ALIF — Bold Ideas. Brilliant Artists.
ALIF — Bold Ideas. Brilliant Artists.
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Creative Producing
Creative Capacity Building
Artist Representation
Creative Producing
A Woman Or Not To Be
Discipline: Theatre
By: Adishakti Laboratory for Theatre Art Research
Adishakti’s A Woman Or Not To Be reimagines Shakespeare’s Hamlet through the eyes of Princess Hamlet—a young woman navigating grief, rage, and moral conflict. Performed primarily in English, the piece embodies Adishakti’s signature physical vocabulary while subverting the patriarchal gaze of the original text. It is a fierce meditation on justice, gender, and the politics of emotional freedom.
Imagine if Hamlet were a woman.
Adishakti Laboratory for Theatre Art Research is a pioneering space for performance and experimentation based near Pondicherry, India. Their work explores the intersection of breath, rhythm, movement, and voice—developing a distinctive physical and poetic language of theatre. Beyond performance-making, Adishakti leads residential workshops, residencies, and research programs that enable practitioners from diverse disciplines to evolve hybrid forms of artistic expression.
Founded in 1989 as a public charitable trust, Adishakti continues to serve as a laboratory for new ideas—bridging research, practice, and pedagogy in the performing arts.
Full Frontal
Discipline: Theatre
By: Abhay Mahajan & Sharanya Ramprakash
Can a man raised in patriarchy ever truly embody feminist values — or is he always in rehearsal?
Full-Frontal is a performance work that exposes the idea of the “feminist man” in contemporary India through the body of an upper-caste male performer. At its centre is Vinod — a man’s man, an actor, a lover, and, by his own reckoning, a delight.
Moving between confession and critique, ritual and rebellion, the work unfolds as a rehearsal-in-progress — a charged space where masculinity is performed, disrupted, questioned, and undone. Guided by a disembodied voice — at once director, conscience, and societal echo — the performer collides personal memory with myth, cinema, and inherited masculine ideals. What emerges is an unstable and vulnerable negotiation between autobiography and archetype, tradition and reimagination, performance and rupture.
In a cultural moment obsessed with “returning to tradition,” Full-Frontal asks a difficult question:
What if the roots themselves are cracked, gendered, and violent?
Abhay Mahajan is an Indian actor and movement artist working across theatre, film, and digital storytelling. Known for his role as Mandal in TVF Pitchers, his screen work includes Oops! Ab Kya?, Ishq Next Door, and acclaimed films such as Trijya, CRD, and Harishchandrachi Factory. A founding member of Pune’s Natak Company, he has performed in 30+ theatre productions internationally. Trained at Attakkalari, Abhay integrates movement, martial arts, and dance into his practice. He is a recipient of the Vinod Doshi Fellowship and the Inlaks Theatre Award (2024).
Sharanya Ramprakash is a Bengaluru-based theatre maker whose work sits at the intersection of gender, tradition, and language. She writes, performs, directs, and collaborates across forms and communities in India and internationally. Her practice is research-led, process-driven, and deeply collaborative. Sharanya is an INLAKS Scholar, a member of the Lincoln Center Directors Lab (New York), and the recipient of the Shankar Nag Theatre Award (2022).
Services
Creative Producing
Creative Capacity Building
Artist Representation
Creative Producing
A Woman Or Not To Be
Discipline: Theatre
By: Adishakti Laboratory for Theatre Art Research
Adishakti’s A Woman Or Not To Be reimagines Shakespeare’s Hamlet through the eyes of Princess Hamlet—a young woman navigating grief, rage, and moral conflict. Performed primarily in English, the piece embodies Adishakti’s signature physical vocabulary while subverting the patriarchal gaze of the original text. It is a fierce meditation on justice, gender, and the politics of emotional freedom.
Imagine if Hamlet were a woman.
Adishakti Laboratory for Theatre Art Research is a pioneering space for performance and experimentation based near Pondicherry, India. Their work explores the intersection of breath, rhythm, movement, and voice—developing a distinctive physical and poetic language of theatre. Beyond performance-making, Adishakti leads residential workshops, residencies, and research programs that enable practitioners from diverse disciplines to evolve hybrid forms of artistic expression.
Founded in 1989 as a public charitable trust, Adishakti continues to serve as a laboratory for new ideas—bridging research, practice, and pedagogy in the performing arts.
Full Frontal
Discipline: Theatre
By: Abhay Mahajan & Sharanya Ramprakash
Can a man raised in patriarchy ever truly embody feminist values — or is he always in rehearsal?
Full-Frontal is a performance work that exposes the idea of the “feminist man” in contemporary India through the body of an upper-caste male performer. At its centre is Vinod — a man’s man, an actor, a lover, and, by his own reckoning, a delight.
Moving between confession and critique, ritual and rebellion, the work unfolds as a rehearsal-in-progress — a charged space where masculinity is performed, disrupted, questioned, and undone. Guided by a disembodied voice — at once director, conscience, and societal echo — the performer collides personal memory with myth, cinema, and inherited masculine ideals. What emerges is an unstable and vulnerable negotiation between autobiography and archetype, tradition and reimagination, performance and rupture.
In a cultural moment obsessed with “returning to tradition,” Full-Frontal asks a difficult question:
What if the roots themselves are cracked, gendered, and violent?
Abhay Mahajan is an Indian actor and movement artist working across theatre, film, and digital storytelling. Known for his role as Mandal in TVF Pitchers, his screen work includes Oops! Ab Kya?, Ishq Next Door, and acclaimed films such as Trijya, CRD, and Harishchandrachi Factory. A founding member of Pune’s Natak Company, he has performed in 30+ theatre productions internationally. Trained at Attakkalari, Abhay integrates movement, martial arts, and dance into his practice. He is a recipient of the Vinod Doshi Fellowship and the Inlaks Theatre Award (2024).
Sharanya Ramprakash is a Bengaluru-based theatre maker whose work sits at the intersection of gender, tradition, and language. She writes, performs, directs, and collaborates across forms and communities in India and internationally. Her practice is research-led, process-driven, and deeply collaborative. Sharanya is an INLAKS Scholar, a member of the Lincoln Center Directors Lab (New York), and the recipient of the Shankar Nag Theatre Award (2022).
Services
Creative Producing
Creative Capacity Building
Artist Representation
A Woman Or Not To Be
Discipline: Theatre
By: Adishakti Laboratory for Theatre Art Research
Adishakti’s A Woman Or Not To Be reimagines Shakespeare’s Hamlet through the eyes of Princess Hamlet—a young woman navigating grief, rage, and moral conflict. Performed primarily in English, the piece embodies Adishakti’s signature physical vocabulary while subverting the patriarchal gaze of the original text. It is a fierce meditation on justice, gender, and the politics of emotional freedom.
Imagine if Hamlet were a woman.
Adishakti Laboratory for Theatre Art Research is a pioneering space for performance and experimentation based near Pondicherry, India. Their work explores the intersection of breath, rhythm, movement, and voice—developing a distinctive physical and poetic language of theatre. Beyond performance-making, Adishakti leads residential workshops, residencies, and research programs that enable practitioners from diverse disciplines to evolve hybrid forms of artistic expression.
Founded in 1989 as a public charitable trust, Adishakti continues to serve as a laboratory for new ideas—bridging research, practice, and pedagogy in the performing arts.
Full Frontal
Discipline: Theatre
By: Abhay Mahajan & Sharanya Ramprakash
Can a man raised in patriarchy ever truly embody feminist values — or is he always in rehearsal?
Full-Frontal is a performance work that exposes the idea of the “feminist man” in contemporary India through the body of an upper-caste male performer. At its centre is Vinod — a man’s man, an actor, a lover, and, by his own reckoning, a delight.
Moving between confession and critique, ritual and rebellion, the work unfolds as a rehearsal-in-progress — a charged space where masculinity is performed, disrupted, questioned, and undone. Guided by a disembodied voice — at once director, conscience, and societal echo — the performer collides personal memory with myth, cinema, and inherited masculine ideals. What emerges is an unstable and vulnerable negotiation between autobiography and archetype, tradition and reimagination, performance and rupture.
In a cultural moment obsessed with “returning to tradition,” Full-Frontal asks a difficult question:
What if the roots themselves are cracked, gendered, and violent?
Abhay Mahajan is an Indian actor and movement artist working across theatre, film, and digital storytelling. Known for his role as Mandal in TVF Pitchers, his screen work includes Oops! Ab Kya?, Ishq Next Door, and acclaimed films such as Trijya, CRD, and Harishchandrachi Factory. A founding member of Pune’s Natak Company, he has performed in 30+ theatre productions internationally. Trained at Attakkalari, Abhay integrates movement, martial arts, and dance into his practice. He is a recipient of the Vinod Doshi Fellowship and the Inlaks Theatre Award (2024).
Sharanya Ramprakash is a Bengaluru-based theatre maker whose work sits at the intersection of gender, tradition, and language. She writes, performs, directs, and collaborates across forms and communities in India and internationally. Her practice is research-led, process-driven, and deeply collaborative. Sharanya is an INLAKS Scholar, a member of the Lincoln Center Directors Lab (New York), and the recipient of the Shankar Nag Theatre Award (2022).
Services
Creative Producing
Creative Capacity Building
Artist Representation
A Woman Or Not To Be
Discipline: Theatre
By: Adishakti Laboratory for Theatre Art Research
Adishakti’s A Woman Or Not To Be reimagines Shakespeare’s Hamlet through the eyes of Princess Hamlet—a young woman navigating grief, rage, and moral conflict. Performed primarily in English, the piece embodies Adishakti’s signature physical vocabulary while subverting the patriarchal gaze of the original text. It is a fierce meditation on justice, gender, and the politics of emotional freedom.
Imagine if Hamlet were a woman.
Adishakti Laboratory for Theatre Art Research is a pioneering space for performance and experimentation based near Pondicherry, India. Their work explores the intersection of breath, rhythm, movement, and voice—developing a distinctive physical and poetic language of theatre. Beyond performance-making, Adishakti leads residential workshops, residencies, and research programs that enable practitioners from diverse disciplines to evolve hybrid forms of artistic expression.
Founded in 1989 as a public charitable trust, Adishakti continues to serve as a laboratory for new ideas—bridging research, practice, and pedagogy in the performing arts.
Full Frontal
Discipline: Theatre
By: Abhay Mahajan & Sharanya Ramprakash
Can a man raised in patriarchy ever truly embody feminist values — or is he always in rehearsal?
Full-Frontal is a performance work that exposes the idea of the “feminist man” in contemporary India through the body of an upper-caste male performer. At its centre is Vinod — a man’s man, an actor, a lover, and, by his own reckoning, a delight.
Moving between confession and critique, ritual and rebellion, the work unfolds as a rehearsal-in-progress — a charged space where masculinity is performed, disrupted, questioned, and undone. Guided by a disembodied voice — at once director, conscience, and societal echo — the performer collides personal memory with myth, cinema, and inherited masculine ideals. What emerges is an unstable and vulnerable negotiation between autobiography and archetype, tradition and reimagination, performance and rupture.
In a cultural moment obsessed with “returning to tradition,” Full-Frontal asks a difficult question:
What if the roots themselves are cracked, gendered, and violent?
Abhay Mahajan is an Indian actor and movement artist working across theatre, film, and digital storytelling. Known for his role as Mandal in TVF Pitchers, his screen work includes Oops! Ab Kya?, Ishq Next Door, and acclaimed films such as Trijya, CRD, and Harishchandrachi Factory. A founding member of Pune’s Natak Company, he has performed in 30+ theatre productions internationally. Trained at Attakkalari, Abhay integrates movement, martial arts, and dance into his practice. He is a recipient of the Vinod Doshi Fellowship and the Inlaks Theatre Award (2024).
Sharanya Ramprakash is a Bengaluru-based theatre maker whose work sits at the intersection of gender, tradition, and language. She writes, performs, directs, and collaborates across forms and communities in India and internationally. Her practice is research-led, process-driven, and deeply collaborative. Sharanya is an INLAKS Scholar, a member of the Lincoln Center Directors Lab (New York), and the recipient of the Shankar Nag Theatre Award (2022).