Shankar Moro Ranade - Revision history

HansaThapliyal at 19:28, 13 February 2012

2012-02-13T19:28:13Z

HansaThapliyal at 19:27, 13 February 2012

2012-02-13T19:27:26Z

Thirdpoliceman007 at 12:35, 13 February 2012

2012-02-13T12:35:21Z

Thirdpoliceman007 at 12:30, 11 February 2012

2012-02-11T12:30:17Z

Thirdpoliceman007 at 12:27, 11 February 2012

2012-02-11T12:27:30Z

HansaThapliyal at 04:20, 15 July 2006

2006-07-15T04:20:48Z

HansaThapliyal at 09:41, 7 July 2006

2006-07-07T09:41:54Z

HansaThapliyal at 08:49, 7 July 2006

2006-07-07T08:49:38Z

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To add to his cup of woes, he lost his wife in the plague of Godhra in 1900. Naturally it was a great blow to him. As he did not like to continue in Godhra, he returned to Baroda.
At Baroda, he restarted his photography business. He did not earn enough to make a living and so started the business of painting the stage curtains for drama companies. This led to his getting acquainted with Professor Shankar Moreshwar Ranade, a knowledgable person in the field of drama. He acquainted Dadasaheb with full details of the dramatic arts and drama production. Not only that, he also gave Dadasaheb the hero’s role in Shakespeare’s plays [http://ise.uvic.ca/Library/Criticism/shakespearein/india2.html]The Winter’s Tale and Cymbeline and got him to do the roles properly.
When acting in plays, Dadasaheb very carefully observed how make-up and costume were done. He would discuss the subject with the make-up man. Later he started doing the make-up for children’s plays according to his own ideas. He achieved mastery in this art as well. Many guardians of the children said that Dadasaheb transformed their wards so completely that they could not recognize them.
Prof. Ranade had trained Dadasaheb in facial expression, movements on the stage and delivery of dialogues. He gradually began giving this training to amateur artists. If an artist failed to turn up for a show, Dadasaheb would often tide over the difficulty by doing the absentee’s role himself. If a producer so requested, he would sometimes direct the play or make changes in the script as desired. He would also assist in stage settings.
To facilitate the training of new artistes in acting, he had thoughtfully diplayed in his studio, photographs of artistes in foreign films showing their various facial expressions. Many amateur artistes visited his studio to see these photographs. It was at this time that he presented the Sanskrit play Veni Sanhaar referred to earlier.

@@ Line 1: / Line 1: @@
 To add to his cup of woes, he lost his wife in the plague of Godhra in 1900. Naturally it was a great blow to him. As he did not like to continue in Godhra, he returned to Baroda.
 At [[Baroda]][[Nyay Mandir, Baroda (1890)
-[www.flickr.com/photos/campwala/471896634], he restarted his photography business. He did not earn enough to make a living and so started the business of painting the stage curtains for drama companies. This led to his getting acquainted with Professor Shankar Moreshwar Ranade, [[a knowledgable person in the field of drama]]. He acquainted Dadasaheb with full details of the dramatic arts and drama production. Not only that, he also gave Dadasaheb the hero’s role in Shakespeare’s plays [http://ise.uvic.ca/Library/Criticism/shakespearein/india2.html]The Winter’s Tale and Cymbeline and got him to do the roles properly.
+[http://www.flickr.com/photos/campwala/471896634], he restarted his photography business. He did not earn enough to make a living and so started the business of painting the stage curtains for drama companies. This led to his getting acquainted with Professor Shankar Moreshwar Ranade, [[a knowledgable person in the field of drama]]. He acquainted Dadasaheb with full details of the dramatic arts and drama production. Not only that, he also gave Dadasaheb the hero’s role in Shakespeare’s plays [http://ise.uvic.ca/Library/Criticism/shakespearein/india2.html]The Winter’s Tale and Cymbeline and got him to do the roles properly.
 When acting in plays, Dadasaheb very carefully observed how make-up and costume were done. He would discuss the subject with the make-up man. Later he started doing the make-up for children’s plays according to his own ideas. He achieved mastery in this art as well. Many guardians of the children said that Dadasaheb transformed their wards so completely that they could not recognize them.
 Prof. Ranade had trained Dadasaheb in facial expression, movements on the stage and delivery of dialogues. He gradually began giving this training to amateur artists. If an artist failed to turn up for a show, Dadasaheb would often tide over the difficulty by doing the absentee’s role himself. If a producer so requested, he would sometimes direct the play or make changes in the script as desired. He would also assist in stage settings.

@@ Line 1: / Line 1: @@
 To add to his cup of woes, he lost his wife in the plague of Godhra in 1900. Naturally it was a great blow to him. As he did not like to continue in Godhra, he returned to Baroda.
-At [[Baroda]][[Nyay Mandir, Baroda (1890) | Flickr - Photo Sharing!
+At [[Baroda]][[Nyay Mandir, Baroda (1890)
-www.flickr.com/photos/campwala/471896634/]], he restarted his photography business. He did not earn enough to make a living and so started the business of painting the stage curtains for drama companies. This led to his getting acquainted with Professor Shankar Moreshwar Ranade, [[a knowledgable person in the field of drama]]. He acquainted Dadasaheb with full details of the dramatic arts and drama production. Not only that, he also gave Dadasaheb the hero’s role in Shakespeare’s plays [http://ise.uvic.ca/Library/Criticism/shakespearein/india2.html]The Winter’s Tale and Cymbeline and got him to do the roles properly.
+[www.flickr.com/photos/campwala/471896634], he restarted his photography business. He did not earn enough to make a living and so started the business of painting the stage curtains for drama companies. This led to his getting acquainted with Professor Shankar Moreshwar Ranade, [[a knowledgable person in the field of drama]]. He acquainted Dadasaheb with full details of the dramatic arts and drama production. Not only that, he also gave Dadasaheb the hero’s role in Shakespeare’s plays [http://ise.uvic.ca/Library/Criticism/shakespearein/india2.html]The Winter’s Tale and Cymbeline and got him to do the roles properly.
 When acting in plays, Dadasaheb very carefully observed how make-up and costume were done. He would discuss the subject with the make-up man. Later he started doing the make-up for children’s plays according to his own ideas. He achieved mastery in this art as well. Many guardians of the children said that Dadasaheb transformed their wards so completely that they could not recognize them.
 Prof. Ranade had trained Dadasaheb in facial expression, movements on the stage and delivery of dialogues. He gradually began giving this training to amateur artists. If an artist failed to turn up for a show, Dadasaheb would often tide over the difficulty by doing the absentee’s role himself. If a producer so requested, he would sometimes direct the play or make changes in the script as desired. He would also assist in stage settings.

@@ Line 4: / Line 4: @@
 When acting in plays, Dadasaheb very carefully observed how make-up and costume were done. He would discuss the subject with the make-up man. Later he started doing the make-up for children’s plays according to his own ideas. He achieved mastery in this art as well. Many guardians of the children said that Dadasaheb transformed their wards so completely that they could not recognize them.
 Prof. Ranade had trained Dadasaheb in facial expression, movements on the stage and delivery of dialogues. He gradually began giving this training to amateur artists. If an artist failed to turn up for a show, Dadasaheb would often tide over the difficulty by doing the absentee’s role himself. If a producer so requested, he would sometimes direct the play or make changes in the script as desired. He would also assist in stage settings.
-To facilitate the training of new artistes in acting, he had thoughtfully diplayed in his studio, photographs of artistes in foreign films showing their various facial expressions. Many amateur artistes visited his studio to see these photographs. It was at this time that he presented the Sanskrit play Veni Sanhaar referred to earlier.
+To facilitate the training of new artistes in acting, he had thoughtfully diplayed in his studio, photographs of artistes in foreign films showing their various facial expressions. Many amateur artistes visited his studio to see these photographs. It was at this time that he presented the Sanskrit play [[Veni Sanhaar]] referred to earlier.
+[
 [[shankar more ranade in phalke's journey]]]
 Flickr - Photo Sharing! www.flickr.com/photos/campwala/471896634/,

←Older revision		Revision as of 12:30, 11 February 2012
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	Prof. Ranade had trained Dadasaheb in facial expression, movements on the stage and delivery of dialogues. He gradually began giving this training to amateur artists. If an artist failed to turn up for a show, Dadasaheb would often tide over the difficulty by doing the absentee’s role himself. If a producer so requested, he would sometimes direct the play or make changes in the script as desired. He would also assist in stage settings.		Prof. Ranade had trained Dadasaheb in facial expression, movements on the stage and delivery of dialogues. He gradually began giving this training to amateur artists. If an artist failed to turn up for a show, Dadasaheb would often tide over the difficulty by doing the absentee’s role himself. If a producer so requested, he would sometimes direct the play or make changes in the script as desired. He would also assist in stage settings.
	To facilitate the training of new artistes in acting, he had thoughtfully diplayed in his studio, photographs of artistes in foreign films showing their various facial expressions. Many amateur artistes visited his studio to see these photographs. It was at this time that he presented the Sanskrit play Veni Sanhaar referred to earlier.		To facilitate the training of new artistes in acting, he had thoughtfully diplayed in his studio, photographs of artistes in foreign films showing their various facial expressions. Many amateur artistes visited his studio to see these photographs. It was at this time that he presented the Sanskrit play Veni Sanhaar referred to earlier.
−		+	[
−	[[shankar more ranade in phalke's journey]]	+	[[shankar more ranade in phalke's journey]]]
		+	Flickr - Photo Sharing! www.flickr.com/photos/campwala/471896634/,

←Older revision		Revision as of 04:20, 15 July 2006
Line 4:		Line 4:
	Prof. Ranade had trained Dadasaheb in facial expression, movements on the stage and delivery of dialogues. He gradually began giving this training to amateur artists. If an artist failed to turn up for a show, Dadasaheb would often tide over the difficulty by doing the absentee’s role himself. If a producer so requested, he would sometimes direct the play or make changes in the script as desired. He would also assist in stage settings.		Prof. Ranade had trained Dadasaheb in facial expression, movements on the stage and delivery of dialogues. He gradually began giving this training to amateur artists. If an artist failed to turn up for a show, Dadasaheb would often tide over the difficulty by doing the absentee’s role himself. If a producer so requested, he would sometimes direct the play or make changes in the script as desired. He would also assist in stage settings.
	To facilitate the training of new artistes in acting, he had thoughtfully diplayed in his studio, photographs of artistes in foreign films showing their various facial expressions. Many amateur artistes visited his studio to see these photographs. It was at this time that he presented the Sanskrit play Veni Sanhaar referred to earlier.		To facilitate the training of new artistes in acting, he had thoughtfully diplayed in his studio, photographs of artistes in foreign films showing their various facial expressions. Many amateur artistes visited his studio to see these photographs. It was at this time that he presented the Sanskrit play Veni Sanhaar referred to earlier.
		+
		+	[[shankar more ranade in phalke's journey]]