu!

Notes:th thKalidasa (c. 4 -5 century CE), widely regarded as the greatest poet and drama�st in Sanskrit language. Among his three plays, Abhijñānaśākuntalam ("Of Shakuntala

recognised by a token") is generally regarded as a masterpiece. It was among the first Sanskrit works to be translated into English, and has since been translated into many languages

Bhasa (?) one of the earliest and most celebrated Indian playwright in Sanskrit, not much is known about his personal life. However, scholars maintain that the Bhasa plays do not follow the Natya Shastra rules. His Urubhanga and Karnabhara are said to be the only known tragic Sanskrit plays in ancient India. The triumvirate of Panicker, Thiyam and Tanvir has explored and adapted Bhasa.

Zeami (c. 1363-1443) Zeami Motokiyo aka Kanze Motokiyo was Japanese aesthe�cian, actor, and playwright. His father, Kan'ami, introduced him to Noh theatre performance at a young age, and found that he was a skilled actor. Zeami mixed a variety of classical and modern themes in his wri�ng, including Zen Buddhism.

References:Natyadarshan: Sangeeta Gundecha's conversa�ons with Kavalam Narayan Panicker, Habib Tanvir and Ratan Thiyam, Hindi, Sangeet Natak Akademi, Vani Prakashan, New Delhi, 2012.

Na�onal School of Drama (Parichay Pus�ka), Amrit Gangar, Parichay Trust, Mumhai, 2005; in Gujara�.

Interview with Ratan Thiyam, Amrit Gangar, Deepak Doshi, Navneet Samarpan, Bhara�ya Vidya Bhavan, 2003; in Gujara�.

Concept of Ancient Indian Theatre, M.C. Byski, Munshiam Manoharlal, New Delhi, 1974.

Myth, Metaphor, Mirth, Memory, Mayhem: A Bollywoodian Replay on the Swiss Landscape, Amrit Gangar, Bollywood: The Indian Cinema and Switzerland, Ed. Alexandra Schneider, English version; Museum für Gestaltung Zurich Switzerland, 2002.

Amrit Gangar is a Mumbai-based film theorist, curator and historian who has also wri�en on theatre. He had translated Gujara� autobiography of Jaishankar 'Sundari' (1889-1975) Thodan Anshu Thodan Phool into English that had formed the basis for Anuradha Kapur's play Sundari in Hindi. As a female impersonator Jaishankar had played Desdemoma (from Shakespeare's Othello) in the Gujara� play Saubhagya Sundari a�er which he was nicknamed 'Sundari'. Based on his research and concept well-known playwright Ramu Ramanathan had wri�en the play in English 3 Sakina Manzil, which was performed many �mes at many places. Earlier on, Gangar had also translated (concise edi�on) into Gujara� Ibsen's Doll's House. He has been wri�ng regularly in Navneet Samarpan, a monthly from the Bhara�ya Vidya Bhavan, Mumbai. His conceptual theory of Cinema of Prayoga embraces the Natyasastra, too.Amrit Gangar, E-504 Panchsheel Gardens, Mahavir Ngaar, Kandivli West, Mumbai 400 067. amritgangar@gmail.com

from principal’sdesk...

of Participants School’s

mailto:amritgangar@gmail.com

Drama can be used as a poten�al tool to support learning in three major areas important in science educa�on: understanding science concepts, that is, the ideas and theories produced by science; considera�on of the ways in which science and society interact; and learning about the nature of science, the processes through which scien�fic claims are developed and accepted. Drama has always been a natural partner of science. Developing children's views of nature of science through role-play/drama-oriented ac�vi�es portraying scien�sts' life stories could be used as one of the exci�ng, informa�ve and construc�ve ways of developing the understanding of the nature of science and science's rela�onship with society among children. Therefore, drama compe��on in general and more specifically science drama compe��on is an effort to provide children a pla�orm to stage their collabora�ve produc�on and show their crea�ons, concerns and reflec�ons. Seemingly, the challenge for all of us is to s�mulate children's views of the tenta�ve, empirical and crea�ve/imagina�ve aspect of the nature of science. Society asks teachers to help students develop great communica�on skills, inquiry and observa�on skills, and intercultural competence. Many people fear a world solely reigned by digital technology in which real human interac�ons are rare. We need to learn about ourselves, others and other reali�es and to learn how to create new worlds. Drama acknowledges and asserts experiences and validates people through the act of giving voice to everyone, including the marginalised. Every drama teacher could tell the true story of students who used to be shy and hiding behind their masks, but then grew so much confidence within one school year that even their parents were surprised to see how freely they acted on stage. Science drama acts as a springboard to mo�vate children to think about scien�sts as everyday people. In science drama, students are assigned various roles. The focus of science drama is primarily based on the kinds of behaviours, skills and knowledge the scien�sts possessed or the rela�onship between science and society. Talking about the way they lived, how they developed their ideas, made their discoveries or invented new things helps children to appreciate scien�fic endeavour. In this way, students improve their language and communica�on skills. Thus, drama in this se�ng makes students ac�ve par�cipants in the learning process. Since students animate the roles in their preferred way, they are not �mid, leading to an increase in their self-confidence. During role playing, children try different solu�ons and exclude those that do not work in the relevant situa�on, and employ useful ones that are further improved upon. This process eventually improves their problem-solving skills. Many students express that they gain self-esteem through drama lessons. Having the opportunity to par�cipate in drama at school gives students plenty of opportuni�es to interact, create, be and act. Here, students can learn to express themselves and get to know others. It reinforces student mo�va�on due to its joyful character. In short, drama as an educa�onal method allows students to reflect, discuss, make connec�ons with real life, and look at events from different angles. Some scholars argue that drama reinforces the a�ainment of cogni�ve, emo�onal and technical skills related to analysis, synthesis and evalua�on.

Mrs Jonali Das(Principal)

Science Drama as an Educational Tool

It gives me immense pleasure to express few words for this magazine. The Academy is really thankful for your encouragement and igni�ng the light to the children making it a difference. The children had been represen�ng the state for the last 3 years for the Science Drama compe��on and is in the 2nd year represen�ng the state for the Na�onal Science Drama Fes�val. We aim at s�mula�ng and making them learner and have a good exposer in their academics. The ground is s�rred and the seed is sown, to excite their minds and s�mulate their thoughts. We have tried to draw out the best in each child. The student have beau�fully exhibited their skill which help them to improve their overall.Lastly my heart full thanks to the Manipur Science and Technology, Manipur for their support and encouragement.My good wishes to all the par�cipants from different states of the Drama Fes�val 2017-18.

North ZoneNSDF 2017-18

East

Modern English SchoolGuwahati, Assam

Brighter Academy Imphal, Manipur

Dr. Be�y Salam(Principal)

We may now a�empt to give an answer to the query, “What cons�tutes a play?” A play is a complete and unified story of human life acted out on stage in a series of mo�vated incidents, so arranged as to excite the greatest amount of interest and pleasure in the spectator by means of novelty, variety, contrast, suspense, surprise, climax, humour, and pathos. The essen�al element of all drama must be truth, fidelity, and precision, and these elements must be, in turn, be revealed in a series of consecu�ve scenes and acts. Engagement with drama will allow children to realize career opportuni�es in this par�cular field, such as being – directors, performers, writers, live ar�sts, dramaturge, producers, administrators, programmers, marke�ng and development directors, technicians, publishers, teachers, researchers, working with other sectors like radio, film and television etc. We must teach our children to inves�gate issues like equality, opportunity, health, human rights, social inclusion and exclusion, discrimina�on. Drama works on change, delivers the problem to audience. Drama is an agent of change and an instrument of educa�on. Will drama change anyone's mind? We need to provide children space and �me to feel and reflect back, resolve and refresh so that our children will develop a dynamic view towards life.

North ZoneNSDF 2017-18

East

Gandhiji's autobiography is the peerless example about the influence of plays on a child's body, mind and spirit. A mediocre school child could have been transformed to an uncommon world class icon by receiving the holy spirit, from the play 'Harishchandra' & 'Shravana Kumar'. The Total Physical Response (TPR) of child's knowledge on certain area is displayed by ac�ng in a play. I strongly believe in making provision for giving opportuni�es to children for theater/drama. Moreover, performing plays does not only aim at entertaining people. It also educates people in large numbers to a greater extent with a creden�al past. However, in this age of science we s�ll have to go a long way to root out the plants of many supers��ons from the society by popularizing science in drama�c form. It compels its viewers to think and rethink about the ma�er deeply and realize in the core of their hearts. The truth is enwrapped with tasty flavor to chew and eat into. I find this opportunity a great pleasure and wish its wider accelera�on and all success.

It is a great honour for Pra� Memorial School students to be selected for the Na�onal Science Fes�val 2017 organised by Na�onal Council of Science Museums, Ministry of Culture, Govt. of India. Educa�onal type of drama with a purpose of portraying a story through dialogue is typically intended to perform in front of an audience. This can promote learning, speaking, listening and comprehension skills among the students. Drama ac�vi�es also help story telling skills, the stories they intend to tell the audience are very clear without leaving any informa�on. These ac�vi�es help students to accomplish a specific goal. I strongly believe that the arts should be employed in every classroom as, drama provides the form of learning and connects to the concept. The school teachers have helped these students to improvise and execute their talents through the 'Drama�cs Club' of our school which has helped them in winning awards at many places. We are very focussed on their achievements. I wish them all the best for their play " Sagarer Aalo" based on Green Energy and thank Na�onal Council of Science Museums for this wonderful opportunity.

Panchayat Raj High SchoolKanapura,Dhenkanal,Odisha

Pratt Memorial School Kolkata, West Bengal

Mrs. M. Suresh(Principal)

Sriram Rout(Headmaster)

EastZoneNSDF 2017-18

EastZoneNSDF 2017-18

We all know that woman is considered as creator, loving mother. She plays Vital role as daughter, sister, wife, friend. She gives support to her family in every role. And now it is said that “There is woman at the beginning of all great things.” The classic example of this is Jijabai.

Now a days women are working not only on the earth but also in water & in the space. There is no field without women. It is because, women are more conscious .Now they are becoming conscious about environment also. They are ac�vely par�cipa�ng in programmes related with environment. River is the most important factor in the environment. So we should keep our rivers clean for clean environment. In our drama, 'Jaldindi', our girls have tried their level best to create awareness among the people about the cleanliness of rivers. And the most important feature of this drama is, all the girls have done ac�ng, singing, playing music, decora�on etc. on their own.

Our science teacher Sau. Patankar Sheeladevi Dhairysheel, the director and script writer of this drama has given her guidance to the girls. I feel so proud, that our drama 'Jaldindi' i.e. 'Cleansing of rivers' has achieved great success and the credit goes to my students, teachers and the non-teaching staff of my school. I wish all the best for the na�onal level Fes�vals.

Monika Paliwal(Principal)

It's a ma�er of immense pleasure that the school has qualified for Na�onal Science Drama Compe��on which is scheduled to be held from 18th Jan. 2018 to 20th Jan. 2018 at Mumbai. The school is represen�ng the West Zone. We are thankful to your organiza�on for conduc�ng such compe��ons that give the students an opportunity to explore themselves. Drama is the best way to convey that science is an integral part of our life. There is science in every sphere of life. Science has conquered �me and distance. And now it is our turn to develop scien�fic fervor in our students, so that they can face challenges in life. It is indeed a privilege to par�cipate on such a big —tremendous pla�orm. Our students have acquired a lot. Apart from conveniences and comforts, the students understood the significance of science and how we can develop global understanding and peace. This amalgama�on of science and drama has enlightened our students to the fullest. We hope that together we'll be able to build a future full of light and wisdom.

WestZoneNSDF 2017-18Patan, Satara, Maharashtra

Smt. Gaikwad Anandi Yaswantrao

(Principal)

WestZoneNSDF 2017-18

Sou.Sulochanabai Patankar Kanyashala,Patan

Sir Padampat Singhania School Kota, Rajasthan

Alka Mathur(Principal)

Science drama plays a vital role in developing scien�fic temperament amongst the students. They are able to connect science and Nature with their lives. Generally, science is considered to be a difficult and boring subject but when students are involved in role-play, they find that science is life itself. Their crea�vity gets wings when they collec�vely think and plan for the plot, props and dialogues of the play. They get the inspira�on for new inven�ons and discoveries through the lives of great scien�sts and discoverers. The students who watch the drama as audience are also mo�vated to think logically and scien�fically. This helps in removing the supers��ons from our society. In our school also, we have found a lot of change in students' a�tude a�er their involvement in this ac�vity. Many students have read the biographies of scien�sts and developed plots of dramas on their lives. Most of the students are showing interest in prac�cal work; their a�endance in Laboratory is increasing. They are developing scien�fic temper. I hope and expect that the earnest endeavors of the Govt. for promo�ng science through ac�vi�es will realize the dream of Gurudev R.N. Tagore when he wrote: “Where the clear stream of reason, Has not lost its way into the dreary desert sand of dead habits,Into that heaven of freedom, my father, let my country awake”

Science drama has indeed evolved as a novel concept in educa�on which fuses technology and science harmoniously with drama – an effec�ve medium to communicate any significant message to society – to provide students a meaningful learning experience. Science drama, of late, has opened up the portals to students' crea�vity, innova�on, imagina�on and mul�-dimensional thinking, besides, honing their live performing skills and harnessing their dormant kine�c energy which must receive a produc�ve outlet. Science drama compe��on is a worthy a�empt by the Science Society of India not only to promote science and technology through it but also research and survey which form the warp of any scien�fic innova�on and discovery. Science drama is a unique mul�pronged approach to dealing effec�vely with and overcoming a board spectrum of social and poli�cal maladies and environmental and na�onal issues. Besides, sensi�zing the performers and the actors, it gives them an opportunity to have a hands-on experience on the innumerable problems and help them to build new and broad perspec�ves on them and think out of the box for the resolu�ons of issues at hand using science and latest technology frui�ully. Science drama also infuses in them sense of empathy and sympathy for the vic�ms of the problems. Science drama is also emerging as an effec�ve medium to present the message to society imposingly thereby, impac�ng the mindset and dogmas of members of society, crea�ng awareness and changing their apathe�c a�tude towards the resolu�ons of na�onal, poli�cal and environmental issues and crea�ng a sense of urgency for the elimina�on of these issues using latest scien�fic techniques and methods. The outcome of these effec�ve scien�fic techniques will certainly be a win-win proposi�on for both the na�on and the ci�zens. Change, being the founda�on of progress, can be brought unimpeded by the young torchbearers – the students only- and science drama serves as an instrument of desired change in the hands of our upcoming scien�sts, leaders, industrialists and professionals.

NorthZoneNSDF 2017-18

Zee Litera Valley School(sen. Sec.) Bhiwani, Haryana

OP Jindal Modern SchoolHisar, Haryana

NorthZoneNSDF 2017-18

Julian Egbert(Principal)

Progress in science and reasoning is the basic of human development. Progress of modern science has gone beyond our dreams. But the common man is s�ll far away from the basic knowledge in science when this sphere is within our control. If science is meant for the development of society, then we should have people with knowledge in science. Science dramas have a vital role to play in shaping a student to learn from his surroundings and convert it into knowledge in science which can be used for the development of society.

But the most difficult thing is the synchroniza�on of drama and science. Science sees things in a fact finding mode whereas drama stands for emo�onal scenes. Bringing two contradictory factors together is the biggest challenge, science dramas are facing. By overcoming this challenge tac�cally, science dramas are the best medium where the viewers are benefi�ed with awareness in science.In realty, science and dramas have common goal. With new inven�ons, science unfolds truth to the world. A drama expresses the realty to the viewers. Both science and dramas lead the society. Science awareness is not only reasoning but must include delibera�ons about environment. Science dramas can work on this aspect. The progress made by science without right direc�on has adversely our environment. Thus the living beings on the earth are finding it difficult for the survival. Science dramas should convey this factor to the children as well as to the society. The school level drama clubs can achieve immense progress in this subject.

Such a club is func�oning in this school for the last fi�een years. The main object of this club is to work in the society than par�cipa�ng in the compe��on. Students are revitalized when they get a chance to par�cipate in the dramas conducted by Na�onal Council of Science Museum. A big opportunity has been presented by the council to our school which is func�oning in a rural background. This is the third �me; our school is par�cipa�ng in the na�onal science drama fest. (2013, 2016 and the current year). We wish all the very best for the tasks undertaken by Na�onal Council of Science Museum.

The vital role of theatre in sharpening the ar�s�c expressions of present genera�on children can never

be undermined in the field of educa�on. Our school has always been keen in u�lizing the crea�ve possibili�es of

theatre in developing the social and emo�onal skills of young learners. The science drama compe��on

conducted by na�onal council of science museums is an effec�ve pla�orm for both teachers and students to

conceptualize and stage a scien�fic theme for the noble cause for spreading awareness.

The forma�ve stages of developing a drama script involve a plan based research work by students to

gather factual data and authen�c informa�on. The linguis�c and literary skills get tested while compiling them

in to a most appealing yet simple theatrical script. The par�cipants get in-depth training not only in ac�ng skills

but also learn the art of designing stage props and costumes. The whole process of construc�ng a play teaches

them the art of situa�onal leadership, �me management and self discipline. It also enables them to cope up

with the differences and grow as a well coordinated team. Their sense of responsibility towards the 'democra�c

values' of the drama team slowly transforms in to a social responsibility aiming to shoulder the greater

responsibility of larger society. The par�cipants also get the educa�onal opportuni�es of visi�ng science

museums, nature parks and historical places during their drama tours. Mee�ng and interac�ng with the actors,

directors and script writers from other parts of the district, state and na�on is really a wonderful opportunity for

students as it exposes them to new theatrical interpreta�ons and novel ideas. These experiences refine their

performance, broaden the outlook and bring more intensity to their expression and team spirit.

This year's produc�on 'Ingalada Hejjegalau' [The foot prints of Carbon] on Green energy spotlights the

burning need of popularizing the nonconven�onal sources of energy in the context of present day energy crisis.

This play grew as an awareness campaign upholding the philosophy of sustainable growth wherever it was

staged. School is really proud to see the young theatre ar�sts who are sincerely commi�ed for eco friendly

green values and living them with true spirit.

I thank all the concerned authori�es for crea�ng such a crea�ve pla�orm to showcase the talents, dreams

and visions of budding drama�sts. I personally congratulate all the par�cipa�ng teams across India for their

dedicated efforts in bringing the science and its core values to the door steps of common public.

SouthZoneNSDF 2017-18

SouthZoneNSDF 2017-18

K P Rajesh( Principal )

Myrtle L F (Lewis-Principal)

AKNMMAM HS SchoolPalakkad,Kerala

St Mary's English Medium SchoolUdupi,Karnataka

Participants

National Science Drama Festival 2017-18

Modern English School

Winner Runnerup

Brighter Academy Imphal, Manipur

Guwahati, Assam

Manip

uri

Assamese

North ZoneNSDF 2017-18

East

Let's Live Together

The name of our Drama is Let's Live Together. In this Drama all creation of nature - human beings, Animals, Birds, Lakes and Rivers live together. This Drama is to convey information and awareness to all that we will not be able to live peacefully with absence of any one of these.

All the time Human has disturbed our nature, polluting river water by throwinggarbage into it, cutting trees of Hills and Mountains thereby making it difficult for fishes and the animals which are taking shelter for survival in their own habitual places. Let’s Live Together - The Drama shows that we human beings can live and survive long in the future on this earth only when we save the nature. So let's live together.

Let's Live Together

Chandani SunarL. Geenita DeviDepika KolomY.Binika DeviA.Leebash

S.MonisonKh.ThoithoibaK. Goutam

Ibohal Chingangbam(Director & ScriptWriter)

Man and nature are inseparable in the process of development and to lead a comfortable life by mankind, nature has to suffer and bear the pain which is inevitable. One cannot take up the process of development without taking into consideration, the plight of nature. In the play “Jhok Jhok Rail Chole”, the little girl Kuhi, who lost her mother at a very young age is shown as the victim of modernisation. She had attachment with one of the trees in her garden. The tree was cut down by the railways. At that point, her friends tries hard to make her happy and helps her to overcome the crisis by planting a sapling of the same tree, that she lost. The play reach its highpoint when, Bitupan, a jovial boy in a playful manner makes everyone realise that only planting a tree will not solve the problem. We should be like a tree, always protecting our surroundings and also vow to do whatever is possible for protecting them by planting a sapling at the end of the play. This establishes the fact that trees are an integral part of human life.

Jhok Jhok Rail Chole

Tonmoyee Borah Arnab Saikia Smriti Sarma

Rishiraj Baruah Hradini Phukan Baivab Momin Nafisa Ahmed Pragyan Konwar

Anjan Bhuyan Boikuntha Saikia

(Script Writer)

&

Rajib Kro (Director)

North ZoneNSDF 2017-18

East

Jhok Jhok Rail Chole

ChasmaBefore they became the mascot for the Swachha Bharat Mission, they served as the tools of vision for Gandhiji, who had a desire and a vision to see his beloved motherland clean both politically and literally. Now, those iconic glasses have become a symbol of his dream teaching the countrymen to see through his eyes. And so have they become the namesake of this staged presentation.Bearing the torch of Gandhiji's vision and ideals, the play moves ahead spreading awareness about the boons of hygiene and the evils of filth. With a drive of will associated with the capabilities of science and technology, this dream can be a reality, is the message that the play conveys. From something simple like using a broom to waste recycling, Swachhata can be accomplished.Penned and directed by Dinesh Das and brought to life by the students of Kanpura High School, Kamakhyanagar, this is the portrayal of Gandhiji's Swachh Bharat. This is “Chasma”.

WinnerEast

ZoneNSDF 2017-18

Runnerup

EastZoneNSDF 2017-18

Sagarer Aalo( The light of Sagar Island )“ Sagarer Aalo ” is a Science drama based on a true story of harnessing Green Energy. Sagar Island is a shining example to power remote, impoverished area with Solar Energy. Later the Solar and Wind-diesel hybrid generation facilities are also developed there. “Sagarer Aalo ” highlights the lives of villagers ( mainly fishermen ) & the changes by the Elecritification project. The Scientist Gyani baba depicts the challenging and struggling story of the implementation to his student Riya. Information related to Green Energy and control of Global Warming are also presented in a lyrical form in the drama with the use of Bengal's own instrument Dhaak. “Sagarer Aalo ” will portray the village lives of Sagar Deep of Bengal , their daily chores with fishing, song, dance and their journey towards a new horizon.

Pratt Memorial School, Kolkata, West Bengal

Panchayat Raj High SchoolKanapura,Dhenkanal,Odisha

Bijayalaxmi Biswal

Chandramani Lenka(Script Writer)

Dinesh Das(Director)

Kalpana Patra

Prajapta Sahoo

Snehamayee Jena

Krupasagar Baral

Swayamsidh Pradhan

Rajesh Prusty

Ritesh Dehury

Diya Basu Debasmita Das Bageshri Banerjee

Mahasweta Chatterjee

Nayanika Gupta

Soumita Sur Swastika Akuli

Anushka Maji

Jayashri Mukherjee(Director & Scriptwriter)

( The light of Sagar Island )

BENG

ALI

ODIA

The rivers are very important for survival of any civilisation. The history also testifies it. In the present also in all the developed countries worldwide, the rivers are maintained very well. A river not only supports life and livelihood of nearby people but provides many other means to live. The drama CLEANSING OF RIVERS JALDINDI is an attempt to draw attention of people towards a mission of cleaning a river named Indrayani. The drama gives message to separate biodegradable and non — biodegradable wastes. The folk songs highlight importance of rivers and depict the condition of the rivers in the past as well as in present. The conversations tell about dangerous river pollution and emphasises the need of eco-friendly behaviour of human beings in celebrations, Water management & conservation. It also discusses some tips to keep our rivers clean & chemical free. The messages to avoid releasing of untreated industrial waste into rivers and planting more trees are loud and clear to maintain flora-fauna in the adjacent areas. The messages are given through the traditional forms of communication such as kirtans and pravachans which generally people especially in remote and rural areas, like to hear and discuss, thereby, making the communication straight, comprehensible and hence more effective.

Sou.Sulochanabai Patankar Kanyashala,Patan

WinnerWest

ZoneNSDF 2017-18

Runnerup

WestZoneNSDF 2017-18

The play `Navras' is completely a dramatic representation in which the use of props and artificial setting has been avoided. This is indeed a speciality of this play.The play conveys that science has given us in huge amounts. It has made our life comfortable and full of pleasure. As revealed in the theme of Navras, the play signifies that science has a special place in all the `Rasas' of our life. The play highlights the grave issues like 'pollution', clean India Mission, Health and Hygiene, sustainable development with technology and the role of 'yoga' in one's life. The play also throws light on the greatness of our very own Missile Man- APJ Abdul Kalam and Kalpana Chawla. The play `Navras' pays a tribute to such great personalities and inspired the young scholars to lead such sublime lives. The students will definitely learn and spread the message of global peace and brotherhood in unison with science and technology.

Sir Padampat Singhania School, Kota, Rajasthan

Patan, Satara, Maharashtra

Prajakta Tukaram Gurav

Komal Vishnu Mandavkar

Manaswi Nitin Ghadage

Aayesha Anwar Attar

Sayali MahadevSuryawanshi

Vishakha Parashram Arekar

Sanika Satish Jadhav

KshitijaRajesh Pawar

HIND

IMA

RATH

I

Cleansing of rivers

JALDINDI

Sau. Patankar Sheeladevi Dhairyasheel

(Director and Script Writer)

Navras

Navras

Rajesh Sharma(Director and Script writer)

Ikjoy Singh Piyush Deep Juhi Sharma

Mridul Sharma Animaya Nigam Nitin Dhaker Apurv Sharma Abhay Saini

Cleansing of Rivers Jaldindi

WinnerNorth

ZoneNSDF 2017-18

Runnerup

NorthZoneNSDF 2017-18

यह कहानी उ�तर भारत के एक छोटे से गाँव रामगढ़ म� रहने वाले मंदार �सहं क� है जो लालचवश एक ह�पताल से कोबा�ट-६०

नामक रे�डओ एि�टव पदाथ � को चरा लाता है I पर�त परमाण �व�करण से वह �वयं, घर म� रहने वाल� उसक� भाभी तथा आस ु ु ु

पास के लोग भी बीमार हो जात ेह� I तब मंदार �सहं का भतीजा भा�कर, जो अमे�रका म� नासा म� काम करता है, अपने गाँव

वा�पस आता है और अपने चाचा व माँ क� जल� हई �वचा देख कर परमाण �वक�ण � के क�भाव को पहचान लेता है I उसके बार ु ुु

बार पछने पर चाचा जी कोबा�ट-६० क� चोर� क� बात �वीकार करत ेह� I भा�कर अपने बचपन के �म� केत के साथ �मलकर ू ु

उ�ह� डॉ�टर के पास ले जाता है पर�त चाचा जी क� हालत बहत ख़राब हो चक� है I वह अपनी पीड़ा सहन नह�ं कर पात ेतथा कएं ु ु ुु

म� कद कर अपनी जीवन ल�ला समा�त कर लेत ेह� I एक रात भा�कर सपने म� चाचा जी को देखता है जो उससे आ�ह करत ेह� ू

क� ऐसा कछ करो क� कोई भी परमाण का �शकार न हो I भा�कर को �यान आता है �क उनके गाँव के पास संदरनगर म� परमाण ु ु ु ु

�वधत सयं� लगा है जो पण � �प से सर��त नह�ं है | उसे जापान क� फक�शमा क� घटना भी याद आती है – जहाँ सनामी के ु ू ु ु ु ु

कारण परमाण सयं� से रे�डयो एि�ट�वट� चार� ओर फैल गई थी | भा�कर गाँव वालो को ह�रत ऊजा� के �वक�प के बारे म� ु

बताता है | नेता जी से �मल कर उ�ह� भी सौर, पवन, बायो ऊजा� के �वकास के �लए समझाता है | नेता जी भी खशी खशी उ�ह� ु ु

ह�रत ऊजा� हेत अनदान �दलवाने के �लए मान जात ेह� | सभी �स�न ह� �क उनका गाँव अब ह�रत गाँव बन गया है | ु ु

OP Jindal Modern SchoolHisar, Haryana

HIND

IHI

NDIAnkurArnav Sharma ArchanaHarsh

TanejaTanisha

Alka Mathur(Scriptwriter)

A Journey FromBlack to Green

Deepika HadaSapna Chetany Bhardwaj

Zee Litera Valley School(sen. Sec.)Bhiwani, Haryana

A Journey From Black To Green

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jgus dk jkspd lans'k ns tkrk gSA ;fn lksp ldkjkRed gksxh rks ge oSKkfud fof/k ls dpjs dk Hkh lnqi;ksx dj Hkkjr dks LoPN cukus esa viuk ;ksxnku ns ldrs gSaA ,d

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ls pkgrs gSa fd gekjk ns'k cnys rks gesa viuh lksPk dks ifj”d`r djuk gksxkA gesa mu dpjk mBkus okys yksxksa dks lEekfur ut+jksa ls ns[kuk gksxk ftudks lekt rqPN ]

fujknj ,oa vogsyukRed n`f”V ls ns[krk gSA blh lans'k dks ysdj tu&tu dks tkx:d djus ds fy, *dpjk uxjh* ukVd ,d u;k mRlkg] ,d ubZ lksp] ,d u;k

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vPNh djuh dj pyks] ;s ftUnxkuh vkidh]

yksx lcd ysa] lqudj dgkuh vkidhA

Kachra Nagari

Kachra Nagari

Nishad Sanjog Rahul

Arindam Adit Yashika Viney Shaurya

Sanjay Sethi (Director-Script Writer)

Ms. Rekha(Director)

AKNMMAM HS School

Winner Runnerup

St Mary's English Medium SchoolUdupi,KarnatakaPalakkad, Kerala

mala

yala

m

SouthZoneNSDF 2017-18

SouthZoneNSDF 2017-18

AvaseshipukalThere are many species which were decimated from this earth due to various reasons. Dinosaur, Mammoth..........the list goes on. Human may be the next one in the list. It will be the most tragical end of human being who is solely responsible for this. Human is involved in the activities to bring nature under his control. Most of the developments are adversely affecting the nature. Such a situation is dramatised in the play “AVASESHIPUKAL”. All living beings in a river will perish if a river dies. The unbearable experiences by the living beings in the river create a self defence amongst them which may endanger human life. The drama unfolds that the fate of the human who is sitting on top of his arrogance will come to an end.If Human can read the mind of other living beings on the earth, such tragedy can be avoided. The drama reminds us that we should think about nature to survive on the earth.

Ingalada Hejjegalu [The foot prints of Carbon ] Ingalada Hejjegalu is a Kannada play which spotlights the burning need of popularizing the non conventional sources of energy. The play exposes the severeness of the energy crisis to gather a momentum for social change. The play begins with a melodramatic monologue of Mother Nature who recollects the phenomenal moments of human's intellectual growth which discovered the inestimable precious wealth of nature. But when the greedy human unearth the Carbon contained fossil fuels, she warns them of the disastrous consequences. The overambitious human disregard the safety of Mother Nature by over utilizing the petroleum fuels which results in pollution causing variety of diseases unknown and unheard off. The play takes a revolutionary turn when 2 social activists enter the village and spread awareness regarding the various possibilities of adopting eco friendly green energy sources. The village folk enthusiastically experiment the solar and wind energy to be part of green energy campaign. The play ends with a hope to erase the monstrous footsteps of carbon from the blue planet and make the world a better place to live.

Ingalada Hejjegalu

( The foot prints of Carbon )

Avaseshipukal

kann

adaSabarinath M Sreekesh R Arunima S Nair

Vivek K

Hariprasad M Devika N

Sreya Prasad K Aswathy R Menon

K P Rajesh( Principal,Script Writer

& Director )

Pratheek S Narasimha Priyamvada

SanjanaS Kotian

Srivatsa Vidmahi Shraddha K Bhat

Athulya

Vinaya Suvarna S(Director & Script Writer)

THE JURY :

There is no doubt that in a contemporary world, science can always make our society better, and unlike all the other arts, drama creates a world of

its own. As human beings, we need to actualize ourselves by creating.