November 28, 2012

Sri Aurobindo – the tallest Vedic intellect

Tweets 23 Nov Sangeeta Goswami ‏@SangeetaRG @yrskmohan '12 years with Sri Aurobindo' by Nirod baran and #LIfeDivine the books always on my desk :) @Back2Vedas  Retweeted by Savitri Era Party  View conversation
22 Nov Rajarshi ‏@TheRajarshi Marvelous, fiery opposition to a world-negating end of the spiritual journey. Sri Aurobindo.  Retweeted by Savitri Era Party
20 Nov ∫ubra ‏@IntegralUnity @NirvaniBliss Vivekananda was his spiritual guru (as he was for many) Aurobindo's writings would be v useful from a western pov  Retweeted by Savitri Era Party  View conversation
25 Nov Rajmohan Srinivas ‏@yrskmohan @Back2Vedas but my goes not to Aurobindo, but to Mother. If Sri Aurobindo was theory she was a practical demonstration.  Retweeted by Savitri Era Party  View conversation
19h Gautam Chikermane ‏@gchikermane While on the subject, another absolute must-read: The Future Poetry by Sri Aurobindo …  Retweeted by Savitri Era Party
21 Nov Rajarshi ‏@TheRajarshi Finally got a framed, large photograph of Sri Aurobindo. Was looking out for one. Veritable silence on a throne of equipoise. Retweeted by Savitri Era Party
22 Nov Rajarshi ‏@TheRajarshi More I read and contemplate on Sri Aurobindo's writings, more I get amazed. In my opinion, the tallest Vedic intellect in a very long time.  Retweeted by Savitri Era Party
22 Nov Rajarshi ‏@TheRajarshi There are clear Tantric roots in the first impetus which drove Sri Aurobindo towards sadhana. He wanted Shakti, to liberate India. Retweeted by Savitri Era Party
22 Nov Rajarshi ‏@TheRajarshi It was Sri Aurobindo who told Tilak that moderates cannot be carried along. The revolutionaries wanted to break free, aim for full swaraj.  Retweeted by Savitri Era Party
23 Nov Kunal Dave ‏@kunal_nd @Back2Vedas agree on dat front. Infact if u look at history in 2nd world war it was Sri Aurobindo who gav powers to Churchill against Hitler.  Retweeted by Savitri Era Party  View conversation
21h krishnarjun ‏@krishnarjun108 When compared to the intellectual debates stimulated by the likes of Dayananda, Aurobindo hindu thought output abysmal after independence  Retweeted by Savitri Era Party
20 Nov Rangesh Sridhar ‏@kshetragnya @visaraj that Tilak and Aurobindo spearheaded was the first truly mass movement. and all we hear is Gandhi Archanai (3/n)  Retweeted by Savitri Era Party
26 Nov Savitri Era Party ‏@SavitriEraParty @saliltripathi With a slight modification of course, with Sri Aurobindo and his 1947 Five Dreams as the pivot. @sabhlok  View conversation
20m Savitri Era Party ‏@SavitriEraParty [Mimicry, mockery or mumukṣutva? A response to Deepak Sarma, by Jeffery D. Long - from Love of All Wisdom by Amod Lele] …

So how can we know what she intended then and what she intends now for Auroville’s material development? Ultimately, the only way to know this for sure is to attain to the same consciousness as hers. Failing this, however, (and I assume that most of us do fail in this) there may be other indications.  ...
In the absence of unmistakable clues like this perhaps our wisest method, if we feel we need to ‘update’ or interpret Mother (and, let’s face it, we are doing it all the time), is first to try to understand the spirit or the principle behind some of her proposals. 11:36 AM Friday, March 04, 2011 8:09 AM

IPI: Events for December: International Workshop on Healing, Counselling & Therapy based on Principles of Indian Psychology Organised by Centre for Indian Psychology, JGI, at Jain University Global Campus, Bangaluru, December 13 – 15, 2012. For details see the invitation brochure. For registration use the application form

'Between Then and Now': The Changing Pattern of Modern Oriya ... by S Chhotaray – 2010 Narratives of Regional Identity: Revisiting Modern Oriya Theatre from 1880-1980 Sharmila Chhotaray
Ramshankar Ray’s Kanchi Kaveri, is generally recognized as the first modern Oriya theatre, staged in Cuttack in the year 1880… Aswini kumar Ghosh, one of the pioneers of Oriya drama in the second decade of 20th century wrote his first play Bhisma (1915) in blank verse… After 1939, Oriya drama moved toward a highly commercial market. Kalicharan Pattanayak switched over from Rasa and Lila, the traditional lyrical dramas to social plays like Girls’ School performed on Proscenium stage in his Orissa Theatres in 1939…
In sixties, a paradox was seen in Oriya Theater by the playwright Gopal Chhotray who provided the new orientation to the poetic plays of the popular Jatra playwrights. However, these revived myth-based and tradition-bound plays till the end of sixties could only attract its maximum popularity at the mass level.
The third phase is the post 1960S of Oriya theatre: The new drama movement. The gradual decline of Annapurna theatre paved way to the new drama era of Manoranjan Das followed by Bijay Mishra, Biswajit Das, Byomakesh Tripathy, Jadunath Das Mohapatra, Basant Mohapatra, Ratnakar Chaini and Ramesh Prasad Panigrahi. Theatre during this period modern experiment such as these inspired by Brecht, Freud and Sartre. However, the experimental and epic theaters were not found in favor (Tripathy, 1995:52)…
Manoranjan’s Bana Hansi (Wild Duck) pioneered the new drama movement that heralded a new era and opened up a whole new vista of new ideas. Das followed European dramatists like Ibsen, O’Neil, and Eliot’s symbolic expressionism but Freud’s psychoanalysis was the crucial aspect of his play. If Manoranjan showed psychological time by mingling the past, the present and the future, Bijoy Mishra in his Shaba Bahaka Mane (The pall-bearers) spoke of the real, actual time and in his play the time of action corresponded to performance. Mishra’s play has been called the first absurd Oriya play. Similarly, Biswajit Das depicts contemporary society and the living reality in his plays like Mrugaya, (the royal Hunt). In this play he has showed how darkness is the essence of the life and the gap between what we want and what we get increases. He has also contributed lighting techniques to the Oriya stage, which was underdeveloped for long. To break this absurdist tradition or combining other traditions into this new dramatic revolution, Ramesh Panigrahi and Ratnakar Chaini contributed new kinds of plays. Chaini made an appropriate use of myth to contemporize the theatre experience. Both of them have been highly influenced by Shakespeare, Shepherd etc and tried to reflect it in their play a psychoanalytical exploration of marital crisis… For instance, the common ‘Oriya mind’ was not prepared to accept the ‘absurd’ plays for long.

Indian literature - Volume 38, Issues 1-3 - Page 99 - Sahitya Akademi - 1995 - When 'Srujani' the famous theatre group of Orissa was established in 1964, for it, he wrote plays: Banahansi, Aranya Fasala, Amrutasya Putrah, Katha Ghoda, Urmi, Sabdalipi, Klanta Prajapati, Bitarhita Aparahna and Nandika Keshari. Authors speak - SaccidānandanSāhitya Akādemī - 2006 - Preview - More editions The products of this new creative consciousness include Banahansi (1966), Aranya fasala (1970) and Katha Ghoda (1972). In Banahansi, the failure both in love and in family of a couple is depicted and the play ends with their intense agony of ...

1 comment:

  1. NEWS
    2 new works of #SriAurobindo are now online

    Writings in Bengali and Sanskrit
    Vedic and Philological Studies