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A festive zeal is felt the moment animators are seen clad in colourful costumes and ‘white faces’ before each performance. The beating of the drum to beckon audiences, further heightens the carnival atmosphere. Messages are conveyed through simple yet powerful reflective plays, which prompt visible gestures of recognition from the audiences. Each performance is contextualised with the surroundings, using an effective commentator. The commentator also reinforces the messages of each of the plays.

Effects of the plays are varied, some become emotional, some laugh, while others relate their own personal problems with the themes portrayed. Children are a permanent feature as they enthusiastically jostle around, cutting their way amongst the crowd trying to have the best glimpse at the field performances. Messages are further reinforced in the form of group discussions and field visits. Interviews, surveys and questionnaires are used to assess the impact of the theatre.

 

Jagran primarily uses the Art of Body Language ; Mime as its theatre form. It has focused itself on training young men and women predominantly from economically weakers sections in the spheres of acting and animation. Painstaking efforts over the years have moulded the present crop, from novices to experienced and efficient development communicators and animators.

At the studio theatre Jagran produces, designs new plays through a process of intensive rehearsals/ improvisations. On issues like, human rights, legal rights, gender, health and environment, workshops are conducted, which are then incorporated in new productions. The themes of each of the creative pieces of Jagran are dynamic and contextual. Jagran selects themes in consultation with the primary targets, local responsible individuals and institutions.