Anjana Puri has been a student of music right from school and completed her graduation and postgraduation in Hindustani Vocal Music from the University of Delhi along with intensive training in the same under the tradition-bound guru-shishya parampara.
She specializes in training the actor's voice and developing an awareness and understanding for Indian voice culture. She has been teaching the importance of the voice as a tool of communication through theatre workshops based on coordinating the patterns made by the voice with movements of the body for nearly three decades. These theatre workshops have been conducted across the country in its Hindi as well as the non-Hindi speaking regions. She was awarded her Doctorate in 2008 for her research work entitled Voice, Rhythm and Movement: Towards a Pedagogical Model for Training the Actor with Special Reference to Indian Music Traditions from the University of Madras (Chennai) as a consequence of these workshops. She is recipient of the Sangeet Natak Akademi Award for Music in Theatre.
She continues to be part of the theatre organization Rang Vidushak based in Bhopal as a teacher and composer of music.
perspectives The Role of Contemporary Music in Modern P Indian Theatre is a meticulously researched document on how one might understand music removed from predictable definitions. This certainly does not mean that what has been written about contemporary music till date is in any way less significant. Quite the contrary, what the author of the present work tries to put forward is the need for reviewing the concept of music as it exists currently.
Keeping India's cultural diversity in mind, it becomes difficult to think of one kind of theatre or one kind of music. Each region has its cultural distinctiveness and idiosyncrasies that influence aesthetic expression and performance idioms. The country's theatre is endowed with a complex multidimensional spirit that gives its music too, unmatched multifariousness. The theatre forms that have roots in the rural areas of this country, be it the Mach or Ankia Nat, Therukoothu or Bhavai, Nautanki or Tamasha, portray a music that epitomizes the form. Therefore, music becomes synonymous with the very form. One hears the music and immediately identifies the form it belongs to. These streams of music broadly become symbolic of the concept of rang sangit, and yet the idea of rang sangit itself has undergone change. It is not just mere song or melody but goes way beyond it.
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