Production House: Dramanon

Director: Sharanya Ramprakash

Producer: Dramanon

Language: Kannada

Duration: 1 Hour 30 Minutes

City / State: Bangalore, Karnataka

Venue: FICCI Auditorium

Date & Time: March 7th, 8:00

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About The Play

Akshayambara’ is an experimental play that uses modern theatrical tools and the dance drama form of Yakshagana to create a contemporary narrative that raises questions on female representation and male ownership. A male artist in streevesha plays Draupadi while in a tradition defying move a woman is cast as the Pradhana purushavesha of Kaurava. What happens to the interpretation of gender when a man plays the streevesha and the purushavesha is played by a woman? Who is the real woman and who is the real man? When tradition can accept a man as a streevesha can that same tradition accept a woman as a purushavesha?

Cast & Crew

On Stage
  • Draupadi / Man: Prasad Cherkady
  • Kaurava / Woman: Sharanya Ramprakash

Off Stage

  • Playwright & Director: Sharanya Ramprakash
  • Assistant Directo: Surabhi Herur
  • Choreography: Guru Sanjeeva Suvarna
  • Kannada Translation: Kruti R
  • Costume Design: Shubhra Nayar
  • Stage Design: Shubhra Nayar & Sridhar Prasad
  • Lighting Design: Swetanshu Bora
  • Padya Composition: Guru Subramanya Prasad, Kruti R & Sharanya Ramprakash
  • Violin: Pranav Manjunath
  • Production Controllers: Sridhar Prasad & Karan Shurpalekar
  • Stage Manager: Rutwik Upadhyaula & Tarshish Thekaekara
  • Sound: Rohan Singhvi
  • Backstage: BNaveen Chhabria, Karan Shurpalekar & Poornima Sukumar
  • Artwork: Rupesh Patange
  • Himmela: Guru Subramanya Prasad, Guru Krishnamoorthi Bhat & Rathnakar Shenoy

Director’s Note

After 8 years in English language theatre, I was searching for new inspiration when I met my Guru, the legendary Sanjeeva Suvarna. Training under him for the last two years has been a life changing experience. I am touched by the support that my Guru, teachers at Yakshagana Kendra and my team have lent. From translation to composition, correcting chandas to choosing ragas, in direction and choreography their generosity has been incredible. Words like ‘choreographer’, ‘translator’, ‘assistant director’ fail to describe their support. They remind me deeply that art exists only because humanity enables it. I am also grateful to India Foundation for the Arts (IFA) for being an empathetic partner in this journey.

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