Thank you for applying for Learning@META workshops.
Seats are unreserved and are available on first-come, first-served basis.
Out of the applications META Secretariat has received, only first 20 applicants will get to attend the workshops.

Out of all the people who have registered only the first 20 will get seating and will increase based on directors/workshop conductors choice.

Workshop door will close sharp at 12noon and whoever does not come on tim,e will not be allowed.

In its wondrous journey of 13 years, (META) Mahindra Excellence in Theatre Award and Festival has nurtured the world of Indian theatre and succeeded in creating a strong theatre community. Carrying forward our commitment to enhance this public engagement, META in a collaboration with the Drama School Mumbai (DSM) will present, for the very first time, a series of Masterclasses during the non-performing hours of the festival from 13th to 18th April 2018.These Workshops by META nominated stalwarts, curated by DSM, will be a unique opportunity for theatre students, practitioners and enthusiasts, here in Delhi, to deep dive into the 10 outstanding theatre productions shortlisted this year for META. A simple theatre-add in the space and time available to ensure a 360-degree immersion for all those who love theatre.


Jehan Manekshaw, Co-founder of the Drama School Mumbai (DSM), will host panel discussions with theatre-makers, all of whom have had significant achievements in their careers, and explore theatre-making for new theatre enthusiasts. These will give attendees an insight into the people and processes behind plays that make it to META.

Training for the Next Generation
Abhishek Majumdar, Anirudh Nair & Abhilash Pillai
in conversation with Jehan Manekshaw

“This discussion seeks to explore how training and pedagogy for theatre can help in forming a bridge with future generations of aspiring theatre practitioners. We find that currently change is being effected more frequently than ever before; each year’s batch of theatre students are as different from each other as previous generations used to be. The social and cultural world that they want to represent through their performances are changing too at an equally rapid rate.
What then can remain relevant from our current and past practices, what do we need to adapt, and what is theatrical training seeking to do in order to skill a new generation of theatre-makers?
Join in and listen to the insights of three practitioners, active in theatre-making and training, as they share their thoughts with those who are aiming to train in the craft of theatre, on what to look out for. ”

Apr 14, 2018 | 4:30pm | Shri Ram Centre

A Place for Design in Indian Theatre
Amitesh Grover, Vasant Selvam & Zuleikha Alana
in conversation with Jehan Manekshaw

“Theatre in India has always found design to be a logistical challenge: be it in the minimal technical time available, costs of design elements, or a relative lack of specialists working in this space. Yet, this hasn’t stopped Indian theatre-makers from finding insightful and creative solutions to working with the design aspect of theatre. Given these challenges, which are those interesting practices that have allowed design to be thought of as an integral part of the story-telling process?
Join this panel of theatre-makers, actively using design,
to get an insight into perspectives that look at the thinking behind design and how it is being made an integral part of the directorial and performance-making process in Indian theatre today. ”

Apr 15, 2018 | 4:30pm | Shri Ram Centre

Workshops @ META

Plot and Narrative

This workshop is an introduction to dramatic plot and narrative structures. It follows a basic 3-hour module that will introduce the participant to common plots and the variations in them, both in terms of treatment of time and space, and content that makes a narrative different from another.
Taking participants through a range of examples of plays from around the world with different origins and styles, students will be encouraged to write two different narrative structures for a plot of their choice by the end of the session.
Participants need to come in with a writing pad, one roll of chart paper, colour pencils and pens. Reading material will be provided.
There is no pre-requisite for this course.
Apr 14, 2018 | 12noon – 3pm | Jhankar Hall, Kamani Auditorium 

About Abhishek Majumdar


Abhishek Majumdar is a playwright, scenographer and theatre director based out of Bangalore. He is a Visiting Associate Professor of Playwriting at New York University Abu Dhabi, a Visiting Fellow at Delhi University’s Department of English Literature and on the Visiting Faculty at Xavier University in Bhubaneswar.
Abhishek’s plays have been performed in English, Hindi, Bangla, Urdu and French. He is currently under commission by the Royal Court Theatre, London, The National Theatre, London, Festival Dramaturgia Buenos Aires and the PlayCo in New York to write and direct new works .
He is a member of Young Vic Directors’ Network, London and The Lincoln Center Director’s Lab 2012. He has taught courses at Indian Ensemble, Ranga Shankara, NSD, and FTII, amongst other places. His plays have been performed in India, Germany, US, UK, Bangladesh, Canada and France. He is a founder of the Indian Ensemble, and was its Artistic Director till March 2018. He was the first recipient of the Shankar Nag Rangakarmi Award by Ranga Shankara for his contribution to theatre .
Abhishek is an alumnus of the London International School of Performing Arts (LISPA), NIT Trichy and Delhi University.

The Speaking Body

“The actor imagines with his body”

– Michael Chekhov

What exactly is this connection between the actor’s moving body and her imagination that Michael Chekhov spoke of? Director David Zinder insists that

“these two elements of the human organism are in fact not separable, but exist in some reciprocal, mutually supportive relationship within a single organising principle of human existence – the bodymind…”

This workshop will seek to explore just that. How can we use the moving body to excite the imagination in order to find an honest connection with the partner and the ensemble? This is the first step towards accessing an emotional array that might be required for a performance.

The session will also touch upon voice and its intricate relation to the performer’s body. The voice begins with the breath and the breath in turn resides in the body. We will explore how the moving body affects and informs the voice and works towards freeing the voice by first freeing the body.

The work has evolved out of specific principles and approaches derived and adapted from the twentieth century masters of actor-training such as Michael Chekhov and Jerzy Grotowski, as well as contemporary practitioners like Anna-Helena McLean (formerly from Gardzienice Centre for Theatre Practices, Poland) and David Zinder.

Apr 15, 2018 | 12noon – 3pm | Jhankar Hall, Kamani Auditorium 
Note to participants:

  • Please wear comfortable clothing. (Track pants and t-shirts, no jeans please!)
  • Please come with a small bit of text that you have committed to memory. It could be a piece of prose or poetry (about six sentences).

About Anirudh


Anirudh Nair is a theatre practitioner based in New Delhi. He is an alumnus of the University Of Exeter, UK, where he completed an MA in Theatre Practice under the guidance of Professor Phillip Zarrilli.

His training practices have also been shaped by his close association with the ACTOR-CHORUS-TEXT (ACT) ensemble. ACT is an international group of theatre artists led by British director Anna-Helena McLean (formerly of Gardzienice Centre for Theatre Practices, Poland). ACT works to develop a contemporary vocabulary driven by dynamic physicality and powerful original music, which can be applied to both classical and contemporary texts.

He is the co-founder of Guild of the Goat, a new theatre company based in New Delhi. The guild’s most recent work, Sonnets c.2017, is directed by Anirudh. The play is a contemporary re-imagining of Shakespeare’s Sonnets as a site-specific, bilingual, promenade production set in a house in Delhi.