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honourablejester · 5 years

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I’m just rewatching Baahubali 2

(If anyone has not watched the Baahubali movie duology, absolutely do watch them! They are six hours of Indian historical fantasy, wall-to-wall bombast and batshit-crazy spectacle, but also ridiculously affecting with grand tragedy and giddy romance and horrific betrayal and amazing triumph)

And one of the things that surprisingly really affected me was Amarendra Baahubali’s interactions with Kumara Varma.

Because, okay, there’s this standard story. The godlike hero goes undercover as a peasant in a foreign kingdom to win the heart of its princess. He pretends to be an idiot and winds up serving this noble ass of a suitor as part of his disguise. He performs godlike feats and makes it look like it’s the idiot doing them, and gradually the cowardly idiots starts to get a big head about it because he’s starting to wonder if he actually is doing these things. It comes to a head when the kingdom is being legit invaded by a massive bandit army, and our hero drops cover a bit to try and warn them, and the noble idiot gets uppity and not only yells at him but then kicks him. Kicks our hero solidly in the chest. Our hero who promptly goes on to reveal his godlike badassery and save the day.

In any other story, that poor uppity idiot would have been given his comeuppance and shamed for having attacked the hero.

But Baahubali raises him up instead.

Granted, by swinging in a window as a roomful of women is about to be slaughtered by about twenty enemies, handing the poor guy a knife and telling him this is his time to shine, and then swooping back out the window and leaving the poor bastard to either man up or be messily slaughtered as every woman in the room is stolen away or murdered …

But Baahubali realises that Kumara actually does have proper fight and honour in him, gives him the opportunity to prove it, and when Kumara does, when he fights and wins on his own merit and to protect his people, and thereby proves he genuinely is a worthy man and noble, when they meet again after the battle …

Kumara apologises to him for hitting him, clearly realising that here is the hero and quite possibly a literal god in mortal flesh, and clearly expecting to be shamed for what he did, and Baahubali tells him well done. He tells him that kick was how he knew Kumara really did have the strength to fight, and that the wounds he now bears are proper warrior wounds, and basically just tells him that he did good, and then hugs him. Genuinely. Like, that was amazing dude, I knew you had that in you, you did so good. And Kumara is ridiculously affected and it’s amazing.

This is just … not how this story normally goes. I mean, yes, the uppity noble often is shamed and humbled, and sometimes becomes a better person because of it, but usually they’re humbled just by seeing the hero’s badassery. They’re not usually given the opportunity to be badass themselves. They’re not usually handed a knife and told to fight or die, get themselves cut to ribbons, then stand back up and save at least part of the day. And then get genuinely and honestly thanked and admired for it, by the hero. I mean, Kumara started out as the comedy relief. The rich idiot for our hero to be godlike beside. And then Baahubali says fuck that shit, and gives Kumara a chance to be a hero for real. And is so proud of him when he genuinely lives up to it.

It’s a ridiculous and hilarious little thing and a tiny fraction of a much, much bigger story, but it honestly really affected me, and I loved it so much! They were adorable!

(And then tragedy happened, because of course it did, and for real Bhallaladeva you deserved every last second of what happened to you at the end of this movie, you absolute bastard)

I just like that Baahubali is not just a ridiculously amazing badass, he’s also a genuinely good dude who wants to lift people up just so they can be honestly proud of themselves for having done something terrifying and heroic and for real

(Admittedly by dumping them in the middle of an honest-to-god fight for their lives and then vanishing, but, I mean … it worked?)

Also, watch these movies!

#baahubali #random burbling #movies #heroes #i love these films #spoilers #a little bit

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carminavulcana · 5 years

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Silences and Insanities, thief, Bhalladeva

The crackling bonfire danced merrily in the courtyard. Baahubali’s eyes burned due to his proximity to the flames and the smoke. The smell of cindering cloth and disintegrating parchment filled his nose. He sneezed. And his eyes continued to water incessantly.

Only Katappa saw that the moisture in his eyes wasn’t just his body’s involuntary response to stimulus.

It was strange that after losing so much, the loss of these inanimate objects should hurt him so. Was he really that shallow? How was it that the thought of Devasena’s passing had not forced tears out of his eyes but the sight of her blackened hair ornaments threatened to overwhelm him? How was it that his son’s unseen face didn’t tear his heart to shreds but Kumara Varma’s tiger skin baby blanket gnawed at his very soul?

He looked down to see the exit wound made by Katappa’s sword on mother’s orders. Its edges oozed pus mingled with blood. The heat surrounding it indicated that it wasn’t healing as well as it should.

Baahubali sighed and waited for the pyre to extinguish. He wished he could jump into it with all those things and burn his own cursed existence to ashes as well. But alas, the bars of his cage would see to it that he remained at Bhallaladeva’s mercy for at least some more time.

Perhaps the infected wound would take pity on him and grant him this small, pathetic wish.

The soldiers gathered around the courtyard and watched in silence as the precious possessions of their fallen hero were dangled in front of him before being tossed into the flames. They determinedly avoided looking at his face. But eventually, despite their shame and pain, they left the premises and continued about their day.

Baahubali was left alone with the charred remains of the sum total of his life.

*****

Bijjaladeva called for a special wine in the evening.

“And serve it with roast quail and saffron rice while you’re at it,” Bhallaladeva told the attendant. “Today is a big day. Isn’t it, father?”

The old cripple laughed. “Of course, my son. You have finally given me the moment I had been waiting for all these years.”

The king smirked a took a large sip from his goblet.

“This is not all, father,” he put down his glass and pulled out a small velvet pouch from his pocket. “I have something more for you.”

Intrigued, Bijjaladeva put his glass down as well and took the tiny pouch from his son’s hand.

“What is this?”

“Remember what you told me on my eighth birthday?” Bhalla answered.

“What did I tell you on your eighth birthday?”

“You told me about the pendant… the pendant of Suryavardhan… do you not remember?”

Bijjaladeva’s expressioned darkened.

“Ah yes,” he whispered and carefully undid the drawstring of the little bag.

Maharaj Somadeva was a partial fool in his elder son’s opinion. Vikramadeva was a buffoon, an imbecile—and yet, it was his kindness, his so-called gentleness that was considered the higher virtue. He, Bijjala, could never match up to dear Vikrama’s standards, not even when he singlehandedly humbled four wrestlers easily twice his own size.

His very soul burned with envy as his father showered praises upon his younger brother.

“Bravo, Vikrama,” Somadeva said. “You have won your old man’s heart today. The prime minister told me you saved the life of that poor farmer’s bulls at great personal peril. And you are but a child. My son, I have great hopes from you.”

And like a sick little puppy, Vikrama basked in the king’s attention. “It was no big deal father,” he tried to be modest, but the grin on his face gave away his sense of pride.

Later that evening, Somadeva literally sprinkled salt all over young Bijjala’s soul by presenting the pendant of Suryavardhana to Vikrama in front of the entire court.

“This has been in our family for generations, my boys,” the king said to them both.

He addressed Bijjala first. “You are my firstborn. It is likely that you will ascend the throne. This pendant has historically belonged to the crown prince. However, since your little brother displayed extraordinary courage today, I think he deserves it.”

“And I don’t,” Bijjala dared to ask. But then he realized they were in the presence of outsiders and officials. “Sorry, father. That was out of line.”

Somedeva smiled.

“You deserve this and more, my child. And you will have it. Remember when I presented you with your grandfather’s sword two winters ago for slaying a cheetah with your bare hands? I am doing something similar today for your brother. The honor of this kingdom, this family, is not a competition. In fact, you should rejoice that your brother is also a capable and strong prince.”

“How could I ever forget?” Bijjaladeva’s eyes were years away. “And then Sivagami hid this pendant from me after Vikrama’s death. Your mother was a royal bitch; she knew who it truly belonged to. But she wanted her precious Baahu to have it. It was indeed your eighth birthday, but it was that piece of garbage who was given this coveted heirloom. Indeed, I remember.”

He held out the tiny emerald-studded pendant in his outstretched palm. The light from the torches bounced off of its polished stones and cast brilliant motifs on the wall in front.

“It belongs to you, Bhalla,” Bijjala fastened the pendant around his son’s neck. “Where did you get it?’

“Where do you think?”

“Baahubali let you take it without a fight?”

“He fainted last evening after the 57th strike; the whipmaster poured a bucketful of water on him but he wouldn’t rouse. I noticed that he still had this around his neck. It didn’t look right on a weakling like him. So, I took it.”

“You did the right thing.”

Just then, the chief attendant rang the bell outside to announce the arrival of their meal.

Father and son sat down to eat. As they had ordered, platters of perfect coal-roasted quail and saffron rice were placed before them, in addition to a plethora of sauces and vegetables.

While they dug in, less than 200 yards away, their prisoner placed his aching body on the ground to try and sleep. His tear-soaked cheeks were testimony to his insomnia and the surety that there would be no rest for him even though he needed it.

But even as he mourned the loss of his wife, his child, his mother, and all the possessions he had ever owned, he did not grieve for the pendant that had been stolen from around his neck.

That piece of jewelry was a memory from history—cold, distant, legendary. And he could not mourn for a lost trinket—no matter how precious or significant-- when his humanity, his whole being had been ripped from him so violently.

Theft had been committed upon his person. That pendant was just a symbol of everything else that would be taken from him as the years would go by.

#Amarendra Baahubali #Baahubali fics #Baahubali #writingblr

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avani008 · 5 years

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For the three-sentence fic-- Baahubali, Kumara Varma, Crocodile Tears AND Baahubali, Amarendra, Beer Belly

As a child, Kumar Varma’s eyes are never dry: whether it is because the other children are teasing him, or because Father’s favorite hound is ailing, or simply because he woke to a stomach-ache, always he wails about one thing or another. Sumitra despairs of him; but Mother only laughs and says that he’s using up all his tears early, the better to laugh his way through adversity later.

(When, in the last minute of his life, he realizes he’s damned two of the people he loves best, he dies with dry eyes.)

Certainly, Baahubali decides, the farmer girl he and Bhalla met on the road to Singapuram has been remarkably kind and helpful (...and clever, and strong, and beautiful)--but this is ridiculous. He may not be as acquainted with the customs of commoners as she, but he is fairly certain that a disguise as a prosperous merchant, even one all too fond of his drink, does not necessarily require quite so much....padding.

(Bhalla, who’s snickering in the corner, is naturally no help.)

“On second thought,” Devasena adds, with another furtive look in the direction of the tavern’s dancing girls, “perhaps we’d best add another pillow. Or two.”

#baahubali #kumar varma #amarendra #devasena #3 sentence fic #ok that last one is way over the limit #guilty as charged #replies

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ambidextrousarcher · 5 years

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Parallels between the characters of Mahabharata and Baahubali

A conversation I had with @carminavulcana yesterday inspired this post, which might be a highly cliched post, but it’s my first post for the Baahubali fandom and it’s more of a self reference post than anything else. (Also, di I’m sure you’d disagree with many of my headcanons, but then I hope you still like this post).

Okay, so I’ll start off with the Baahubali character I like least, and then proceed up to the character I like best.

1. Bijjaladeva- The worst parts of Dhritrashtra and Shakuni; bitter, cunning, manipulative, the father who does whatever his son wants, and the parallel of the disability apparently costing both of them the throne.

2. Bhalladeva- Duryodhana, I think? He’s really strong, mace fighter, and seriously hates his adopted (cousin) brother. But Duryodhana lost to the Pandavas, and Bhalla killed Baahu, so that’s a foil.

3. Sethupathy- This guy reminds me of Dusshasana. Yes man and his brother’s (here, his king’s) henchman with a lewd, disgusting mind.

4. Avanthika- This warrior lady reminds me of Shikandini. She’s also single minded, and really committed to her goal.

5. Jeyasena- Amba. Very sincerely questing for justice that was denied.

6. Sanga- Radha, Adiratha’s wife. She too took a child found floating in the river and gave him her heart.

7. Vikramadeva- King Pandu. Consummate warrior, crowned instead of his brother, early death, so...

8. Mahendra- Parikshit. The ray of hope after the darkness that was Bhalla’s reign, like Parikshit was for the Kurukshetra war. Also Karna regarding the secret royal identity, although Mahendra is nowhere near as horrible as Karna.

9. Kumara Varma- Uttar. The guy who was all boasting and no fight, and he met the greatest warrior in Mahishmati and Aryavrata respectively, got a pep talk and immediately realised his potential.

10. Sivagami- Mostly Kunti, but also Gandhari, a little. Like Kunti, she adopted her sister’s (sister-wife in Kunti’s case) child after death, treated him the same as her son, was politically shrewd. However, she had the same blind spot that Gandhari had. Her son.

11. Devasena- Draupadi. Fiery, independent, not afraid to speak her mind, the Princess Devasena really does remind me of Yagnaseni Draupadi. The years of captivity she had at Bhalla’s hands are reminiscent of Draupadi’s cheerharan to me. She too meets her grown son after years of exile.

12. Kattappa- A mix of Drona and Bhishma- Tied to Mahishmati by his oath like the both of them, a grandfatherly as well as a mentor figure to Baahu, the father he had lost, like Bhishma had been for Arjuna, inspiring utter trust and devotion from the younger man. The scene where he stabs Baahu reminds me of Drona using the Chakravyuh to kill Abhimanyu. (I headcanon that he does feel regret over that. Drona, that is. Kattappa’s regret is obvious in the movies.)

13. Amarendra- Oh, Baahu. Where do I begin? This might be the most biased headcanon yet. But Baahu’s life gives me vibes of Arjuna, his death of Abhimanyu/Arjuna both. The devotion he shows Kattappa parallels the devotion Arjuna shows to Drona and Bhishma. (Yes, he does kill the latter, but he does it with Bhishma’s own blessings). Baahu’s saving Kattappa from the fire is like Arjuna saving Drona from the crocodile. In canon, Arjuna is known to be the best at all weapons, much as Baahu is. According to KMG, Draupadi is the love of Arjuna’s life, much as Devasena is Baahu’s. In the defense of his wife, Baahu is one over Arjuna. But the “Dandalayya” sequence (the song where he’s in exile and doing little things for the people REALLY gives me Arjuna vibes, because hey, Arjuna’s the sort of person who risked a 12-year exile for a random Brahmin’s cows, do you think that he wouldn’t do little things for people like that when he’s in exile?) And that scene where he teaches Devasena archery neatly ties into my headcanon of Arjuna teaching Draupadi archery. Oh, Baahu’s death basically gives me Abhimanyu vibes for the most part, because Abhimanyu had almost won over the Chakravyuha but died at the last moment before he could, but the fact that it’s Kattappa stabbing him reminds me of Arjuna. I mean, how would Arjuna have felt knowing that his teacher, his Gurudeva, had played an active part in killing his child? Gosh, the guilt!

So, yeah, here concludes my little parallel post, feel free to add any I have missed.

#baahubali #mahabharata #parallels #of course baahu is arjuna for me #mythology #sort of

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teambaahubali · 5 years

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Challenge Five: Daan

This week, we’ve made it to the theme of What, or “What can we do for each other?” As you might have guessed, the fic and art prompts are individualized to each team -- but multiple entries per prompt are allowed and encouraged!

Fic: Here are the separate prompts by team. First off, Team Mahishmati, your prompts are as follow:

1. Bhallaladeva finds an unlikely ally, and the name is Voldemort.

2. A crossover with any K-Pop Music Video of your choice

3. Amnesia AU: Kattappa wakes up one fine morning and forgets his loyalty towards Mahishmati.

4. If Devasena were Dassin (based on Ankur’s amazing art)

5. Vikramadeva, believed by all to be dead, secretly follows the knife-wielder (from the Nadaswaram scene) and Kumara Varma

6. Amarendra is the one who’s the hero of the statue scene. Mahendra arrives too. They don’t know each other. Next?

7. Baahu and Bhalla switch places, and both aren’t purely good, or bad, but grey instead.

8. Sivagami decides to stay Regent even when Baahu chooses Devasena over the throne. She doesn’t crown Bhalla King.

9. Anything Sivagami/Kattappa, as long as there is no explicit content, non-con, etc

10. (We know this is nasty but) the whole Baahubali saga from Bijju’s POV

Team Kuntala, your challenge is below:

1. Write a universe where things turn out better between Baahu and Bijjala, relationship-wise

2. Write a universe where Sivagami and Bhalla actually communicate after Baahu goes off to the trip

3. Five times Bijjala was kind to Baahu and once (non-canon) he wasn't

4. Baahu and Devasena switch places for one?? (Baahu In Kuntala, Devasena Sivagami’s adopted daughter in Mahishmati )

5. Baahu survives his injuries somehow and returns to his house which is burned down. He thinks they’re dead so he freaks out and leaves. Devasena assumes he is dead. Shivu raised by Sanga as usual, Baahu becomes Robin Hoodish on the outskirts under a fake name not knowing about anyone’s survival.

6. Baahu and Sivagami, Ghosts from the past

7. Devasena and Jayasena/Sumitra, she learns archery (bonus points if Mahabharata is mentioned

8. Devasena and Avanthika switch roles- (i.e. Avantika is Amarendra’s wife and Mahendra’s mother, Devasena is Mahendra’s queen)

9. Baby Mahendra is adopted by a neighboring royal family, not by Sanga.

10. Baahu and Sivagami are taken prisoner by the Kalakeya army. Bhalla does nothing to get them out.

Art: Again, splitting this up by teams--Mahishmati, you’re up first:

1. Bijjaladeva aesthetic

2. Bhallaladeva– Slytherin aesthetic

3. Devasena as a warrior goddess

4. Bijjaladeva as a Shakespearean villain

5. Vaidehi aesthetic

6. Vallabhi aesthetic

7. Kattappa– Hufflepuff aesthetic

8. Kattappa/Aslam Khan aesthetic (as a romantic pairing)

9. Bhallaladeva/Kumara Varma aesthetic (as a romantic pairing)

10. Amarendra as a Greek god

And as for Team Kuntala:

1. Bhalla-Sivagami moments

2. Devasena-Kattappa moments.

3. Bhalla and Katappa, Solidarity

4. Amarendra Baahubali, First Among Equals

5. Avanthika, wedding gifts from her husband

6. Kumaravarma, the funeral he never had but the memorial ceremony he deserved

7. Amarendra Baahubali’s last possessions for his son

8. Katappa, the taste of freedom

9. Sanga, Yashoda or the Krittikas?

10. Devasena, remorse and regrets

Meta: Recommendations from our friends are always welcome! Make a list of fic/art recommendations with a certain theme (ie, “ Best Sivagami Graphics″ “Favorite Bhalla/OC Fics” “The Top 5 Weirdest Baahubali Fics I’ve Read”). All entries must be by someone other than the creator of the rec list, and must have a minimum of 3-5 entries!

Fandom: Sometimes the best gifts are those that are anonymous. For this part of the challenge, brighten someone else’s day by either (a) leaving a gift fic for anyone in the fandom in the Baahubali Birthday Collection, *** which will open on Amarendra’s birthday, Aadi Amavasi/July 31 or (b) submit a work of art/graphic/gifset to the @teambaahubali Tumblr to be revealed on July 31!

***As an entirely optional part of the challenge, you can also leave a wish list of prompts/characters you love on your personal Tumblr blog, whether or not you are part of the Team Baahubali challenge. Also, anonymous comments and all the other gifts in this category can be sent to any member of the fandom, as long as it’s Baahubali themed--they don’t have to be signed up for the challenge.

#challenge 5 #daan #this is very long and confusing #sorry!#but i couldn't think of a more efficient way to do it

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heyifinallyhaveablog · 5 years

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For the @teambaahubali Summertime Challenge.

Prompt by @teammahishmati: Kumara Varma: The Funeral he Never Had but The Memorial Service he deserved.

For @mayavanavihariniharini, @bleedinknight, and @ratnas-musings for their incessant encouragement.

For the @teammahishmati friends: @medhasree @carminavulcana @incurablescribbler @chaanv @parlegee and others who I might have clumsily forgotten. Thank You So much Guys for such awesome prompts! :D

When Maahishmati stands at a position of consolidation, Mahendra Baahubali honours the First Martyr of Kuntala Desha, Kumara Varma.

“He couldn’t have a funeral.” Devasena wipes a tear.

“He is a Hero.” Mahendra embraces her. “He deserves much more than just a funeral.”

And true enough, with enough information from his mother, he arranges a service few had heard of.

Generations would remember The One Who Battled His Own Fear.

Generations would remember The One Who Took On The Tyrant of Maahishmati.

Generations would remember Kumara Varma, The First Amongst Martyrs.

#team baahubali #team kuntala #baahubali #tollywood #yeah well Kumara was a Hero!#Photoshop Frivolities #I know this is kinda... sorta... I don't know???#inksplotch #done!

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bleedinknight · 5 years

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Chapters: 1/1 Fandom: Baahubali (Movies) Rating: General Audiences Warnings: Major Character Death Relationships: Bhallaladeva/Kumara Varma Characters: Bhallaladeva (Baahubali), Kumara Varma Additional Tags: Angst, Canon compliant bhalla Summary:

Kumaravarma felt somethig. It was new and hopeful. But the object of his affections was far removed from anything he could possibly conceive.

@teambaahubali summertime challenge.

Fortnight four

@mayavanavihariniharini @avani008 @heyifinallyhaveablog

#Bhallaladeva #kumaravarma #team kuntala #Kumaravarma pov

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foolgobi65 · 5 years

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saṅgharṣa

(from the vivaham universe where baahu and devasena get married in kuntala and sivagami gets drunk with and without devasena after until they all realize they love each other after all)

“And who,” Sivagami asks, uncertain if she truly desires an answer, “are you?”

“The Crown Prince of Kuntala,” is what the amalgamation of three fantastically clashing print-patterns responds, and Sivagami feels in her heart a great swelling of sympathy for the palace tailors. “It is a great honor to meet the Queen Mother of such an august Empire, mother-in-law to my own dearest sister’s sister-in-law whom I myself helped raise with such care! And to come across you at such an auspicious time, as well! Why, this all can only be a sign from the Gods!”

“Ah,” Sivagami says, and really, it is all one can say at dawn, the coronation day of one’s youngest son, when one is on one’s way to the temple tank for a ritual bath. Sivagami is the mother of lions, of stallions, of an Emperor-to-be and his Commander in Chief, but morning person she is not.

“Yes,” she says, and counts it a success, almost on par with that time she convinced her Baahu to wear his turban a full three hours. “Now If you will excuse me -- ” Sivagami pauses, attempting to remember his name.

“Kumar!” Sivagami hears from somewhere in front of her and, like the very image of the Mother Goddess Devasena steps from behind the Kuntalan Crown Prince having finished her own ritual bath. She is resplendent in that moment to Sivagami’s eyes even while wearing nothing more than her soaking silk bathing shift, her long, water-ladden hair down and around her shoulders. Sivagami, clad in her sari and jewels until she might disrobe in the privacy of the tank, would be horrified at Devasena’s lack of restraint had she not been overfull with gratitude for the rescue.

Still, something about the address niggles at the back of her mind, she manages to frown. Kumar is a common name, almost too common for royalty, even in a place like Kuntala which seems to pride itself in being so removed from royal ways. Strangely, Crown Prince Kumar seems to agree, if his loud clearing of the throat and widened eyes are any indication. But then, Sivagami thinks, perhaps he is coming down with an illness -- she tries to subtly lean back in case.

Devasena, calmly surveying both brother and mother in law while dripping on the path, only rolls her eyes.

“Kumara-varma, then, if you are so sure.” It is extraordinary, Sivagami thinks, that Devasena can command such authority even while wearing a single, sopping piece of cloth. Even without the sturdy silks and jewels of the station she still manages to stand like an Empress.

Or perhaps, Sivagami amends ruefully, Devasena simply stands like a confident woman, whose existence is so rare as to be confused with royal sovereignty. It is not difficult to imagine Devasena still standing so, even if she were stripped of all titles and left to fend for herself amongst the demons of the jungle.

Kumaravarma, Crown Prince of Kuntala, looks upon the same sight and grins. “Thank you, my beloved sister-in-law, I am sure! I was just speaking to the Queen Mother, whose presence I seem to have been graced with by the Great God himself as I took my morning walk!”

Devasena’s lips purse with what Sivagami observes to be amusement, yes, but some fondness as well. “That is indeed a great blessing for you both,” she says, voice heavy with an irony that still seems to float over her brother in law’s head. “I myself have found, in the days since I arrived in Mahishmati, that my day is never complete without seeing my beloved new mother at least once.”

“How fortunate,” Kumaravarma crows with delight, “since I have heard that you stayed with the Queen Mother before your second wedding ceremony!”

Sivagami, unsure of what her place is in this conversation, and noting the ever rising sun, makes eye contact with Devasena and raises an eyebrow. Devasena smiles, her right hand deftly gathering her hair over a shoulder and then wringing it, as if she were a washerwoman. Sivagami is sure that palace has people to do such things.

“My dear brother in law,” Devasena begins again, “it is indeed fortunate, as all things have been since my husband arrived in Kuntala. Now, will you accompany me back to my chambers so that I might have time enough to wear the royal jewels? I would appreciate your insight as to my new duties while we walk, as well.”

For a moment, Kumaravarma seems taken back, but then Sivagami relies that he is only glad, ecstatic even to offer advice. “Of course,” he stutters, offering Devasena his left arm.

“I hope to have the honor of being in your august presence once more, Queen Mother,” he says as they leave, bowing so low that his nose seems to touch his knees. Devasena at his side deigns to lower her chin in what, given her negligible attire, Sivagami will accept as a courtesy. The increased light reveals that Kumaravarma wears four necklaces, each with a different ostentatious cut to the embedded jewel.

Sivagami takes a step forward, and then another, and proceeds towards the temple tank of the Great God. It would be a great crime, she reminds herself, to pollute her body with liquor on such a sacred occasion.

@teambaahubali @teammahishmati

#teambaahubali #team mahishmati #sivagami #maya writes

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captain-ramya-me-blog · 6 years

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Chapters: 2/? Fandom: Baahubali (Movies) Rating: General Audiences Warnings: No Archive Warnings Apply Relationships: Amarendra Baahubali/Devasena, Amarendra/Devasena, AmarSena Characters: Amarendra Baahubali, Baahubali, Devasena, Ballaladeva, Sivgami, Jaya Varma, Kumara Varma Additional Tags: AmarSena - Freeform Summary:

Amarendra leaves Kuntala before his identity is revealed, and reunites with Devasena during his coronation’s festivities.

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hotelload494 · 3 years

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Our Revels Now Are Ended

Our Revels Now Are Ended Akira The Don

Our Revels Now Are Ended

Our Revels Now Are Ended The Tempest Act Iv Scene I

Our Revels Now Are Ended Youtube

Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision. 13 thoughts on “ Our Revels Now Are Ended. ” ST says: March 1, 2020 at 6:47 pm “Farewell the tranquil mind.” Indeed!

“Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp’d towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve And, like this insubstantial pageant faded.

Title: Our revels now are ended Author: bsimon Last modified by: bsimon Created Date: 5/18/2006 3:17:00 PM Other titles: Our revels now are ended.

Prospero and Miranda from the Paralympic opening ceremony

2012 has been the year of The Tempest. During this year of the World Shakespeare Festival at least three productions have been seen in the UK, and the play featured in the opening ceremonies for both the Olympics and Paralympics. Danny Boyle took much of his inspiration from the play’s themes of magic, humanity and reconciliation, entitling the ceremony “Isles of Wonder”. Kenneth Branagh, dressed as Isambard Kingdom Brunel, delivered Caliban’s “The isle is full of noises” speech, and for the Paralympics Jenny Sealey and Bradley Hemmings gave us Ian McKellen as Prospero delivering speeches inspired by the play while Nicola Miles-Wildin as Miranda delivered her lines on the beauty of mankind, “O brave new world that has such people in it”.

At the British Museum’s current Shakespeare: Staging the World exhibition the final room is devoted to the play. The room is bathed in light after the darkness of the rest of the exhibition. Here we find terrestrial and celestial Globes symbolising exploration and discovery, the Robben Island Shakespeare reminding us of Shakespeare’s universal importance, and a recording of Ian McKellen delivering one of Prospero’s final speeches about reconciliation.

The productions have been as varied as the rest of the year’s Shakespeare offerings. The Globe to Globe production was performed in Bangla by the Dhaka Theatre of Bangladesh, with English subtitles. This vibrant production is available to view on The Space.

The RSC’s production is one of the trilogy of Shipwreck plays with Jonathan Slinger as a young, angry Prospero in David Farr’s modern dress production.

Tim Pigott-Smith as Prospero

Last Saturday another production of the play, directed by Adrian Noble, closed at the Theatre Royal in Bath. Noble’s production has been adapted from the San Diego Festival where it was the hit of 2011.

I was at the final performance, on the night before the closing ceremony of the Paralympics. Like the Olympics and Paralympics the production celebrated life, joy and emotion. In the build-up to the closing ceremony comedian Jimmy Carr was interviewed. “I’ve had a summer off from cynicism” he said.

This production connects with the audience from the start: Tim Pigott-Smith strides downstage, surveys the house sternly and strikes the boards with his magic staff. Pigott-Smith has played his fair share of unpleasant characters but here he doesn’t remain harsh for long. Miranda, played by Iris Roberts and Ferdinand (Mark Quartley) are a couple many fathom deep in love, and the atmosphere of delight is shared with the cast of curious islanders. Comedy is in the reliable hands of Geoffrey Freshwater and Mark Hadfield.

The programme editorial by Stuart Leeks focuses on the history of theatrical magic, but points out that although it’s now possible to create illusions by the use of projected images, “the greatest magic in The Tempest surely lies in the words used to summon up the fabric of this vision: the extraordinarily rich, supple, compacted verse”. In this well-spoken production magic is summoned, not by technology, but by a huge blue silk cloth. The islanders use it to make waves, to conceal entrances and exits, cover objects, as a dance partner. Ariel’s shadow as the Harpy is projected onto it, and the red eyes of the dogs that pursue Stephano and Trinculo glow behind it.

Our Revels Now Are Ended Akira The Don

At the end of the play Prospero speaks his final speech on a bare stage. He asks for help “or else my project fails/Which was to please”. He finds his redemption in connecting with the rest of humanity, and the cast joyfully leave the stage to clasp the hands of the audience.

Our revels now are ended: this summer both sport and culture have celebrated the human spirit with optimism and warmth. Long may it continue.

Condolences have come in from all over the country on the passing away of theatre doyen and art connoisseur Ebrahim Alkazi (18 October 1925 – 4 August 2020). However, what touched the heart was a Facebook post by Kumara Varma, who was schooled in theatre direction at the National School of Drama (NSD) and spent a lifetime in Chandigarh doing memorable plays and later heading the department of Indian theatre at Panjab University. Posting a black and white portrait of Alkazi, Varma quotes Shakespeare from The Tempest: “Our revels have now ended. These our actors, As I foretold you, were all spirits and, Are melted into air, into thin air.”

Our Revels Now Are Ended

Now settled in his home state of Kerala at Trichur, Varma says: “These are the lines that came to my mind when the news of Alkazi’s passing away came and one says with humble pride that whatever one learned was from him. He shaped modern Indian theatre and it was he who set the tradition of translating plays written in different regional languages all over the country and staging them in Hindustani. His repertoire was thus truly pan-Indian”.

Legend of Tughlaq

With this we come to the spectacular production of Girish Karnad’s Tughlaq, which was originally written in Kannada and translated for Alkazi by yet another brilliant director-musician of modern Indian theatre, late BV Karanth. Karnad was to say thus of Alkazi: “His fundamental contribution was to devise a methodology of theatre training which has continued after him, and to create a body of actors and directors which transformed the notion of theatre at the grassroots.” Interestingly, Alkazi first assigned Om Shivpuri to take up Tughlaq as a student production. Karnad was acknowledge that it was immaterial that these were only student productions: “Doors that we, in our vernaculars did not even know existed, had begun to open.”

Karnad, who sourced his plays from myth and history, wrote Tughlaq in 1964, based on the maverick life of the 14th century Sultan of Delhi, Mohammad Bin Tughlaq.

Alkazi as the founding director of NSD from 1962 to 1977, in those 15 years, directed to perfection many plays, yet his three definitive works to be staged in the backdrop of Delhi’s Purana Qila were Andha Yug, Razia Sultan and Tughlaq. The last which he first staged in 1962 is counted as one of the best productions the country saw in modern times is because it brought together some of the best talents of the country: Alkazi, Karanth, Karnad and of course the famous actor Manohar Singh, the Himachal boy who was groomed by his teacher to be one of the best actors on stage. Manohar was the first and only choice of Alkazi, who said: “Manohar had the aristocracy of spirit, nobility of soul and complete humility in understanding and enacting a role.”

Varma, who played the junior guard recalls, “The play had passed from history into legend while it was still being enacted. Artiste Kamal Tewari recalling the magnificent and unparalleled performance of Manohar Singh, says: “I was included in the production playing one of the conspiring Ameers and I remember the slap Manohar Singh gave me sent me hurling some six feet away”. Veteran actor Rani Balbir Kaur adds, “I travelled a number of times till the play was active to see it and each time it was a great experience. What dialogue delivery by Manohar Singh! I first met Kumara Varma there playing the young guard to whom Manohar renders the famous speech ‘Umangon bhari umar hai, Khwab dekhne ki umar, Saare aalam ko jeetne ki umar’ (It is your age of exaltation, The time to indulge in dreams, The time to conquer the whole world)’.”

Our Revels Now Are Ended The Tempest Act Iv Scene I

Flash forward to 1980s

It was in the mid-1980s during a meeting with actor Meeta Vashisht, who one knows from her Chandigarh theatre days, at the NSD hostel. One got talking about Tughlaq. Meeta recounted that the boy students would down beer, strip off most of their clothing and recite the dialogues of Tughlaq till late at night. Not surprising for that’s how it was and is in boys’ hostels. The young ones were giving an irreverent tribute but a tribute nevertheless. At the same time they were practising dialogue delivery at its best. Yes, and as a friendly neighbourhood journalist one had the privilege of spending a few evenings with Manohar Singh who would pick up the play and recite some of the dialogues. I earned his wrath when I once dosed off a little in the middle of the renderings and he told me to get up, fix myself a drink, and carried on reciting.

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Such was the magic of Tughlaq, a political play that was written on the faultline of Nehruvian socialism, yet in such a manner that it reached out to all in its multilayered delineation to one and all.

Our Revels Now Are Ended Youtube

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