THESIS-JAN¶2012 DD SYNOPSIS ON

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CENTRE FOR PERFORMING ARTS ,sec-62 MOHALI

AJAY PRATAP 0706001
THESIS GUIDE:SONEPAT (HRY)

PROF.VIJAY KUMAR

Methodology 7. Significance of the project 9. Aim and Objectives [CENTRE FOR PERFORMING ARTS . Scope of the project 5.SEC-62 MOHALI ] 4. Problem statement 3.Sources & Collation of data .THESIS-2012 TH CONTENTS 1. List of Exemplars 8. Introduction 2. Site information 6.

´ . Archeology delivers traces of dance from prehistoric times such as the 9. face. and presence as a medium. opera. circus arts and musical theatre. It is not possible to say when dance became part of human culture. 3300 BC. TYPES OF PERFORMING ARTS: Performing arts include the dance. they demand special precautions and space requirements for practice and performances. theatre. It can also be ceremonial.SEC-62 MOHALI ] ³Music and rhythm find their way into the secret places of the soul.000 year old Rock Shelters of Bhimbetka paintings in India and Egyptian tomb paintings depicting dancing figures from c. Dance has certainly been an important part of ceremony. competitive or erotic. usually rhythmic and to music. magic. Dance does not leave behind clearly identifiable physical artifacts such as stone tools. Spoken word. Despite of being part of performing arts circus and magic cannot be included in the project scope. This is because. artistic and moral constraints and range from functional movement (such as folk dance) to virtuoso techniques such as ballet. aesthetic. rituals. DANCE: Dance is an art form that generally refers to movement of the body.THESIS-2012 [CENTRE FOR PERFORMING ARTS . music. celebrations and entertainment since before the birth of the earliest human civilizations. cultural. social interaction or presented in a spiritual or performance setting. used as a form of expression. Definitions of what constitutes dance are dependent on social. . social or performed for an audience. Dance can be participatory.Plato INTRODUCTION PERFORMING ARTS: The performing arts are those forms art which differ from the plastic arts insofar as the former uses the artist's own body. hunting implements or cave paintings.

This emphasis on narrative elements made our theatre essentially theatrical right from the beginning. Indian folk theatre can be broadly divided into two categories-Religious and Secular giving birth to ritual theatre and theatre of entertainment respectively.Ramlila. FOLK THEATRE was the second phase of evolution of theatre in India. medieval and western theatre and is given a new versatile broader approach at every level of creativity. and the Modern theatre.SEC-62 MOHALI ] THEATRE IN INDIA: Theatre in India has experienced major changes during times starting from earliest Sanskrit theatre to modern Indian theatre. And they both influence each other. Anka. Prakarna. Bhand. with recitation singing and dancing becoming integral elements of it. Vithi Prahasna. mime. Theatre in India started in narrative form. traditional or folk theatre. Samvakara. Tumhari Amrita. Bhana. Dima and Ithangra. . And there are also subcategories.Natyashastra focuses only on two of these types-Natya and Prakarna. movement all mixed into one and being called Natya-theatre in English . Rasleela. Nautanki and Wang Come under this ritual category. That s why theatre in India has encompassed all the other forms of literature and fine arts into its physical representation: literature. Mahatma v/s Gandhi are most famous plays of 19th century. There are three main categories of Indian theatre-Classical or Sanskrit theatre. dance. There are said to be ten types of Sanskrit plays-Natya.THESIS-2012 [CENTRE FOR PERFORMING ARTS . Bitter harvest. POST INDEPENDENCE THEATRE IN INDIA has become far richer by suitable mixture of different styles and techniques from Sanskrit. Vyayoga.

anger as well as the story itself. 6. love.THESIS-2012 [CENTRE FOR PERFORMING ARTS . movement and technical aspects of the entertainment as an integrated whole. 8. Bharatanatyam Odissi Kuchipudi Kathak Mohiniyattam Kathakali Manipuri Sattriya Bharatnatyam Kathakali Odissi Kuchipudi Kathak Mohiniyattam Manipuri Sattriya . 5. Classical Indian musical theatre is a sacred art of the Hindu temple culture. The emotional content of the piece humor. pathos. 4. music. is communicated through the words. acting.SEC-62 MOHALI ] MUSICAL THEATRE: is a form of theatre combining songs. The Sangeet Natak Academy currently confers classical status on eight styles: 1. It is performed in different styles. 3. and dance. spoken dialogue. 7. 2.

POPULAR MUSIC Film music The biggest form of Indian popular music is filmi. popular. Light classical or semi-classical music include the following genres: thumri. Raga and other forms of classical Indian music began to influence many rock groups during the 1960s. most famously The Beatles. or songs from Indian films. ghazal. including Carnatic and Hindustani music. INDI-POP MUSIC Indian pop music. either in its construction. and modern beats from different parts of the world.THESIS-2012 [CENTRE FOR PERFORMING ARTS . Indian Classical music Indian POP Indian Rock music Indian Raga and Rock fusion . INDIAN ROCK The rock music "scene" in India is extremely small when compared to filmi or fusion musicality "scenes" but has of recent years come into its own. and Hindustani music.SEC-62 MOHALI ] MUSIC: The music of India includes multiple varieties of folk. The film industry of India supported music by according reverence to classical music while utilizing the western orchestration to support Indian melodies. & classical music . often known as Indi pop or Indi-pop. has a history spanning millennia and developed over several eras. found in the northern and central regions. India's classical music tradition. achieving a cult status of sorts. India is made up of several dozen ethnic groups. its timbre. such as the sitar and tabla. or its use of instrumentation. chaiti. dadra. is based on an amalgamation of Indian folk and classical music. found predominantly in the peninsular regions. having distinct cultural traditions. pop. It remains fundamental to the lives of Indians today as sources of spiritual inspiration. speaking their own languages and dialects. cultural expression and pure entertainment. The two main traditions of classical music are Carnatic music. kajri and tappa. ROCK & METAL MUSIC Raga rock is a term used to describe rock or pop music with a heavy Indian influence.

music and theatre. These values have to be conserved for the future generations. usually but not always under one roof. To provide nourishing environment To provide financial and moral support To provide proper guidance and encouragement. Along with this there are other needs engaged with the growing artists as: y y y y To provide better opportunities. each possibly designed for a specific purpose such as symphonic music or chamber music or theatre. And in case of India that has a long history of culture and diverse traditions the PAC becomes a requirement as these cultural values have provided India a global identity and recognition. INDIA has rich cultural values and diverse traditions in it. including dance. PROBLEM STATEMENT HOW TO ENCOURAGE PERFORMING ARTS & MAKE THE ARTISTS OF VARIOUS ART FORMS WORK MORE EFFICIENTLY IN A COMBINED PLATFORM SET FOR ALL OF THEM THROUGH ARCHITECTURE .entertainment balanced growth of the city and society and to spread knowledge. y NEED: Performing arts function well in promoting culture and traditions of a place. ANYBODY WHO CUTS HIMSELF OFF FROM THE CULTURAL GENIUS OF THE COUNTRY HE LIVES IN CREATES A BARRIER WHICH MAKES IT DIFFICULT FOR HIM TO FUNCTION EFFECTIVELY . They have to be promoted through some medium .The centre will offer a vital role for promoting art and culture . JAWAHAR LAL NEHRU.SEC-62 MOHALI ] ABOUT PERFORMING ARTS CENTRE: y A cluster of performance spaces.THESIS-2012 [CENTRE FOR PERFORMING ARTS . but multi-purpose as a whole. A multi-use performance space that is intended for use by various types of the performing arts. .

Imbuing regional architectural character of the native land. and the authority is keen to attract private sector investments for development of the project under appropriate public private partnership model(PPP).THESIS-2012 [CENTRE FOR PERFORMING ARTS .through Punjab Infrastructure Development Board(PIDA). Music and Theatre design to create a good product using my skills and all college time s architectural learning. OBJECTIVES: There is a great need of such centers for entertainment balanced growth of the society and to promote the rich Indian culture to maintain the identity and vulnerability of our rich history. Music and Theatre design to create a conducive environment for creating excellence.The land area is 6. . Designing with such architectural approach that can develop the interest and boost up the creativity of the artists. PIDA is facilitator for the implementation of the project. y y y Understanding needs and technical aspects of all the performing arts including Dance.SEC-62 MOHALI ] PROJECT DESCRIPTION:GMADA-The Greater Mohali Area Development Authority has proposed Performing Arts Center on a piece of land located at sector-62(SAS Nagar)Mohali . AIM: The Aim is to cater to the needs of technical aspects of all the performing arts including Dance.3 acres adjacent to the proposed Punjab haat.

Aim is to shape the built environment.SEC-62 MOHALI ] Generating an aura of interest inside the built up viz-more interaction spaces formal and informal. happening environment. Designing something more appropriate that can better serve for all forms of performing arts. envelopes/ enclosure of effective influences on the users and with proper considerations of their interest and use patterns. green spaces and sittings. SCOPE OF THE PROJECT: y y y y y Collection of all traditional and contemporary dance forms under one roof.THESIS-2012 OBJECTIVES EXTENDED y y y [CENTRE FOR PERFORMING ARTS . TENTATIVE REQUIREMENTS : y y y y y y y y y y y y y y y Large Auditorium for 1000 people Workshops Rehearsal spaces and performance stages Library with all updates and history Interaction spaces as much required Sculpture court Exhibition areas Public amenities Multipurpose halls Instrument stores and lockers Administration Seminar rooms and recording rooms Conference hall Refreshment and canteen areas Dormitories (if required) Ticket counter and reception VIABILITY OF THE PROJECT: The project being in Punjab the land of traditions will prove much efficient than any other areas of north India because of the natives love towards art and history and their attachments to old times and traditions. Enhancing more multi usage spaces including flexibility of spaces during design. . Producing something more interactive and more artistic to serve society well as an architect. Purposeful use of my skills and creativity with full inputs and passion. Establishment of an international platform to accomplish goals of social interactions and promoting Indian culture.

APPROACH: From 187 ft wide road connecting it to Chandigarh and frontage on 100 ft wide road INTERNATIONAL CONNECTIVITY: 9kms from the International airport. 100 ft wide road providing main entry for the site from YPS chawk Connecting bridge b/w the site of performing art centre and Punjab haat TOPOGRAPHY: The site is complete flat land with heavy natural vegetation. OFF SITE FEATURES: Site is located in the commercial hub of Mohali sec-62. .SEC-62 MOHALI ] Site is located in city centre sec-62(SAS nagar) Mohali at just 3 kms from the sub city center sec-34 and 5 kms from CBD sec-17 Chandigarh.THESIS-2012 SITE LOCATION : [CENTRE FOR PERFORMING ARTS .

SEC-62 MOHALI ] .THESIS-2012 [CENTRE FOR PERFORMING ARTS .

a good exposure will be felt while working. But the need. circus and magic. As performing arts have special attachments to every individual in some way or the other. y y PERSONNEL y Amalgamation of creative thinking and good service facility is the demand of the project. The function of such an institute is to impart training in all forms of performing arts except those which are not so comfortable to learn . . Articles from www. Ashish shrivastav Guided by: . he or she will have the necessary spark within himself or herself to become an artist.timesofindia.THESIS-2012 [CENTRE FOR PERFORMING ARTS .i. There is a strong feeling that no person be trained for any particular art. has slowly made people accepting the concept of formal training.Ar.NCPA.e. VIJAY KUMAR. for systematic training. y SOURCES AND COLLATION OF THE DATA: y y y y y y Articles from Google search engine.SEC-62 MOHALI ] LIST OF EXEMPLER STUDIES: y y y y NCPA-Mumbai IGNCA-Bangalore Triveni Kala Sangam(Delhi) Jawahar kala Kendra(Jaipur) SIGNIFICANCE OF THE PROJECT: SOCIAL y y In every form of performing arts.-IGNCA. Hence there is good scope of learning new things architecturally.com Articles from culutureopedia Web sites of PAC s.NSD Thesis reports: Umesh Mehta. Socially it is required to boost up the interest of the artists and mould them into fine pieces for future. Challenge is there to design a single platform for the different forms. the result of the effort of a single individual or cluster of people so for good end product the proper training is required for each individual.

THESIS-2012 [CENTRE FOR PERFORMING ARTS .SEC-62 MOHALI ] .

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