Salim Arif is an illustrious alumnus of National School of Drama, New Delhi.
A very well known name in the field of
Indian Theatre and Films, he is currently working as Head of Department
of Actors’ Studio in Whistling Woods International, Mumbai, Asia’s
leading Film School.
Shyam Benegal’s Bharat Ek Khoj, Gulzar’s
Mirza Ghalib, Dr.Chandraprakash Dwedi’s Chanakya got him International
recognition as a Period Film Designer of substance. Nirja Guleri’s
Chandrakanta, Ketan Mehta’s Sardar Patel, Gulzar’s Maachis &
Hu-Tu-Tu , Govind Nihalani’s Takshak and Anil Sharma’s Ab Tumhare Hawale
Watan Saathiyo are his other films as a Designer. He has been a
consultant for period details in Anil Sharma’s Gadar and Mani Ratnam’s
Guru.
Innovative in approach, Salim Arif has
directed actors like Farooque Shaikh, Sonali Bendre, Tabu, Rakesh
Bedi,Anjan Srivastava, Avtar Gill, Atul Kulkarni, Yashpal Sharma, Javed
Khan, Rajeshwari Sachdeva, Sulabha Arya, Bharat Kapoor, Vaishali
Thakkar, Lubna Salim, Seema Azmi, Harsh Chhaya,Kiran Karmarkar, Anoop
Soni and singers like Bhupinder-Mitaali, Talat Aziz,Rekha Bhardwaj,
Seema Sehgal, Jaswinder Singh amongst others in plays like Aapki Soniya ,
Ghalibnaama, Kharaashein, Taj Mahal Ka Tender, Kaifi Saab, Peele Patton
Ka Ban , Dil Chahta Hai , Shyam Rang, Agar Aur Magar, Bayaane Ghalib,
Rakt Kalyan, Parwaaze Bayaan Aur, KachcheLamhe, Atthanniyaan, Lakeerein,
Chaurangi, Hum-Safar, Sunte Ho, Arre O Henry, Manto Mantra, Yudhishtar
and Draupadi etc. These plays have made him one of the most exciting and
popular director on Hindi theatre scene in India. His critically
acclaimed play Aap Ki Sonia has been performed extensively in India and
abroad. His path breaking Kharaashein and Ghalibnaama were showcased by
Bhartiya Vidya Bhavan, New York at Lincoln Center, NY in 2004.
He made his mark as
Director-Choreographer of important National events with Drums of India
and Wind Instruments of India shows for Republic Day Parade in 1985 and
1986. Goonjte Patthar events in monuments of Delhi got him critical
acclaim in Apna Utsav 1986. He also Choreographed and Directed Octave
2010 presented by NCZCC,Allahabad in Surajkund,New Delhi and Lucknow.
He was awarded a NSD fellowship to work
on the subject of Interaction between Traditional and contemporary
Indian theatre with reference to the works of Habib Tanvir, B.V.Karanth,
Ratan Thiyam and K.N.Panikker.
Some important plays designed by him are
Karna-The great warrior, Ismat Apa Ke Naam,Shyam Rang, Mrigtrishna,
Jisne Lahore Nahin Vekhya and Madhyamvyayoga.
He was commissioned by Encyclopaedia
Britannica (India) to do an appraisal on Costumes in Hindi Cinema titled
The Essence and Fabric for Encyclopaedia of Hindi Cinema published in
2003. He has been a Theatre Critic for Mid-Day, New Delhi, wrote
articles and reviews for Free Press Journal, Mumbai on Theatre and films
and is currently a regular contributor to Hardnews, a magazine
published from New Delhi since 2003. He is also on the visiting faculty
of several prestigious institutions including National School of Drama,
New Delhi, Film and Television Institute of India,Pune, BNA, Lucknow,
National Institute of Fashion Technology, Mumbai and National Institute
of Design, Ahmedabad. He is also a resource person for Sangeet Natak
Akademy,New Delhi.
He was awarded the prestigious Urdu Adab Award of U.P.Hindi-Urdu Award Committee for his contribution in Theatre.
Javed Siddiqi’s play Hum-Suffer is about an erstwhile couple at crossroads, meeting each other over a period of several years.
When Sonal (Lubna Salim) and Sameer (Kiran Karmarkar) decide to divorce after fifteen years of marriage, they do so with an understanding that life can be started afresh, taking a turn at a crossroad and going separate ways. What seemed an amicable solution leaves a few issues unresolved- While Sameer moves on with his quest of solace, an emotionally fragile Sonal finds herself tangled in a web of isolation and despair. The intricacy of human emotions and the delicate threads that hold a family together keep pulling them to each other and apart.
Poignant, Romantic and frequently funny, their lives follow a bittersweet journey of marriage, divorce and missed opportunities. The play is as much about love, as it is about urban alienation, family and relationships.
Voice over - Hana Masood, Faraaz Salim & Farida Siddiqi
Publicity - Kajal Ads
Posters & Exhibition - Arun Kumar
Backstage Help - Umang Prajapati
Lights operated by - Jayesh Dhumasia
Music operated by - Shah Faisal
Associate in Set Design - Arun Kumar
Set Execution - Jaysukh Ravrani
Costumes - Sushil Bhatia of Cambridge Apparells
Stage Manager - Shah Faisal
We are grateful to Gulzar Saab for rendering some of his poems especially for this play.
Written by Javed Siddiqi
Produced by Lubna Salim
Designed & Directed by Salim Arif
An Essay Communications presentation
Kiran Karmarkar : Widely known as Om Agarwal in the path breaking Kahani Ghar Ghar Ki, India’s longest running daily television serial with more than 1000 episodes, Thodi Si Zameen Thoda Aasman and Ghar Ek Sapna, Kiran portrays the challenging role of Sameer in this play. An actor of substance, he has earlier been on Marathi stage in plays like Kimaya Ghar and P.L.Deshpande’s Sunder Mee Honar,besides our very popular play Kachche Lamhe.
Lubna Salim : Now a very popular face as Leela bhabhi in Baa, Bahoo aur Baby serial on television besides several Advertising films, Lubna is an accomplished actress, essaying a wide range of roles on stage from a very young age in plays like Hori, Lok Katha, Aakhri Sawal & Bakri, She graduated as a major actor of substance with plays like Aazar Ka Khwab, Atmakatha, Mera Kuch Saamaan, Shyam Rang, Kharaashein, Biwi-o-Biwi, Collaborators,Peele Patton Ka Ban Kachche Lamhe and Lakeerein. Lubna Salim is remembered for her roles on television in Bharat Ek Khoj, Kadam, Daaman and much acclaimed as Jijamata in Chatrapati Shivaji. She has recently done Madhur Bhandarkar’s Heroine episode for Sony Television.
0ff Stage
Javed Siddiqi-
Satyajit Ray’s Shatranj Ke Khilari to Chakra, Darr, Dilwale Dulhania Le Jayenge, Raja Hindustani, Pardes, Taal, Mammo, Fiza, Zubeida, Tehzeeb , Koi Mil Gaya and Dil Mange Mor have established him as the writer for all seasons, covering the entire spectrum of Hindi Cinema ,fitting perfectly into films of differing subjects and temperaments for the last three decades. Colloquial and crisp, his dialogue has always been noteworthy for being pithy, witty and power- packed. Tumhari Amrita, Hamesha, Saalgirah, Shyam Rang, Begum JaanRaat,Kachche Lamhe and Hum-Suffer are some of his play scripts to leave an indelible mark on stage in India and abroad. He is credited with writing a sequel in Hindustani theatre for the first time in Aapki Soniya.
Gulzar-
The well known leading writer, director, lyricist -poet in films and also Urdu literature is a household name. Known as an artiste of touching sensitivity, his films like Mere Apne, Parichay Koshish, Aandhi, Mausam ,Angoor, Ijaazat&Maachis, have left an indelible mark on movie going masses. His television serial Mirza Ghalib is acknowledged as a definitive biographical sketch of Ghalib. From Mora Gora Ang Laie Ley to Kajrare- Kajrare, and recent Jhoom Barabar Jhoom, his contribution to film songs has been consistent and unique. He has given us songs to hum on all occasions even in his non film music albums like Dil Padosi Hai, Marasim and Vaada. He has been awarded Padma Bhushan by the Government of India besides several National and Filmfare Awards for Films, Songs, Scripts and Dialogue. He was awarded an Oscar for his song in Slumdog Millianire.A notable littérateur of Urdu and also Hindi language, he has the rare distinction of receiving the coveted Sahitya Akademi Award for his collection of stories titled Raavi-Paar. A compulsive poet, he has recorded some of his poems exclusively for Hum Suffer.
Salim Arif-
An illustrious alumnus of National School of Drama, New Delhi, he has several production oriented workshops to his credit in a number of places in India. He was awarded a fellowship to work on the subject of Interaction between Traditional and contemporary Indian theatre with reference to the works of Habib Tanvir, B.V.Karanth, Ratan Thiyam and K.N.Panikker.
His critically acclaimed play Aap Ki Soniya has been performed extensively in India and abroad. His path breaking Kharaashein and Ghalibnaama were showcased by Bhartiya Vidya Bhavan at Lincoln Center, NY in 2004.
Currently working as Head of the Production Design Department at the Whistling Woods, Mumbai, he is also on the visiting faculty of several prestigious institutions including National School of Drama, New Delhi, Film and Television Institute of India, Pune, National Institute of Fashion Technology,Mumbai, National Institute of Design, Ahmedabad, BNA, Lucknow , and Rajasthan University Department of Drama, Jaipur .
He was commissioned by Encyclopaedia Britannica (India) to do an appraisal on Costumes in Hindi Cinema titled The Essence and Fabric for Encyclopaedia of Hindi Cinema published in 2003. He has been a Theatre Critic for Mid-Day, New Delhi, wrote articles and reviews for Free Press Journal in Mumbai on Theatre and films and is currently a regular contributor to Hardnews, a magazine published from New Delhi since 2003.
An associate director in movies like Gulzar’s Maachis, Hu Tu Tu and Khalid Mohammed’s Fiza, his important films as a designer are Ketan Mehta’s Sardar Patel,Gulzar’s Maachis & Hu-Tu-Tu , Govind Nihalani’s Takshak, Anil Sharma’s Ab Tumhare Hawale Watan Saathiyo and Mani Ratnam’s Guru and tele-serials like Shyam Benegal’s Bharat Ek Khoj,Gulzar’s MirzaGhalib,Dr.Chandraprakash Dwedi’s Chanakya and Nirja Guleri’s Chandrakanta . His serials as director on television include Daaman and Saath Saath besides several episodes for Rishtey segment. Some important plays designed by him are Ismat Apa Ke Naam, Shyam Rang, Mrigtrishna, Jisne Lahore Nahin Vekhya and Madhyamvyayoga.
Innovative in approach , exploring new contents for staging, his Taj Mahal Ka Tender, Kaifi Saab, Ghalibnaama, Kharaashein,Peele Patton Ka Ban,Dil Chahta Hai ,Aapki Soniya, Shyam Rang ,Agar aur Magar,Bayaane Ghalib,Rakt Kalyan,Lakeerein,Kachche Lamhe and recent HumSuffer has made him one of the most exciting and popular director on Hindi Stage in India.
Essay Communications-Essay Communications is a forum for theatre and other allied arts in Mumbai. Led by Salim Arif, the group has actors like Farooque Shaikh,Sonali Bendre,Vaishali Thakkar, Lubna Salim, Seema, Atul Kulkarni,Yashpal Sharma,Harsh Chhaya,Kiran Karmarkar,Anoop Soni and singers like Bhupinder-Mitaali, Talat Aziz, Jaswinder Singh amongst others perform in various productions so far. Ghalibnaama, a concert comprising of the letters and poems of Mirza Ghalib, Kharaashein-the scars from riots, a collage on stage of Gulzar’s writings on communal harmony, Lakeerein another show on Gulzar’s writings on Indo-Pak. Peele Patton Ka Ban a collection of three monologues and Javed Siddiqi’s Aapki Soniya , Kachche Lamhe and Hum-Suffer are productions which gave this group a distinct identity as a platform for meaningful artistic presentations
Contact us at essaycommunications@gmail.com
Salim Arif Transcript of live chat with Theatre Director, Salim Arif on August 22, 2002 "As a director Kharaashein has been my best work till date" Salim Arif Theatre Director Netjerky > Coming from the National School of Drama (NSD), how come you didn't take up acting and what made you take up direction? Salim Arif > When I started doing theatre, I felt I could do much more in terms of design, lighting than just (play) a role. So as a director I was doing much more and was also acting frequently on stage. But I realised that I lacked the attitude of an actor and that my inclination was more towards direction and design. I never saw myself as an actor on stage. Had I been acting, I wouldn't have designed costumes, done direction etc (smiles). Queen_mary > You started your career with designing costumes for period films and television serials. Do you have great knowledge of that era or of costume designing? Salim Arif > I have done extensive research in the historical aspects of costuming. And, I am probably the only person who has done entire history of India from the costume point of view. My first work (that's how I came to Mumbai) in Shyam Benegal's Bharat Ek Khoj (on TV) would prove. Now, whenever someone makes a period film in India, inevitably they watch my work in Bharat Ek Khoj (it has become a referential work for period design in India). When Oliver Stone met me (He is making Alexander The Great), he consulted me for the costumes in his proposed film. Great knowledge would be a very pompous thing for me to say. But good knowledge, based on my research work is what I would say I possess. This costuming (in films) is more of character study. It is an extension of my training at the NSD and a director's vision. My costuming is rooted in the text and milieu of the subject, unlike the works of contemporary designers who are into fashion designing creating looks that are cosmetic in nature. Kalpana > Has your new Hindi play, Kharasheshein been well received by the masses because it deals with a tragic subject? What feedback you've been getting? Salim Arif > Kharasheshein has received tremendous response from whosoever has come to see it at the auditorium. We have received a standing ovation in all the shows so far. About the general masses, I cannot say because I have not had the opportunity of performing in front of them. And I don't see it as a street play. It is a serious subject but everyone has seen the point of view of the play and been moved by it. Kavota > Which was your first play as a director? How has been your experience in theatre so far? Salim Arif > My first play was "Exception and The Rule" as a workshop production in Nainital in 1983. I was still a second year student of NSD then. My last year, in Mumbai has been very good. I designed Naseeruddin Shah's Ismat Apa Ke Naam , directed the biggest Hindi theatre hit "Taj Mahal Ka Tender" with IPTA Mumbai and I have done a show on Ghalib's poetry and prose called "Ghalib Nama" where I read his letters on stage and Jaswinder sings his ghazals. Annu > Considering that so many low budget films are doing well today, do you also plan to make a low budget film? Salim Arif > I am in fact planning one with Atul Kulkarni of `Chandni Bar' fame and he is also acting in Kharaashein as the lead actor. Let's see. Anuradha > Why don't you concentrate on one medium - television, theatre or in making movies. Don't you think that will help firm up your footing in any one medium? Salim Arif > The kind of work I was doing before I came to Mumbai was essentially in theatre. So, while I was doing TV and films, theatre took a back seat. I was only teaching theatre at the National School of Drama (NSD) for 15-20 days in a year (at workshops). Since the last two years I have wanted to be an independent director in films without a Godfather here or abroad. It's taking time and my theatre commitments had to be fulfilled. But, I do only one thing at a time. Right now, TV is off. In films, I am struggling presently. Hence, theatre gives me a creative outlet at present. I may take off from theatre and make a film and again come back to theatre or films or TV, in case something interesting happens. Lamhrithik > You said you are planning a low budget film, so, would you take freshers to play the lead roles in your movie? I am interested in acting. Salim Arif > Freshers are not a problem but you need a producer to finance the project. And, for someone like me, who himself is a fresher, it might be difficult to say at the moment. Anu > What are your forthcoming projects? Salim Arif > I have one play lined up, apart from a film. The play would be on Habba Khatoun, the legendary love tale from Kashmir. The play is written by Javed Siddiqui. My film will take a little time. By end of this year it should be on. I am writing dialogues for Kalpana Lajmi's film Kyon . Prince > Films and television have big money. What about theatre? Are people willing to see and invest in theatre as well? What do the audience like to watch? What's the trend? Salim Arif > In Mumbai, especially in theatre, people want to watch comedy mostly, which is understandable. The trend is to create comedies as Gujaratis and English theatre shows, although there are serious plays. It's only in Marathi theatre that, a serious play can become a major hit now. Although, exceptions prove the rule in other languages. Koel > What has been your best performance so far ? Salim Arif > As a director Kharaashein has been my best work till date. Although, in costuming I have a soft corner for "Chanakya", Bharat Ek Khoj and Maachis . Priya > How was it working in Hindi films and with such good directors? Salim Arif > I have worked because of them. People like Shyam Benegal and Gulzar have spoiled me to the extent that it is difficult for me to work with anybody and that is one reason I have been very choosy about my projects in films and TV. Richa > How did you select the cast of Kharaheshein ? Are you going to stage the play in other cities as well? Salim Arif > The actors were known to me for quite sometime. Atul Kulkarni, Yashpal Sharma, Anup Soni are my juniors from NSD, besides being brilliant actors. Kishore Kadam, Ganesh Yadav are old friends and also very good stage actors from Marathi theatre. Vaisahli Thakkar is well known in Gujarati theatre and Lubna has been almost a veteran in Hindi theatre in Mumbai. And lastly, in Shyam Rang where she played Radha and also in Chattrapati Shivaji (on TV) she was doing Jijamata's role. So, I am very fortunate to have such a good team with me. And, they were all more than willing to do this because of the subject and Gulzar sahab's writings. Zombie > Just like the film directors vie for foreign market; do you think Indian theatre should be pushed to have an international screening and audience? Salim Arif > Definitely, and Indian theatre has so much to offer in terms of variety of content and styles. Komal > Does theatre have better actors than films ? I feel some theatre actors are really talented. Salim Arif > Definitely, as in theatre they are practicing their craft on a daily basis and the Riyaz (practise) is very similar to that of a singer or a dancer. That is why, lately, so many good actors have emerged from theatre and graduated into films. Grace_mary > What training is required to become a good theatre actor? Salim Arif > An actor needs to have a role to practice his craft while he may keep his body and mind in a state of readiness in training because, that is his instrument which he has to use in a role. Theatre training would mean a composite awareness and practice of all your faculties. While it may happen naturally to a very few, acting does require a lot of practice. If you compare it with dance and music, a musician or a dancer hesitates to perform on stage even after four to five years of daily Riyaz or practise , while we have actors who think they have become actors by doing a couple of plays. Bhavna > Theatre lacks the masala element as in the case of films. Is this the reason why theatre is not so popular? Salim Arif > You have answered the question. Although the folk theatres of various regions of India has a large dose of all the masalas you associate with Hindi films. It would be interesting for you to know that Hindi films have still not got away from the theatre tradition of Parsi plays of the last century which were a combination of all the nine rasas or a bhel puri kind of a mix of all the emotions put together. But the contemporary urban theater has by way of variety explored subjects and styles, which are not communicated as easily to a layman, as some other popular forms of theatre. Sonyaa > Which are the good foreign plays you've watched? How far is Indian theatre influenced by western theatre? Salim Arif > Last I happened to watch "Irresistible Rise of Arturo Uii" from Berlin Ensemble in Mumbai, which was a memorable production and performance by the lead actor. Foreign theatre has influenced a lot of urban Indian theatre as well as helping some Indian directors find ways of exploring our own folk traditions and evolving a synthesis, i.e for example Vijaya Mehta's and Fritz Bennewitz's production of "Caucasian Chalk Circle" done in Marathi folk form and so many other instances of similar experimentation, largely of using foreign plays and content and adapting it to Indian regions. For instance "Khilaya" is a Gujarati adaptation of famous American musical "Fantastics". Sign Off Message > My current Hindi play, Kharaashein came into being because of the necessity to warn an average Indian from getting influenced by caste considerations. The changing psyche of the common man is my concern in this play. And how he gets blown off losing his sense of reason in that moment of crisis. I would say, let the humans in us survive and then he/she can choose to be a Muslim or a Hindu or a Christian or a Sikh, but not vice versa. Thanks for chatting with me. Bye!!!
THE KIND of vitality which has come up in Hindi and English theatre in Mumbai in the last few years is largely because very few theatre practitioners are depending on theatre for their survival." That might sound like a contradiction, but this sure is incontrovertible that the best theatre one can see these days in Hyderabad comes from outside, from Mumbai largely. And while we lament this state of affairs, it is worth a look how `they' manage to keep their head high up there. Salim Arif, theatre teacher, director and reputed art director, is familiar with the theatre scene all over the country. In town, last month, for the first performance outside Mumbai of Rakesh Bedi's comedy Biwi O Biwi in which he plays the role of a male chauvinist husband, he spoke at length on the problems being faced by theatre in the country. "You will be surprised to know the kinds of themes that have been tackled in Bombay theatre in the last four or five years. Chetan Datar's Mata Hidimba or Vikram Kapadia's Black with Equal or Rahul Da Cunha's or Atul Kumar's work — it has been such a wide spectrum, that one can safely say that the best theatre today is happening in Mumbai," he says. It is as if a small bunch of creative people dug in their heels and have defiantly decided to give their best to it. Salim, too, has contributed to this sudden vigour in theatre in a small way by developing new types of contents. His Ghalibnama is a combination of Ghalib's letters and poems presented artfully on stage. Kharaashein, a highly appreciated show, is a combination of poems and stories of Gulzar on the theme of recurrence of communal riots. Presenting poets and writers in a theatrical form which is much more than mere reading or musical rendition has become Arif's speciality. Arif has been into films and television also. "My TV serial called Daaman — a contemporary Muslim social was on Sahara till last year and quite popular. I have done Saath-Saath, Natkhat Rani and episodes of Rishte and Fauji as director. In fact, I have shot two episodes of the `Saughat'— the Idd episode of Zee's Rishte (1999) and one more episode at Siasat Kothi, Masab Tank and such places. So, I have a very special bonding with Hyderabad. I love the city." After passing out from the National School of Drama in Delhi with specialisation in direction and designing, he did a lot of workshops all over the country. "It allowed me to work with the likes of Habib Tanvir, B.V. Karanth, Ratan Thiyam and K.N. Panikkar, and understand traditional Indian Theatre," he says. His break into television came with Shyam Benegal's celebrated Bharat Ek Khoj. "Shyam was looking for someone to do the research and the design for the costumes and make-up. So, I did the entire series as a designer. Nitish Roy was the other designer. And then, I did Chanakya, the film Sardar, Mirza Ghalib, the serial, and then Chandrakanta, and then I branched off into direction in television." After having worked for such high quality productions, Salim is plainly disappointed with the present situation. "By the time my turn came, the big budgets ran out for the kind of inputs required for such productions. And the sad part is that the channels were also not keen on getting authentic work. That's where, I think, we all suffered."
"Today, I feel it is impossible, certainly very difficult to make serials like Tamas, Bharat Ek Khoj, Chanakya — they were high-price serials then also. The kind of money they spent on Ghalib is the maximum you can get today, and that too when costs have gone up five times. I was fortunate to have been part of this path-breaking work on Indian Television. Today's films allow that kind of budgeting, but I am not part of the scenario because I do not enjoy the present cavalier attitude toward authenticity. It's all glamour and beauty oriented." Including, say, Devdas? "Yes, Devdas too. I see no reason why we should do that kind of kitschy work. Or, for that matter Asoka. I think that there is this very stupid feeling among people that authenticity can only be boring. They should probably see the best of Hollywood, for inspiration!" Nor is Salim too keen on television work these days. His teaching assignments and theatre work, mainly with I.P.T.A., Mumbai, keep him going. Although support for meaningful theatre is shrinking everywhere, Salim is quite confident it will be able to adapt and develop suitable strategies to sustain itself even if on the margins. "Unfortunately, not many people want to see a serious play at the end of the day. I don't blame the audience because it's difficult for them to tax their mind and get to see a problem play on an evening. People are willing to pay to laugh, because it's becoming extinct in our lives. We have stopped laughing at ourselves and in working situations. If theatre has to play that role, we will have to go with it to some extent at least. And I think theatre is the only alternative to the kind of farce that media is projecting onto the Indian masses." "We still try to convey something serious even through our comedies. Like, Taj Mahal Ka Tender. It's like an R.K. Laxman cartoon — a satire on the bureaucracy and the prevalent corruption. The basic theme is that had Shah Jahan wanted to build Taj Mahal today, what the bureaucracy and the system would have done to it! It's amazing, this play (written in 1997) has been so prophetic, today we can't think of doing it in U.P. because bureaucrats fear that it's too close to contemporary reality. So, nobody would give it permission," he chuckles. * * * "We don't do plays to make money. Our plays have an inherent message," As Salim Arif puts it, "To be a successful theatre artiste today, the attitude has to be professional, because anything less than that would not be worthwhile. But the market forces should not be allowed to dictate what you play. You need that kind of creative freedom. "It's a kind of liberation he needs to achieve in the first instance. I'll give you a fine example. Naseeruddin Shah play on stage a tribute to Ismat Chugtai, Ismat Apa Ke Naam. Now it is possible only because Naseer is totally independent of market forces, he is getting sufficient money out of his film assignments. He doesn't accept one bit of sponsorship! Same with us too. We make money there — in television and films — and do theatre practically for free." SUMANASPATI
Salim Arif,Javed Siddiqi,Gulzar sit while Harsh Chhaya,Kiran Karmarkar and Lubna stand after a show of Kachche Lamhe
Salim Arif
An illustrious alumnus of National School of Drama, New Delhi, he has several production oriented workshops to his credit in a number of places in India. He was awarded a fellowship to work on the subject of Interaction between Traditional and contemporary Indian theatre with reference to the works of Habib Tanvir, B.V.Karanth, Ratan Thiyam and K.N.Panikker. His critically acclaimed play Aap Ki Soniya has been performed extensively in India and abroad. His path breaking Kharaashein and Ghalibnaama were showcased by Bhartiya Vidya Bhavan at Lincoln Center, NY in 2004. Currently working as Head of the Production Design Department at the Whistling Woods, Mumbai, he is also on the visiting faculty of several prestigious institutions including National School of Drama, New Delhi, Film and Television Institute of India, Pune, National Institute of Fashion Technology,Mumbai, National Institute of Design, Ahmedabad, BNA, Lucknow , and Rajasthan University Department of Drama, Jaipur . He was commissioned by Encyclopaedia Britannica (India) to do an appraisal on Costumes in Hindi Cinema titled The Essence and Fabric for Encyclopaedia of Hindi Cinema published in 2003. He has been a Theatre Critic for Mid-Day, New Delhi, wrote articles and reviews for Free Press Journal in Mumbai on Theatre and films and is currently a regular contributor to Hardnews, a magazine published from New Delhi since 2003. An associate director in movies like Gulzar’s Maachis, Hu Tu Tu and Khalid Mohammed’s Fiza, his important films as a designer are Ketan Mehta’s Sardar Patel,Gulzar’s Maachis & Hu-Tu-Tu , Govind Nihalani’s Takshak, Anil Sharma’s Ab Tumhare Hawale Watan Saathiyo and Mani Ratnam’s Guru and tele-serials like Shyam Benegal’s Bharat Ek Khoj,Gulzar’s Mirza Ghalib,Dr.Chandraprakash Dwedi’s Chanakya and Nirja Guleri’s Chandrakanta . His serials as director on television include Daaman and Saath Saath besides several episodes for Rishtey segment. Some important plays designed by him are Ismat Apa Ke Naam, Shyam Rang, Mrigtrishna, Jisne Lahore Nahin Vekhya and Madhyamvyayoga. Innovative in approach , exploring new contents for staging, his Taj Mahal Ka Tender, Kaifi Saab, Ghalibnaama, Kharaashein, Peele Patton Ka Ban , Dil Chahta Hai ,,Aapki Soniya, Shyam Rang ,Agar aur Magar,Bayaane Ghalib,Rakt Kalyan and now Kachche Lamhe has made him one of the most exciting and popular director on Hindi Stage in India.
