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Our Productions

Adishakti productions vividly bring together dance, movement and emotional craft, integrated into one performance language. They are all the result of intensive research into traditional arts and their reinterpretation with a contemporary aesthetic. After starting with pre-written scripts, Adishakti has been generating its own material, applying research to forge a hybrid, contemporary culture.

Adishakti’s Bali is a retelling of the various events that lead up to the battle between Bali and Ram, the King of Ayodhya.
Kumbakarna and Lakshmana, are connected by boons that dramatically alter their cycles of sleep and wakefulness.
Ganapati is an interpretation of the birth stories related to the myths of Ganapati, the elephant headed god from the Puranic cycle and Martanda, from the Vedic cycle.
Brhannala draws on the episode in the Mahabharata in which the exiled hero Arjuna spends one year in the guise of a woman.
The heroic status of Bhima depends largely on his physical prowess. Impressions of Bhima is a deconstruction of this hero.
In The Tenth Head, the ten heads of Ravana become a metaphor for the tension that exists between the individual and the collective.
Adishakti’s The Hare and the Tortoise is a dramatic meditation on the ethical possibilities inherent in the notion of contemporaneity.
One of the early experiments with finding new expressions to the text, Veenapani has explored the dance form Mayurbanj chau from Odisha to find bodily expression for text.
In this adaptation of Sri Aurobindo’s Savitri, Veenapani explores the epic struggle between Savitri and Death, in which she asks for, and eventually gets, the life of her husband Satyavan.
The inhabitants of a town turn into rhinoceroses; ultimately the only human who does not succumb to this mass metamorphosis is a flustered everyman figure who is often criticized throughout the play for his drinking and tardiness.
Here theatre itself became a brilliantly sustainable metaphor for life; the problems of identity, and ambiguity, uncertainity and death.
The first play by Veenapani, Sophocles’ Oedipus marks the beginning of her entry into theatre direction.
Adishakti's production 'Bhoomi' feels like a play. And it's a play within: It enamours you, courts you, takes you out on a date into the archetypal Puranas which we have been reinterpreting since ages. To see the not-so-good, the unfair; to hear the cries that have been buried in glorious texts.
Adishakti’s Bali is a retelling of the various events that lead up to the battle between Bali and Ram, the King of Ayodhya.
Kumbakarna and Lakshmana, are connected by boons that dramatically alter their cycles of sleep and wakefulness.
Ganapati is an interpretation of the birth stories related to the myths of Ganapati, the elephant headed god from the Puranic cycle and Martanda, from the Vedic cycle.
Brhannala draws on the episode in the Mahabharata in which the exiled hero Arjuna spends one year in the guise of a woman.
The heroic status of Bhima depends largely on his physical prowess. Impressions of Bhima is a deconstruction of this hero.
In The Tenth Head, the ten heads of Ravana become a metaphor for the tension that exists between the individual and the collective.
Adishakti’s The Hare and the Tortoise is a dramatic meditation on the ethical possibilities inherent in the notion of contemporaneity.
One of the early experiments with finding new expressions to the text, Veenapani has explored the dance form Mayurbanj chau from Odisha to find bodily expression for text.
In this adaptation of Sri Aurobindo’s Savitri, Veenapani explores the epic struggle between Savitri and Death, in which she asks for, and eventually gets, the life of her husband Satyavan.
The inhabitants of a town turn into rhinoceroses; ultimately the only human who does not succumb to this mass metamorphosis is a flustered everyman figure who is often criticized throughout the play for his drinking and tardiness.
Here theatre itself became a brilliantly sustainable metaphor for life; the problems of identity, and ambiguity, uncertainity and death.
The first play by Veenapani, Sophocles’ Oedipus marks the beginning of her entry into theatre direction.
Adishakti's production 'Bhoomi' feels like a play. And it's a play within: It enamours you, courts you, takes you out on a date into the archetypal Puranas which we have been reinterpreting since ages. To see the not-so-good, the unfair; to hear the cries that have been buried in glorious texts.