Rohini is an actress in south Indian, notably Malayalam and Tamil films. She started her career in 1976 as a child artiste. She was married to the late actor Raghuvaran from 1996 to 2003. She is also a popular dubbing artist in the Tamil industry. She lent her voice to actresses like Jyothika (Vettaiyadu Villaiyadu), Aishwarya Rai (Iruvar and Ravanan and others). She wrote lyrics for the Tamil film Pachaikkili Muthucharam, before ending another hiatus by writing songs in the album, Maalai Pozhudhin Mayakathilaey. Her acting skills were recognized and she was given the "Kalaimamani" Award recently.

Filmography[link]

References[link]

External links[link]

• Rohini at the Internet Movie Database

Rohini may refer to:

• Rohini (nakshatra), a lunar mansion in Indian astronomy corresponding to Aldebaran
• Rohini Devi, a consort of Vasudeva and mother of Balarama and Subhadra in Hindu mythology
• Rohini (satellite), a series of Indian space satellites
• Rohini sounding rocket series, Indian rockets developed for meteorological and atmospheric study purposes
• Rohini Sub City, a residential sub city in Northwest Delhi
• Rohini (actress), actor from south Indian films, notably Malayalam and Tamil films during 1980s and 90s
• Rohni River, or Rohini River, in South Central Nepal, tributary to the West Rapti River
• Rohini (West Bengal), a village in West Bengal, India

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

An actor (sometimes actress for female; see terminology) is a person who acts in a dramatic or comic production and who works in film, television, theatre, or radio in that capacity.^[1] The ancient Greek word for an "actor," ὑποκριτής (hypokrites), means literally "one who interprets";^[2] in this sense, an actor is one who interprets a dramatic character.^[3]

Terminology[link]

After 1660, when women first appeared on stage, actor and actress were initially used interchangeably for female performers, but later, influenced by the French actrice, actress became the usual term. The etymology is a simple derivation from actor with ess added.^[4] The word actor refers to a person who acts regardless of gender, and this term "is increasingly preferred", while actress refers specifically to a female person who acts. Actress "remains in general use",^[4] although in a survey of a "wide cross-section of current British English", compiled in 2010, actor was almost twice as commonly found as actress.^[5] Within the profession, however, the re-adoption of the neutral term dates to the 1950s–60s, the post-war period when women's contribution to cultural life in general was being re-evaluated.^[6] Actress remains the common term used in major acting awards given to female recipients.^[7]

The gender-neutral term "player" was common in film in the early days of the Motion Picture Production Code with regards to the cinema of the United States, but is now generally deemed archaic. However, it remains in use in the theatre, often incorporated into the name of a theatre group or company (such as the East West Players)^{[citation needed]}.

History[link]

Actors Jim Brochu and Steve Schalchlin performing in The Big Voice: God or Merman play.

The first recorded case of an actor performing took place in 534 BC (though the changes in calendar over the years make it hard to determine exactly) when the Greek performer Thespis stepped on to the stage at the Theatre Dionysus and became the first known person to speak words as a character in a play or story. Prior to Thespis' act, stories were only known to be told in song and dance and in third person narrative. In honour of Thespis, actors are commonly called Thespians. Theatrical legend to this day maintains that Thespis exists as a mischievous spirit, and disasters in the theatre are sometimes blamed on his ghostly intervention.

Actors were traditionally not people of high status, and in the Early Middle Ages travelling acting troupes were often viewed with distrust. In many parts of Europe, actors could not even receive a Christian burial, and traditional beliefs of the region and time period held that this left any actor forever condemned. However, this negative perception was largely reversed in the 19th and 20th centuries as acting has become an honoured and popular profession and art.^[8]

Techniques[link]

Method acting[link]

Method acting is a technique developed from the acting 'system' created in the early 20th century by Konstantin Stanislavski in his work at the Moscow Art Theatre and its studios. The Group Theatre first popularised the Method in the 1930s; it was subsequently advanced and developed in new directions by Stella Adler, Sanford Meisner, Uta Hagen, Lee Strasberg (at the Actors Studio in the 1940s and 50s), and others.^[9] In Stanislavski's system', the actor analyzes the character in order to play him or her with psychological realism and emotional authenticity. Using the Method, an actor may recall emotions or reactions from his or her own life and use them to identify with the character being portrayed.

Method actors are often characterized as immersing themselves so totally in their characters that they continue to portray them even off-stage or off-camera for the duration of the project. However, this is a popular misconception. While some actors do employ this approach, it is generally not taught as part of the Method. Stella Adler, who was a member of the Group Theatre, along with Strasberg, emphasised a different approach of using creative imagination.^[10]

Method acting offers a systematic form of actor training in which the actor's sensory, psychological, and emotional abilities are developed; it revolutionized theatre in the United States.^{[citation needed]}

Presentational and representational acting[link]

Presentational acting refers to a relationship between actor and audience, whether by direct address or indirectly by specific use of language, looks, gestures or other signs indicating that the character or actor is aware of the audience's presence.^[11] (Shakespeare's use of punning and wordplay, for example, often has this function of indirect contact.)

In representational acting, "actors want to make us 'believe' they are the character; they pretend."^[11] The illusion of the fourth wall with the audience as voyeurs is striven for.^[12]

As opposite gender[link]

In the past, only men could become actors in some societies. In the ancient Greece and Rome^[13] and the medieval world, it was considered disgraceful for a woman to go on the stage, and this belief persisted until the 17th century, when in Venice it was broken. In the time of William Shakespeare, women's roles were generally played by men or boys.^[14]

When an eighteen-year Puritan prohibition of drama was lifted after the English Restoration of 1660, women began to appear on stage in England. Margaret Hughes is credited by some as the first professional actress on the English stage.^[15] This prohibition ended during the reign of Charles II in part due to the fact that he enjoyed watching actresses on stage.^[16] The first occurrence of the term actress was in 1700 according to the OED and is ascribed to Dryden.^[7]

In Japan, men (onnagata) took over the female roles in kabuki theatre when women were banned from performing on stage during the Edo period. This convention has continued to the present. However, some forms of Chinese drama have women playing all the roles.

In modern times, women sometimes play the roles of prepubescent boys. The stage role of Peter Pan, for example, is traditionally played by a woman, as are most principal boys in British pantomime. Opera has several "breeches roles" traditionally sung by women, usually mezzo-sopranos. Examples are Hansel in Hänsel und Gretel, Cherubino in The Marriage of Figaro and Octavian in Der Rosenkavalier.

Women in male roles are uncommon in film with the notable exceptions of the films The Year of Living Dangerously and I'm Not There. In the former film Linda Hunt played the pivotal role of Billy Kwan, for which she received the Academy Award for Best Supporting Actress. In the latter film Cate Blanchett portrayed Jude Quinn, a representation of Bob Dylan in the sixties, for which she was nominated for the Academy Award for Best Supporting Actress. Women playing men in live theatre is particularly common in presentations of older plays, such as those of Shakespeare, that have large numbers of male characters in roles where the gender no longer matters in modern times.^{[citation needed]}

Having an actor dress as the opposite sex for comic effect is also a long-standing tradition in comic theatre and film. Most of Shakespeare's comedies include instances of overt cross-dressing, such as Francis Flute in A Midsummer Night's Dream. The movie A Funny Thing Happened on the Way to the Forum stars Jack Gilford dressing as a young bride. Tony Curtis and Jack Lemmon famously posed as women to escape gangsters in the Billy Wilder film Some Like It Hot. Cross-dressing for comic effect was a frequently used device in most of the thirty Carry On films. Dustin Hoffman and Robin Williams have each appeared in a hit comedy film (Tootsie and Mrs. Doubtfire, respectively) in which they played most scenes dressed as a woman.

Occasionally, the issue is further complicated, for example, by a woman playing a woman acting as a man pretending to be a woman, like Julie Andrews in Victor/Victoria, or Gwyneth Paltrow in Shakespeare in Love. In It's Pat: The Movie, filmwatchers never learn the gender of the androgynous main characters Pat and Chris (played by Julia Sweeney and Dave Foley).

A few roles in modern films, plays and musicals are played by a member of the opposite sex (rather than a character cross-dressing), such as the character Edna Turnblad in Hairspray—played by Divine in the original film, Harvey Fierstein in the Broadway musical, and John Travolta in the 2007 movie musical. Linda Hunt won an Academy Award for Best Supporting Actress for playing Billy Kwan in The Year of Living Dangerously. Felicity Huffman was nominated for an Academy Award for Best Actress for playing Bree Osbourne (a male-to-female transsexual) in Transamerica.

See also[link]

References[link]

Sources[link]

• Csapo, Eric, and William J. Slater. 1994. The Context of Ancient Drama. Ann Arbor: The U of Michigan P. ISBN 0-472-08275-2.
• Elam, Keir. 1980. The Semiotics of Theatre and Drama. New Accents Ser. London and New York: Methuen. ISBN 0-416-72060-9.
• Weimann, Robert. 1978. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Ed. Robert Schwartz. Baltimore and London: The Johns Hopkins University Press. ISBN 0-8018-3506-2.

Further reading[link]

• An Actor's Work by Constantin Stanislavski
• A Dream of Passion: The Development of the Method by Lee Strasberg (Plume Books, ISBN 0-452-26198-8, 1990)
• Sanford Meisner on Acting by Sanford Meisner (Vintage, ISBN 0-394-75059-4, 1987)
• Letters to a Young Actor by Robert Brustein (Basic Books, ISBN 0-465-00806-2, 2005).
• The Empty Space by Peter Brook
• The Technique of Acting by Stella Adler

External links[link]

Look up actor, actress, or player in Wiktionary, the free dictionary.

• Actors' Equity Association (AEA): a union representing U. S. theatre actors and stage managers.
• American Federation of Television and Radio Artists (AFTRA): a union representing U. S. television and radio actors and broadcasters (on-air journalists, etc.).
• British Actors' Equity: a trade union representing UK artists, including actors, singers, dancers, choreographers, stage managers, theatre directors and designers, variety and circus artists, television and radio presenters, walk-on and supporting artists, stunt performers and directors and theatre fight directors.
• Media Entertainment & Arts Alliance: an Australian/New Zealand trade union representing everyone in the media, entertainment, sports, and arts industries.
• Screen Actors Guild (SAG): a union representing U. S. film and TV actors.

Rohini Hattangadi
Born	Rohini Oak (1955-04-11) 11 April 1955 (age 57) New Delhi, India
Years active	1975–present
Spouse	Jayadev Hattangadi (1975–2008; his death); 1 child

Rohini Hattangadi (born 11 April 1955) is an Indian actress of film, theatre and television. She has won two Filmfare Awards, one National Film Award, and is the only Indian actress to win the BAFTA Award for Best Actress in a Supporting Role for her performance as Kasturba Gandhi in Gandhi (1982).^[1] An alumna of the National School of Drama of New Delhi, Hattangadi had worked mainly in theatre when she made her movie debut with Arvind Desai Ki Ajeeb Dastaan in 1978. Some of her noted cinematic roles were in such art films as Arth (1982), Party and Saaransh (1984). Hattangadi was mostly offered character roles in mainstream Hindi cinema after her portrayal in Gandhi, often typecast in mother roles much ahead of her years. Respected for her acting prowess, she has appeared in over 80 feature films, and is active in theatre and television.^[2]

Personal life and background[link]

Hattangadi was born in New Delhi as Rohini Oak. She did her schooling from Renuka Swaroop Memorial Girls High School, Pune in 1966.^[3]

She joined the National School of Drama (NSD) of New Delhi in 1971. Although the Film and Television Institute of India (FTII) was located in her hometown Pune, she did not join it because she was mainly interested in theatre and did not have early plans to enter cinema: "I just wanted to be an actor... My heart was in theatre because I learnt from my father (Anant Oak) that real acting is learnt through theatre. That's why I came all the way to Delhi to join NSD."^[2] At NSD, she met her future husband Jayadev Hattangadi, who was in the same batch as hers. They were trained together by Ebrahim Alkazi. Upon graduation in 1974, Rohini was awarded the Best Actress award and an award for Best all-round student, while Jayadev, who was being trained in direction, won the Best Director award. Jayadev and Rohini married the following year.^[4][5] Rohini also received training in Indian classical dance forms, Kathakali and Bharatnatyam for more than eight years, under the guidance of Professor Surendra Wadgaonkar.^[6]

Rohini and Jayadev have a son, Aseem Hattangadi, who is a theatre actor and acted in Badal Sircar's play, Evam Indrajit, directed by his father.^[7] Jaydev Hattangadi died on 4 December 2008, aged 60, after a battle with cancer.^[8]

Career[link]

Theatre[link]

Rohini started her career with Marathi stage. Once in Bombay while still at NSD, Jayadev and Rohini started a Marathi theatre group in Bombay, called "Awishkar", which went on to produce over 150 plays.^[9] In 1975 she won the Best Actress Award at the Maharashtra State Drama Festival, for her performance in Changuna, a Marathi adaptation of Federico García Lorca's Spanish classic Yerma. The play was produced by "Awishkar" in Mumbai.

Hattangadi is the first woman to act in Yakshagana, a folk play directed by K. Shivaram Karanth, and is the first woman in Asia to act in a Japanese Kabuki play, Ibaragi, directed by Shozo Sato, a Japanese director.^[10]

One play that Hattangadi was particularly appreciated for is Aparajita, based on a Bengali story by Nitin Sen. First staged in 1999, this 120 minute long solo-act play has over the years been performed in both Hindi and Marathi. Incidentally it was her first performance in a long time to be directed by her husband, Jayadev Hattangadi. In all she has performed in five plays directed by him, including Medea, a Greek tragedy written by Euripides.^[11]

Her other theatre credits include Vijay Tendulkar's Mitra Chi Gosht, directed by Vinay Apte, Hori based on Premchand's Godaan, produced by IPTA, and most recently in the Hindi play Kohra with Sudha Chandran and Babul Bhavsar. Some of her renowned stage characters include Vimla Pandey of Mahayagya, the role of a Hindustani classical singer in Yeh Kahaan Aa Gaye Hum, a committed social worker in Intehaan and the unlettered and harassed Sakkubai in Hindustani.^[12]

Hattangadi, along with husband Jayadev, ran "Kalashray", a centre for research, education in arts and talent encouragement in Mumbai, working with the underprivileged and developing tools for powerful communication.^[5] She won the 2004 Sangeet Natak Akademi Award for her contribution to Indian theatre.

Film[link]

Hattangadi made her film debut with Saeed Akhtar Mirza's Arvind Desai Ki Ajeeb Dastaan in 1978. The film won the Filmfare Critics Award for Best Movie. This was followed by her appearance in Mirza's next picture, Albert Pinto Ko Gussa Kyon Ata Hai (1980), which won the same award, and Rabindra Dharmaraj's drama Chakra (1981). Her characters in these films were minor.^[2]

Her next film was Richard Attenborough's biographical film Gandhi (1982), based on the life of Mahatma Gandhi. She played Kasturba Gandhi, the wife of Mahatma, played by Ben Kingsley. The film was a major critical success, and among other awards won the Academy Award for Best Picture. Hattangadi's performance garnered her international recognition and she won the BAFTA Award for Best Actress in a Supporting Role in 1983, the only Asian to do that so far.^[13]

Despite the success she received for her role in Gandhi, the film was also credited with increasing "her screen age manifold". She was 27 when she played the middle-aged Kasturba, and from then on was offered roles of women of this age group. Hattangadi told of an instance when James Ivory wanted to cast for his film Heat and Dust, but he was surprised by how young she was when he met her and ultimately did not approach her for a part because he did not want to use make-up. Although theatre was her main interest, she stated that it was not enough financially, stating, "I realised that theatre won't be enough to make ends meet."^[2]

This was followed, however, by a string of acclaimed performances, starting with Mahesh Bhatt's Arth (1982), which won her the Filmfare Award for Best Supporting Actress. In 1984 she acted in Govind Nihalani's satirical drama Party (1984) for which she received the National Film Award for Best Supporting Actress.^[5] She followed it with two films in which she portrayed aging housewives, Mohan Joshi Hazir Ho! and Saaransh, both released in 1984. In Saaransh, she was the female lead along with Anupam Kher in his debut role. The film starred Hattangadi and Kher as B.V. and Parvati, an elderly couple struggling with the recent death of their son. Both Kher and Hattangadi were at their late 20s at the time, and The Tribune described them as giving "immortal performances".^[14] Her portrayal earned her a nomination for the Filmfare Award for Best Actress, but it further consolidated her image as a mother and by this time she was type-cast in Hindi commercial cinema in motherly roles.^[2]

She was later recognised for her small part in N. Chandra's Pratighaat (1987), and for her comic performances in Pankaj Parashar's Chaalbaaz and Ladaai, both released in 1989. She played the role of Sribaby, a drug kingpin, in Parashar's Jalwa (1987). It was in Indian parallel cinema, however, where she was offered demading roles. Her films of this period include Govind Nihalani's Aghaat (1985), with Muzaffar Ali's Anjuman (1986) and Girish Kasaravalli's Mane and Ek Ghar (1991).

In 1990, she was again cast as the aging mother of Amitabh Bachchan in Agneepath, for which she was awarded her second Filmfare Award in the Best Supporting Actress category. Throughout the 1990s and the 2000s, she was cast by Rajkumar Santoshi in several of his films, such as Damini (1993), Ghatak: Lethal (1996) and Pukar (2000).

Her most recent performance in Rajkumar Hirani's directorial debut Munnabhai MBBS (2003) received positive reactions, and she later reprised her role in the Tamil version of the film, Vasool Raja MBBS (2004).

Television[link]

Hattangadi played lead roles in the Marathi serials Char Divas Sasuche and Vahinisaheb on ETV Marathi and Zee Marathi, respectively. She played the lead role in a series on politics in India, where she played the leader of a major political party. She played the role of an actress in Ghar Ki Lakshmi Betiyann as Gayatri Baa. Over the years, she has been seen in a number of TV serials including Mahayagya, Thoda Hai Thoda Ki Zaroorat Hai, Teache, and more.

Awards[link]

• 1982: BAFTA Award for Best Actress in a Supporting Role: Gandhi (1982)
• 1985: National Film Award for Best Supporting Actress: Party (1984)
• 1984: Filmfare Best Supporting Actress Award: Arth (1982)
• 1991: Filmfare Best Supporting Actress Award: Agneepath (1990)
• 2004: Sangeet Natak Akademi Award

Selected filmography[link]

References[link]

External links[link]

• Rohini Hattangadi at the Internet Movie Database
• Rohini Hattangadi Allmovie.
• Adiyara Gahraya, from Saraansh with Anupam Kher

Aparna Pillai, better known mononymously as Aparna is a Tamil film actress, who has appeared in Tamil films. She is probably best known for her performances in Nenjil Jil Jil and Pudhukottaiyilirundhu Saravanan.^[1][2]

Filmography[link]

References[link]