#jatinder

[jatindersinghdurhailay]

The brothers from Leeds 2023 30x22cm Watercolour on handmade hemp paper

[thewingedwolf]

cory, jag, meme, & felicia were guessing each other’s mother’s names and then jag goes “guess my mom’s name” and cory goes “i…shouldn’t be guessing” and jag laughed, but then meme & felicia gave up immediately and he said “jatinder” and cory goes “oh i could have gotten there” in the most annoyed voice

[denimbex1986]

'*****

This is the second starry adaptation of Shakespeare’s Scottish play within the month, both boasting high concepts. Simon Godwin’s show premiered in a warehouse with Ralph Fiennes and Indira Varma as the crown-usurping couple. This production is just as celebrity-driven, with David Tennant and Cush Jumbo as its leads. But where Godwin’s show flirted with immersive theatricality, half successfully, Max Webster’s concept combines immersion in sound with a fantastically creepy filmic expressionism.

We channel the sounds of the play through binaural headphones. The use of aural three-dimensionality here, designed by Gareth Fry, is incorporated with live folk music, which brings Celtic sounds while the action takes place on a central stage and glass box behind it.

As fanciful as that sounds, there is an intensely focused vision behind it. Superbly directed by Webster, it is full of wolfish imagination and alarming surprise. The action takes place at under two hours’ traffic yet it is not a classically fevered Macbeth but coolly creepy, and horrifying.

Sound, in Shakespeare’s text, has great disturbing significance. That is made manifest here. The 3D headphones magnify every creak and whimper. We hear the cold clink of metal as Lady Macbeth snatches the daggers with which Macbeth has killed Duncan (Benny Young) to return them to the crime scene.

The witches take the concept a step further and appear in sound rather than form. They are sinister in their absence, invisibly roaming in the vapour and smoke around the stage, present as a sibilant chorus of whispering voices played by the entire cast – an ingenious way to suggest that they represent the ever-present murderous voice in Macbeth’s head. They moan, giggle and flap crow-like in our ears, bringing an uncomfortable intimacy.

The headphones allow Tennant and Jumbo to talk in low conspiratorial tones. Tennant is a wiry, austere, self-righteous warrior who turns his intelligence into calculating outrage. He makes this Shakespearean role look effortless as he murmurs his soliloquies and we hang on his every word. There is steel and cunning to Jumbo’s Lady Macbeth, dressed in virginal white throughout, and a sense of purity remains around her despite her plotting.

Paradoxically, hearing the dialogue through headphones brings intimacy but one reminiscent of film with an augmented Dolby sound, as if these characters are not talking in real time...

The horror and tragedy hit all the marks too, from the killing of Lady Macduff (Rona Morison) and children, taking place in pitch darkness and capturing every sound of their last gasps, to Macduff’s (Noof Ousellam) disbelief at the news and the terrible sense of fate in the final fight scene.

The production is so focused, and so self-assured, that it seems to throw a bizarre meta-fictive curveball, straight after Duncan’s murder in which the Porter (Jatinder Singh Randhawa) breaks out in broad modern Glaswegian vernacular in what seems like his own standup routine. Yet the production has such command that it somehow pulls it off.

It’s a cool, cocky and utterly arresting production. Tennant’s Macbeth is vicious and yet he makes us feel his character’s tragedy acutely.'

[lyricsssdotin]

5911 Lyrics

Singer:Jatinder GagowalAlbum:Aman Jaluria Aye yo the kidd! Ho nit pichle pair nu bambi teYaara da tola40 takk ne hathi de sir warge niFull paisa dhela Organic chakke khuladi tonGatte aa gud de Jatt 5911 teJatt 5911 te jhota niMode na mudd deJatt 5911 te jhota niMode na mudd de Oh shaunki jatt shikara daSaada passion khetiHaan dabba de naal rehnda aePolymer 80 Saadi royal poshak aa kurta…

[fordhampr]

INTRODUCING THE INTERNATIONAL FILM FESTIVAL OF AUSTRALIA

The International Film Festival of Australia aims to recognize and honor exceptional artists, directors, producers, and the commendable works of feature films, short films, and documentaries from around the globe. The IFFA reaches out across all continents, unites cultures, and celebrates the power of storytelling. So after seeing numerous Instagram and Facebook posts (you know I love anything…

[bollyhollybaba]

Jatinder Kaur Interview (65 ਸਾਲ ਤੋਂ ਹਸਾਉਣ ਵਾਲੀ ਦੀ ਕਿਵੇਂ ਬੀਤ ਰਹੀ ਜ਼ਿੰਦਗੀ 🙏...

[akultalkies]

Sargun Mehta, Ajay Sarkaria, B.N. Sharma, Prince Kanwaljeet Singh, Amar Noorie, Iftikhar Thakur, Jatinder Kaur, Prit Aggarwal, Joty Kay

[eurevision]

EUREVISION ROUND TEN (last preliminary round): BHANGRA

We got so many submissions at the last second. I'm glad we extended the solicitation time. Thank you to everyone who wrote in. If given the choice between a remix and original song, I went with the remix. If an artist was cited twice, I chose the song I personally liked more. Some songs had ambiguous artists-- there was a 'music' credit as well as a 'singing' credit. I listed the artist as whoever was named in the former, not the latter, credit.

Here are your bhangra bop choices:

"Oh Ho Ho," by Sukhbir

"Ari Ari," by Bombay Rockers

"Bolo Tara Ra Ra," by Daler Mehndi

"Chandi Di Dabbi," by Jatinder Shah

"Forever," by Tegi Pannu feat. Prem Lata

"Chandigarh," by B21

"Boliyan," by Lehmber Hussainpuri

"Botlan Sharab Diya," by Bally Sagoo

"Mundian To Bach Ke (Beware Of The Boys)," by Panjabi MC

"Bhangra Knights vs Husan," by Bhangra Knights

The elaborate dance number ends Monday night.

[jatindersinghdurhailay]

Sidhu Moosewala 2023 Natural stone pigment heightened with gold on handmade wasli paper 34.5x24cm

[thealogie]

q&a report q&a report (late but better than never) q&a report i didn't catch quiiiite everything in detail but i did my very best

we got: dt ros watt (malcolm) jatinder singh randhawa (porter) cal macaninch (banquo) casper knopf (fleance, the kid actor) alasdair macrae (musician, murderer) annie grace (gentlewoman, musician) and i think? kathleen macinnes (singer)

the last three people all shuffled in a bit apart from each other after the round of everyone introducing themselves by name and character was already over so i'm not sure i caught them all accurately. i'll refer to people by first names

during the introduction round i think casper started introducing himself and got kid applause so the audience ended up giving every single person a sped up little round of applause like a cute lil call and response rhythm between introduction - applause of very specific short length which was kind of funny. the cast joined in for each others as well and everyone made funny faces while applauding.

most questions were asked by the moderator

question: What did you think about the production when they first heard about it? cal was confused but intrigued. a lot of "not sure how it was going to work or feel like". when david and cush got on it the binaural audio wasn't yet firmly part of the concept but he was intrigued by the approach through trauma and how that affects the macbeths' relationship.

question: Wow was it for them with the binaural audio knowing the experience is different for the audience? what do they think? dt: we don't quite now how it comes together. the sounds are all cued off us actors, not the other way around. all i know is without Laura we would be fucked! (Laura = live sound mixing person) ros: we never quite know how it sounds for the audience, we were able to put on headphones and experience scenes we're not in in rehearsal, but i want to watch the whole thing! the cue speakers have some stripped down sounds and music that are relevant for the actors. but the audio choices enabled us to create intimacy jatinder: i think it makes the audience better able to relate to mental health struggles and trauma, giving what happens in the characters heads into your heads and relate it to your own experience. i think everyone here in the room has some of their own experiences with mental health and… voices in their head

question to the musicians: how does your work add to the concept and experience? kathleen (i think mostly, but the other musicians might also have weighed in): music enables us to place the text in a very Scottish place, but without getting in the way of the text. The headphones make it possible that it mixes with all the layers, balancing between music, sounds and lines is possible thanks to the technology. you can have loudly, energetically played music but then mix it at a level where it doesn't interfere with lines, when usually you would have to play quietly to let the text come through, which creates a different atmosphere. kathleen: i was advised to sing when nobody is speaking and turn that to humming when somebody is. so it was also very useful to have the glass box and always see what is happening on stage.

question about the porter scene: how did that come to pass, especially making a more modern version out of it? jatinder: decided together with max to just play it and see where it goes, starting with improvisation and then fleshing it out. there was an interest in finding a modern equivalent to the original jokes that audiences would perceive in a similar way as audiences back then would have related to the original jokes. the scene purposefully takes a bit of the intensity out - basically an emotional intermission in the middle of this really intense and dark journey. but my job was also in the end of the scene to bring the audience back into it.

question to david: What makes you come back to the big parts? dt: Well, Max had a good idea and I like Max. I liked the idea of the themes of PTSD and child loss and I like the donmar warehouse. i performed here 20 years ago, which is remarkable because i'm in my mid twenties right now! (laughs all around). there's something a bit magical about this space and doing an olympic event of a part like this one in this intimate of a space.

audience member question to Casper (kid): What is your favorite bit of the play? casper: my favorite bits are the murdering… or the attempt to murder. (laughs all around) But no, seriously. I like scenes where I'm not being killed and I'm having a conversation with someone that's not about death. different cast member (not sure who): -Is- there even a scene like that? (everyone laughs) dt, turning to Casper kind of conspiratorially: My favorite bit every night is the audience's reaction to your neck getting broken. (raised eyebrows, nodding to the audience with a wide grin) That's always something.

audience member question: Do you notice the audience being different in any way with the headphones compared to your experiences in other plays? different cast members answer in bits and pieces (sometimes i have a vague memory who it was…) ros: with the headphones sometimes people are louder, sometimes i feel like you are more connected and zoned in on us! maybe because you don't have the opportunity to talk to your neighbor maybe… somebody else: i feel like it's very quiet and there is somehow less coughing than usual. (laughs around) i don't know why that is!!

audience member question: What other productions of macbeth influenced this one: [here be the the answer part with david's ian mckellen impression, see the other post] musicians (i think annie): we came straight, literally no break, from the RSC's macbeth production so we really had to empty our brains. there was no break in between, but the music is very different and Max's vision also very different, so we really had to unlearn parts

audience member question: The physical theatre stuff, the witch swarm, how did that come about? ros: We really tried to think more of what would be a physical representation of the voices in somebody's head. Everybody in Macbeth's life is watching, taunting, staring at him. It was always more about the intention of the movement, what these voices want to do to him and less what the movement itself is.

THANK YOU for transcribing all of this. I love getting an explanation for what the swarm of witches were meant to represent! It really did feel like a dance/feeling more than a literal scene and it’s fun to know that was sort of the intent. (Also the neck snapping bit - I also loved the audience’s reaction to that every night.)

[denimbex1986]

'Max Webster’s superbly atmospheric production of Macbeth is ground-breaking in its use of binaural sound technology, but this is just one aspect of a gripping show that boasts stand-out performances from David Tennant and Cush Jumbo in the lead roles. This psychological drama is thrillingly brought to life with close attention to detail to reveal the Macbeths’ darkest, innermost thoughts and feelings, shedding fresh light on a familiar story of ambition, betrayal, mental breakdown, and civil strife.

Macbeth, with its multiple references to unearthly sounds, is particularly well suited to the creation of an immersive soundscape, which is what sound designer Gareth Fry does here (as he did with Complicité’s The Encounter in 2016). The audience wears light, comfortable headphones throughout in order to enter this world – it is possible to watch the show without headphones, though the actors speak more quietly than normal (especially in soliloquies and whispered conspiratorial exchanges) so it is difficult to hear all speech, while the rich background aural texture will be lost. This is no gimmick. We almost forget we are wearing headphones as we get caught up in the power of the haunting drama unfolding all around us...

Webster has made some judicious cuts in what is already one of Shakespeare’s shortest plays, so the straight-through running time of 100 minutes passes in breathless excitement...

Tennant makes a compelling Macbeth from start to finish, powerfully portraying him as the saviour of his country who believes he deserves to be the next king of Scotland. We first see him alone covered in blood washing himself as a victorious war hero – and we last see him lying in a spreading pool of blood as a tyrant slain by Macduff: a precipitous fall indeed. With a broodingly intense presence, Tennant suggests a battle-hardened soldier whose moral compass has gone haywire, so once he has taken the first calamitous step of murdering his king as guest in his own home, he is prepared to do anything to keep himself on the throne. Effortlessly delivering Shakespeare’s lines, Tennant vividly shows Macbeth destroying his own humanity as he dwindles from honour to nihilism.

He is well-matched by Jumbo as Lady Macbeth, who seems to have diverted her unresolved bereavement at losing a child into backing her husband’s aspirations to the hilt. An indissoluble couple who confide everything to each other at the start, they later fragment as Macbeth leaves her out of his plans – we see Jumbo’s Lady Macbeth realizing with panic at the disrupted coronation feast that she is losing him and that the killing has only just begun. Driven to distraction by grief and guilt, her sleepwalking scene is truly poignant as we see Jumbo taking her imaginary child by the hand before blowing out her candle and drifting into the darkness.

There are also strong supporting performances from Benny Young as a dignified but naïve Duncan, Cal MacAninch as a wary Banquo doting on his son Fleance, Noof Ousellam as Macduff who turns his intense pain at his family’s slaughter into implacable anger, while Rona Morison as Lady Macduff desperately defends her children. And Jatinder Singh Randhawa brilliantly provides ad-libbing comic relief as the Porter, asking us, “Did you really pay to watch a radio drama?” – well, no, we got so much more full-blooded drama than that.'

[elsinore-and-inverness]

'A cut-crystal avalanche of guilt and grief plunges the Macbeths into a hell of their own making.'

My ⭐⭐⭐⭐⭐ review of David Tennant and Cush Jumbo's Macbeth at the Donmar Warehouse.

[lydiablackblade]

Such an amazing 3 days are behind me. I still can't believe it happened to me. Because I finally saw Macbeth at the Donmar not once but twice! Because I spotted David sneaking into the theater once. Because Cush Jumbo walked by 10 cm next to me. Because I took pictures with two members of the company. Because I got to know fantastic and kind people while queuing and hopefully got a friend in the end.

The play was such an intense experience, I am still shivering when I think of it. The intimacy, being so near to the stage, to really see every tiny expression on the actor' s face, the magical sound technique, the imaginary use of dark and light, the use of only the very few of colours, everything was black, white or grey, so when you saw the shiny, shimmering red of blood, BLOOD, blood was everywhere, on the hands, on the clothes, on the floor, it was so shocking, so intense, you couldn't get your eyes off of it, and the music, oh my good, the Music, I want that OST right now, and when Macbeth whispered into the ears of Lady Macbeth "Oh, full of scorpions is my mind" you really, you absolutely was able to look into that sick, cracked mind tortured by inner demons, David is really the man of delivering one-lines that makes you feel utterly devastated.

So I miraculously secured a ticket online for the Thursday matinee a week before. But because there's no flight back to home on Friday, I decided to extend until Sunday morning.

This is where I sat for the first time

I met a girl, who sat next to me, she was so excited and enthusiastic, after the play we chatted for a while about the play, David, Good Omens... Turned out we are in the same subred 😃 Actually it was a good thing I was already familiar with the play, because I could explain some things which she couldn't catch up with the plot, and as many of the actors played multiple roles, it was a bit confusing even for me.

On Friday I spent my time in museums and walks, and headed to Donmar to meet my new acquaintance in the queue before I was attending another play (Mirror with Jonny Lee Miller, very good!) because she really felt the vibe, and spent the day queuing, and while we were chatting we spotted David for 3 seconds before he entered the theater! We don't know how he manifested before the door, really. Magic. Also he wore a big coat, scarf, and baseball hat. We just had time to say "it's him" then he's gone. My acquaintance eventually got in for the second time because she managed to get a daily standing ticket - and still spent the day in queue. So crazy!

On Saturday morning I visited more filming locations then headed to Donmar. The queue was manageable, not too many people before me, and I had a really good gut feeling about it, so I stayed. When no one from the queue was let in to the last matinee, I was a bit worried, but actually I didn't have any other plans, so I stayed.

While we were waiting for the matinee, the actors started to arrive and I recognized two of them. So when they came out from the coffee I asked them if I could take pictures and they said yes! They seemed to be glad, actually.

Jatinder Singh Randhawa and Noof Ousellam

As the time of the last performance came closer and closer and they didn't let in people, I started to give up. After a while slowly they let in 3-4 people, but the time was about to come up. What gave us hope is that one of the staff members started to walk by the queue, counting and asking people if they are alone or with a group. And just before 5 minutes to the play, they let 8-10 people in! It was unbelievable, never ever happened before! It was about 15 people who finally got in from the queue! I witnessed it happen to 5 people before, and according to the queue rumor it was 7 at max earlier. Now 15! And I got a much better seat than on Thursday, I sat next to the passage, the company members were so close to me! Cush Jumbo was so close to me I felt her fragrance!

And the final curtain call was so exciting, the audience went wild, the cast members were so freed and glad!

With the guy who stood behind me in the queue and we were seated together, we found out we are both Good Omens fans, so we ended up in a restaurant in Chinatown shouting for 2 hours about Good Omens, theater, Shakespeare and books and still in touch 😁

I didn't take pictures during the curtain call, but:

This video was taken almost from where I sat.

This video was taken opposite to me, I am on the recording 😉 Thanks to @his-porous-membrane