Dialogue (sometimes spelled dialog in American English^[1]) is a literary and theatrical form consisting of a written or spoken conversational exchange between two or more ("dia" means through or across) people. Its chief historical origins as narrative, philosophical or didactic device are to be found in classical Greek and Indian literature, in particular in the ancient art of rhetoric.

While the dialogue was less important in the ninetenth cnetury than it had been in the eighteenth, it was not extinct. The British author W.H. Mallock employed it successfully in his work "The New Republic," which was explicitly based on Plato's "Republic" and on the writings of Thomas Love Peacock. But the notion of dialogue reemerged in the cultural mainstream in the work of cultural critics such as Mikhail Bakhtin and Paulo Freire, theologians such as Martin Buber, as an existential palliative to counter atomization and social alienation in mass industrial society.

As literary and philosophical device[link]

Antiquity and the middle ages[link]

Dialogue as a genre in the Middle East and Asia dates back to the year 1433 in Japan, Sumerian disputations preserved in copies from the late third millennium BC^[2] and to Rigvedic dialogue hymns and to the Mahabharata.

Literary historians commonly suppose that in the West Plato (c. 437 BC – c. 347 BC) introduced the systematic use of dialogue as an independent literary form: they point to his earliest experiment with the genre in the Laches. The Platonic dialogue, however, had its foundations in the mime, which the Sicilian poets Sophron and Epicharmus had cultivated half a century earlier. These works, admired and imitated by Plato, have not survived but scholars imagine them as little plays, usually presented with only two performers. The Mimes of Herodas give us some idea of their scope.

Plato further simplified the form and reduced it to pure argumentative conversation, while leaving intact the amusing element of character-drawing. He must have begun this about the year 405 BC, and by 400 he had perfected the dialogue, especially in the cycle directly inspired by the death of Socrates, and is considered a master of the genre. All his philosophical writings, except the Apology, use this form.

Following Plato, the dialogue became a major literary genre in antiquity, and several important works both in Latin and in Greek were written. Soon after Plato, Xenophon wrote his own Symposium; also, Aristotle is said to have written several philosophical dialogues in Plato's style (none of which have survived).

Dialogue is formed by the two words 'dia' and 'logos', which can be literally interpreted as 'dual meaning' or more appropriately the 'two way flow/exchange' of meaning, which is the tone suggested by Boehm, and many modern philosophical (and management) writers.

Modern period to the present[link]

Two French writers of eminence borrowed the title of Lucian’s most famous collection; both Fontenelle (1683) and Fénelon (1712) prepared Dialogues des morts ("Dialogues of the Dead"). Contemporaneously, in 1688, the French philosopher Nicolas Malebranche published his Dialogues on Metaphysics and Religion, thus contributing to the genre's revival in philosophic circles. In English non-dramatic literature the dialogue did not see extensive use until Berkeley employed it, in 1713, for his treatise, Three Dialogues between Hylas and Philonous. Landor’s Imaginary Conversations (1821–1828) formed the most famous English example of dialogue in the 19th century, although the dialogues of Sir Arthur Helps also claim attention and make himself more popular.

In Germany, Wieland adopted this form for several important satirical works published between 1780 and 1799. In Spanish literature, the Dialogues of Valdés (1528) and those on Painting (1633) by Vincenzo Carducci are celebrated. Italian writers of collections of dialogues, following Plato's model, include Torquato Tasso (1586), Galileo (1632), Galiani (1770), Leopardi (1825), and a host of others.

More recently, the French returned to the original application of dialogue. The inventions of "Gyp", of Henri Lavedan, and of others, which tell a mundane anecdote wittily and maliciously in conversation, would probably present a close analogy to the lost mimes of the early Sicilian poets. This kind of dialogue also appeared in English, exemplified by Anstey Guthrie, but these dialogues seem to have found less of a popular following among the English than their counterparts written by French authors.

The Platonic dialogue, as a distinct genre which features Socrates as a speaker and one or more interlocutors discussing some philosophical question, experienced something of a rebirth in the 20th century. Authors who have recently employed it include George Santayana, in his eminent Dialogues in Limbo (1926, 2nd ed. 1948; this work also includes such historical figures as Alcibiades, Aristippus, Avicenna, Democritus, and Dionysius the Younger as speakers), and Iris Murdoch, who included not only Socrates and Alcibiades as interlocutors in her work Acastos: Two Platonic Dialogues (1986), but featured a young Plato himself as well.

The philosophic dialogue, with or without Socrates as a character, continues to be used on occasion by philosophers when attempting to write engaging, literary works of philosophy which attempt to capture the subtle nuance and lively give-and-take of discourse as it actually takes place in intellectual conversation.

Compare: Closet drama

As theological and social device[link]

Martin Buber assigns dialogue a pivotal position in his theology. His most influential work is titled I and Thou. Buber cherishes and promotes throughout his work dialogue not as some purposive attempt to reach conclusions or express mere points of view, but as the very prerequisite of authentic relationship between man and man, and between man and God. His concern with the profound nature of true dialogue has resulted in what is known as the philosophy of dialogue.

The Second Vatican Council placed a major emphasis on dialogue with the World. Most of the Council's documents involve some kind of dialogue : dialogue with other religions (Nostra Aetate), dialogue with other Christians (Unitatis Redintegratio), dialogue with modern society (Gaudium et Spes) and dialogue with political authorities (Dignitatis Humanae).

The physicist David Bohm originated a related form of dialogue where a group of people talk together in order to explore their assumptions of thinking, meaning, communication, and social effects. This group consists of ten to thirty people who meet for a few hours regularly or a few continuous days. Dialoguers agree to leave behind debate tactics that attempt to convince and, instead, talk from their own experience on subjects that are improvised on the spot. People form their own dialogue groups that usually are offered for free of charge. There exists an international online dialogue list server group, facilitated by Don Factor, co-author of a paper called "Dialogue - A Proposal," with David Bohm and Peter Garrett.^[3]

The Russian philosopher and semiotician^[4] Mikhail Bakhtin’s theory of dialogue emphasized the power of discourse to increase understanding of multiple perspectives and create myriad possibilities. Bakhtin held that relationships and connections exist among all living beings, and that dialogue creates a new understanding of a situation that demands change.^{[citation needed]} In his influential works, Bakhtin provided a linguistic methodology to define the dialogue, its nature and meaning:^[5]

Dialogic relations have a specific nature: they can be reduced neither to the purely logical (even if dialectical) nor to the purely linguistic (compositional-syntactic) They are possible only between complete utterances of various speaking subjects... Where there is no word and no language, there can be no dialogic relations; they cannot exist among objects or logical quantities (concepts, judgments, and so forth). Dialogic relations presuppose a language, but they do not reside within the system of language. They are impossible among elements of a language.^[6]

The Brazilian educationalist Paulo Freire, known for developing popular education, advanced dialogue as a type of pedagogy. Freire held that dialogued communication allowed students and teachers to learn from one another in an environment characterized by respect and equality. A great advocate for oppressed peoples, Freire was concerned with praxis—action that is informed and linked to people’s values. Dialogued pedagogy was not only about deepening understanding; it was also about making positive changes in the world: to make it better.

Today, dialogue is used in classrooms, community centers, corporations, federal agencies, and other settings to enable people, usually in small groups, to share their perspectives and experiences about difficult issues. It is used to help people resolve long-standing conflicts and to build deeper understanding of contentious issues. Dialogue is not about judging, weighing, or making decisions, but about understanding and learning. Dialogue dispels stereotypes, builds trust, and enables people to be open to perspectives that are very different from their own.

In the past two decades, a rapidly-growing movement for dialogue has been developing. The website of the National Coalition for Dialogue and Deliberation,^[7] serves as a hub for dialogue (and deliberation) facilitators, conveners, and trainers and houses thousands of resources on these communication methodologies.

Groups such as Worldwide Marriage Encounter and Retrouvaille use dialogue as a communication tool for married couples. Both groups teach a dialogue method that helps couples learn more about each other in non-threatening postures, which helps to foster growth in the married relationship.

Dialogue is a delicate process. Many obstacles inhibit dialogue and favor more confrontational communication forms such as discussion and debate. Common obstacles including fear, the display or exercise of power, mistrust, external influences, distractions, and poor communication conditions can all prevent dialogue from emerging.^[8]

Egalitarian dialogue[link]

Egalitarian dialogue is a form of discussion that takes place when different contributions are considered in terms of the validity of the arguments, rather than assessing them according to the power positions of those who advocate them. they stand out well written and they include many details in the story and they show honorship.

Structured dialogue[link]

Structured dialogue represents a class of dialogue practices developed as a means of orienting the dialogic discourse toward problem understanding and consensual action. Whereas most traditional dialogue practices are unstructured or semi-structured, such conversational modes have been observed as insufficient for the coordination of multiple perspectives in a problem area. A disciplined form of dialogue, where participants agree to follow a framework or facilitation, enables groups to address complex problems shared in common.

Aleco Christakis (Structured Dialogic Design) and John N. Warfield (Science of Generic Design) were two of the leading developers of this school of dialogue, which was practiced for over 20 years as Interactive Management. The rationale for engaging structured dialogue follows the observation that a rigorous bottom-up democratic form of dialogue must be structured to ensure that a sufficient variety of stakeholders represents the problem system of concern, and that their voices and contributions are equally balanced in the dialogic process.

Today, structured dialogue is being employed by facilitated teams for peacemaking (e.g., Civil Society Dialogue project in Cyprus, Act Beyond Borders project in the Middle East,^[9]), global indigenous community development^{[citation needed]}, government and social policy formulation^{[citation needed]}, strategic management^{[citation needed]}, health care^{[citation needed]}, and other complex domains^{[citation needed]}.

In one deployment, structured dialogue is (according to a European Union definition) "a means of mutual communication between governments and administrations including EU institutions and young people. The aim is to get young people’s contribution towards the formulation of policies relevant to young peoples lives."^[10] The application of structured dialogue requires one to differentiate the meanings of discussion and deliberation.

See also[link]

• Bohm Dialogue
• Chat
• Conversation
• Deliberation
• Dialogue Among Civilizations
• Dialogue in writing
• Facilitation
• Intercultural Dialogue
• Interfaith dialogue
• Intersubjectivity
• Philosophy of dialogue
• Small talk
• Speech communication

Notes[link]

References[link]

• Bakhtin, M. M. (1986) Speech Genres and Other Late Essays. Trans. by Vern W. McGee. Austin, Tx: University of Texas Press.
• Maranhão, Tullio (1990) The Interpretation of Dialogue University of Chicago Press ISBN 0-226-50433-6
•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 
• E. Di Nuoscio, "Epistemologia del dialogo. Una difesa filosofica del confronto pacifico tra culture", Carocci, Roma, 2011

External links[link]

Look up dialogue in Wiktionary, the free dictionary.

• National Coalition for Dialogue and Deliberation
• Smith, M. K. (2001) Dialogue and conversation, the encyclopaedia of informal education
• The Journal of Inter-Religious Dialogue

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (May 2010)

Nana Patekar
Born	Vishwanath Patekar (1951-01-01) 1 January 1951 (age 61) Murud-Janjira, Maharashtra, India
Occupation	Actor, Filmmaker
Years active	1978 – present
Spouse	Neelakanti Patekar
Parents	Dinkar Patekar Sanjana Patekar

Vishwanath "Nana" Patekar (born 1 January 1951) is an Indian actor and filmmaker.

Biography[link]

Born Vishwanath Patekar in Murud-Janjira, Maharashtra, to Dinkar Patekar (a painter) and his wife Sanjanabai Patekar. He is an alumnus of the Sir J.J. Institute of Applied Art, Mumbai.^[1]

Career[link]

He acted in movies such as Gaman (1978), Mohre (1987) and Salaam Bombay! (1988) and was noticed by the mainstream Bollywood industry for his portrayal of the villain in the 1989 film, Parinda, for which he won his first National Film Award for Best Supporting Actor. He was also awarded the Filmfare Best Supporting Actor Award for the role. He won the Filmfare Best Villain Award in 1992 for Angaar.

In 1994, he won the National Film Award for Best Actor for his performance in Krantiveer (1994). He also won the Filmfare Award and the Star Screen Awards in the best actor category.

Patekar has played many types of roles. He has played the occasional villain but been a hero in most of his films. He played a truant, gambling son in Krantiveer (1994), a wife beater in Agni Sakshi (1996), a deaf father to Manisha Koirala in Khamoshi: The Musical (1996) and a schizophrenic in Wajood (1998). In the movie Ab Tak Chappan (2005) he plays a police officer who is a sharpshooter. Patekar has also done comic roles in Welcome (2007) in which he plays a powerful crime lord who once desired to be an actor in films.

He turned director with his movie Prahaar: The Final Attack co-starring Madhuri Dixit. His other films as an actor include Hu Tu Tu and Bluff Master. For his performance in Apaharan, he received the Filmfare Best Villain Award as well as the Star Screen Award Best Villain. He is going to be in Sangeeth Sivan's next film, which is a remake of the Telugu film Athadu (2005) and as the character Anjaneya Prasad (CBI officer), which was originally played by Prakash Raj.

Patekar did some playback singing in the films Yeshwant (1997), Wajood (1998) and Aanch (2003).

He has an honorary Captain's rank from Indian Army. He underwent training for his role as a Army officer in Prahaar and was thus awarded the rank. He joined the Territorial Army in the early 1990s.^{[citation needed]} At the age of 54, he took up the sport of rifle shooting. He qualified for the G.V. Mavlankar Shooting Championship.^[2]

He has also acted in few Marathi movies and plays. He is known to donate generously to the poor.^[3][4]

Nana Patekar starred in the Marathi film Deool, released on 4 November 2011.

Awards[link]

Patekar is the only actor ever to win Filmfare Awards in the Best Actor, Best Supporting Actor and Best Villain categories.^[5]

Filmography[link]

Actor[link]

Director[link]

References[link]

External links[link]

• Nana Patekar at the Internet Movie Database

Wikimedia Commons has media related to: Nana Patekar

• Nana's interview

Akshay Kumar
Akshay Kumar in 2009
Born	Rajiv Hari Om Bhatia (1967-09-09) 9 September 1967 (age 44) Amritsar, Punjab, India
Occupation	actor, producer, presenter
Years active	1991–present
Spouse	Twinkle Khanna (2001–present)

Akshay Kumar (born Rajiv Hari Om Bhatia^[1] on 9 September 1967^[1]) is an Indian film actor, producer, comedian and martial artist who has appeared in over a hundred Hindi films. He has nominated for Filmfare Award several times and won two times. When he began his acting career in the 1990s, he primarily starred in action films and was particularly known for his appearances in feature films commonly called the "Khiladi series", which included Khiladi (1992), Main Khiladi Tu Anari (1994), Sabse Bada Khiladi (1995), Khiladiyon Ka Khiladi (1996), Mr. and Mrs. Khiladi (1997), International Khiladi (1999), and Khiladi 420 (2000), as well as other action films such as Waqt Hamara Hai (1993), Mohra (1994), Elaan (1994) and Suhaag (1994).^[2]

Later he also gained fame for his drama, romance and comic roles.^[3] He started becoming known for his performances in romance films like Yeh Dillagi (1994) and Dhadkan (2000) as well as drama films such as Ek Rishtaa (2001). His comic performances in comedy films such as Hera Pheri (2000), Mujhse Shaadi Karogi (2004), and Garam Masala (2005) met with acclaim. His success further rose in 2007, when he starred in four consecutive commercial hits. He has thus established himself as one of the leading actors in Hindi cinema.

Apart from acting, Kumar worked as a stunt actor; he often performed many dangerous stunts in his films,^[4] which earned him a reputation as the "Indian Jackie Chan".^[2] 2008 marked his television debut as the host of the show Fear Factor – Khatron Ke Khiladi. In 2009, Kumar founded the Hari Om Entertainment production company.^[5] In 2008, the University of Windsor conferred an Honorary Doctorate of Law on Kumar in recognition of his contribution to Indian cinema. The following year he was awarded the Padma Shri by the Government of India. In 2011 Asian Film Awards honored Kumar for his outstanding achievement in Cinema.^[3]

Early life[link]

Akshay Kumar was born in Amritsar, Punjab.^[1] His father was an army officer. His mother's name is Aruna Bhatia. From a very young age, he was recognised as a performer, particularly as a dancer. Kumar was raised in Delhi's Chandni Chowk neighbourhood before moving to Mumbai.^[6] In Mumbai, he lived in Koliwada, which was another Punjabi dominated area.^[6] He studied at Don Bosco School and then Guru Nanak Khalsa College (King's Circle), where he participated in sports with Janpal Singh.^[6]

After having obtained a black belt in Taekwondo while in India,^[7] he studied martial arts in Bangkok, Thailand,^[6] where he learned Muay Thai^[7] and worked as a chef^[6] and waiter.^[7] He then came back to Mumbai, where he started teaching martial arts. One of his students happened to be a photographer and recommended him to do modelling. The student gave him a modelling assignment for a small company. For his two hours posing in front of the camera, Kumar got Rs. 5,000, compared to his previous monthly salary of Rs. 4,000. That was one of the main reasons why he chose to be a model. After a couple of months of modelling, Kumar was offered a lead role by producer Pramod Chakravarthy for the movie Deedar.^[6]

Career[link]

1990s[link]

Kumar made his Bollywood acting debut with the 1991 film Saugandh, which was followed by the 1992 thriller film Khiladi. In 1994, his action films Main Khiladi Tu Anari and Mohra were among the highest grossing films of the year.^[8] Later that year, Yash Chopra signed him for the romantic film Yeh Dillagi which was also a success.^[8] He received appreciation for his performance in this film, where he played a romantic role which was different compared to his action roles. He would consequently receive his first nominations for Best Actor award at the Filmfare and Star Screen ceremonies. During the same year, Kumar also had success with films like Suhaag and the low budget action film Elaan. All these achievements, promoted Kumar as one of the most successful actors of the year.^[9]

In 1995, along with his share of unsuccessful movies, he starred in the third film in his Khiladi series Sabse Bada Khiladi, which was a hit.^[10] He proved to have success with the Khiladi series, as in the next year he starred in the fourth successful film with Khiladi in the title, Khiladiyon Ka Khiladi opposite Rekha and Raveena Tandon. The film became one of the highest grossing films of the year.^[11]

In 1997, Kumar was seen in a supporting role in Yash Chopra's hit film Dil To Pagal Hai, co-starring Shahrukh Khan, Madhuri Dixit and Karisma Kapoor, for which he received a Filmfare Best Supporting Actor Award nomination. In the same year, he attempted a comedy role with the fifth film in the Khiladi series, Mr and Mrs Khiladi. Unlike his previous films with Khiladi in the title, the film failed commercially.^[12] In the same way as this film, his next Khiladi releases in the following years went on to fail at the box office. In 1999, Kumar received critical acclaim for his roles in the films Sangharsh and Jaanwar. Whilst the former did not make a profit at the box office, the latter turned out to be a success.^[13]

2000s[link]

Kumar on the sets of Heyy Babyy

In 2000, he starred in the comedy Hera Pheri (2000) which was a commercial success.^[14] He also starred in the romantic film Dhadkan later that same year which performed moderately at the box office.^[14] That same year, he performed some of his most dangerous stunts in Khiladi 420, where he climbed a running plane, stood on top of the plane flying a thousand feet in the air, and jumped from the plane onto a hot air balloon.^[4] In a later scene, he is also seen being chased by a car, dodging bullets, jumping off buildings, and climbing walls.^[15] In 2001, Kumar played a negative role in the film Ajnabee. The film won him much acclaim as well as his first Filmfare Award for Best Villain.^[1] Kumar played a role as role as a blind man in Aankhen.

Following Hera Pheri, Kumar starred in a number of comedy films, including Awara Paagal Deewana (2002) and Mujhse Shaadi Karogi (2004).^[16] and Garam Masala (2005). The films succeeded at the box office^[17][18] and his performance in the latter earned him his second Filmfare Award, for Best Comedian.^[1] Apart from his action, comedy and romantic roles, Kumar displayed a flair for dramatic roles in films such as Ek Rishtaa (2001), Aankhen (2002), Bewafaa (2005) and Waqt: The Race Against Time (2005).^[1] n

In 2004 he starred in Rajkumar Santoshi's Khakee alongside Amitabh Bachchan, Ajay Devgn and Aishwarya Rai. In 2006 he starred in a sequel to Hera Pheri titled Phir Hera Pheri. As was the former, the sequel became a huge success at the box office.^[19] Later that year he starred alongside Salman Khan in the romantic musical Jaan-E-Mann. The film was a well anticipated release, and despite receiving positive reviews from critics, did not do as well as expected at the box office.^[19] Though the film under-performed, his role as a shy, lovable nerd was praised.^[20] He ended the year with the comedy Bhagam Bhag, which was a success.^[19] In that same year, he led the Heat 2006 world tour along with fellow stars Saif Ali Khan, Preity Zinta, Sushmita Sen and Celina Jaitley.^[21]

2007 proved to be Kumar's most successful year during his career in the industry, and as described by box office analysts, "probably the best ever recorded by an actor, with four outright hits and no flops."^[22] His first release, Namastey London, was critically and commercially successful, and his performance earned him a Best Actor nomination at the Filmfare. Critic Taran Adarsh wrote of his performance in the film, "he's sure to win the hearts of millions of moviegoers with a terrific portrayal in this film."^[23] His next two releases, Heyy Babyy and Bhool Bhulaiyaa, were box office successes as well.^[24][25] Kumar's last release of the year, Welcome, did extremely well at the box office, receiving a blockbuster status and simultaneously becoming his fifth successive hit.^[26] All of Kumar's films which released that year did well in the overseas market as well.^[27]

Kumar's first film of 2008, Tashan, marked his comeback to the Yash Raj Films banner after 11 years. Although much anticipated by the public,^[28] the film was a critical and commercial failure. His second film, Singh Is Kinng was a huge success at the box office and broke the first-week worldwide record of Om Shanti Om, the previous highest figure.^[29] His next film was the animated film Jumbo. The year also saw Kumar making his small screen debut as the host of the successful show Fear Factor – Khatron Ke Khiladi. He later returned to host the show's second season in 2009.

In 2009, Kumar featured opposite Deepika Padukone in the Warner Bros.-Rohan Sippy production Chandni Chowk to China. Directed by Nikhil Advani, the film was a critical and commercial failure at the box office.^[30] Kumar's next release was 8 x 10 Tasveer. Directed by Nagesh Kukunoor, the film was a critical and commercial failure. His next release was Kambakkht Ishq. Kumar's film Blue was released on 16 October 2009. Blue collected about Rs. 42 crores at the box-office.^[31] His last release in 2009 was Priyadarshan's De Dana Dan.

2010s[link]

Akshay Kumar, Sonakshi Sinha and Prabhudeva at the first look launch of the movie 'Rowdy Rathore'.

He then appeared in the 2010 comedy, Housefull, directed by Sajid Khan which garnered the second-highest opening weekend collection of all time.^[32] Kumar's next release was Khatta Meetha, directed by Priyadarshan which was an average grosser. He also appeared in Vipul Shah's Action Replayy, which was a box office failure.^[33] His last film of 2010 was Tees Maar Khan. In 2011 he starred in Patiala House and Thank You.

He also co-produced a film with Russell Peters titled Breakaway (dubbed into Hindi as Speedy Singhs) which is reminiscent of his own Patiala House.^[34] Breakaway has become the highest-grossing English movie in Canadian history.^[35] Akshay Kumar, recently dubbed for the Hindi version of Hollywood, action blockbuster, Transformers: Dark of the Moon. Akshay dubbed for the role of 'Optimus Prime', which is one of the key characters in the film. He took the dubbing role for his son, Aarav, and did so for free.^[36]

His latest film is Rohit Dhawan's Desi Boyz (2011), which co-starred John Abraham, Chitrangada Singh and Deepika Padukone. His first release of 2012 was Housefull 2 which is a sequel to his 2010 successful film Housefull. The film received mixed reviews from critics and was declared Super Hit collecting 181.25 crore (US$36.16 million) at Box Office in 5 weeks. It was also a huge hit in overseas and the biggest Bollywood grosser in New Zealand. Akshay's Rowdy Rathore released on Ist June 2012.^[37] It marks the returns of him in action genre after 7 years.

Personal life[link]

Kumar earlier dated several of his colleagues, such as Shilpa Shetty and Raveena Tandon. After being engaged twice to actress Twinkle Khanna, the daughter of actors Rajesh Khanna and Dimple Kapadia, he married her on 17 January 2001. Their son named Aarav was born in September 2002.^[1] He stays in shape with a combination of kickboxing, basketball, swimming and other sports, as well as working out at the gym. In the year 2004, he was honoured with the Rajiv Gandhi Award for his outstanding achievements in Bollywood. In 2008 the University of Windsor in Ontario, Canada awarded him with Honorary Doctrate of Law for his outstanding work in the film industry and contribution to social work. The same year he was named the "Sexiest Man Alive" by People (India) magazine. The following year he was awarded the highest Japanese honour of "Katana" and a sixth degree Black Belt in Kuyukai Gojuryu Karate. He was one of the 15 international celebrities invited for the Olympics torch-bearer rally to Canada.^[38]

Awards and honors[link]

Filmography[link]

Actor[link]

Television appearances[link]

See also[link]

• List of Indian Actors

References[link]