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✍️Essay on Festivals: Samples in 150, 250 Words

Updated on
Nov 2, 2023

Festivals are the special occasions celebrated in every religion and country to follow their tradition . They are generally celebrated worldwide to pay tribute to God and Goddesses and to spread joy and positivity. India, known for its diversity and multiculturalism celebrates many festivals throughout the year. Festivals are the best part of the year as they contribute to the unity of the nation and add prosperity to the life of the people. India celebrates different categories of festivals such as regional festivals, seasonal festivals , annual festivals, and national festivals. Stay tuned and read the following essay on festivals!

Also Read: Speech on Dussehra in English

Essay on Festivals of India 200 Words

Festivals in India are celebrated with great zeal. Indian festivals are worth witnessing as they are the most popular and colourful festivals. Be it Holi, the Queen Festival of Colours or Diwali the festival of crackers and rangoli, all are marked with great historical significance that tells about Indian Mythology. One of the most popular and biggest festivals in the world, Kumbh Mela, is also celebrated in India, where millions of devotees gather to offer their prayers.

Every festival has its own story and belief. People follow and respect their traditional values and do fasting on festivals like Chhath Puja , Govardhan Puja , Bhai Dooj , and Karwachauth. All these Indian festivals play an important role in uniting people belonging to different cultures in the same society.

Apart from these festivals, Onam, Dussehra , Christmas, New Year, Raksha Bandha, etc are also celebrated in India. Republic Day , Gandhi Jayanti , and Independence Day are the National festivals of India which are government holidays in the Indian Calendar.

Religious festivals include Eid-Ul-Fitr which ends with Ramadan celebrated by the Muslim community, Guru Nanak Jayanti held on 27 November 2023 to commemorate the birth anniversary of Guru Nanak Dev Ji celebrated by Sikhs, and Christmas celebrated on 25 December every year by Christians.

Also Read: Why is Onam Celebrated: The Festival of Joy in Kerala

Essay in Festivals 250 Words

India’s rich diversity and festivals unite people from different backgrounds. It joins people from different states and religions in a single thread for the celebration. Every occasion in India and different countries is celebrated with happiness and joy. Festivals bring joy and prosperity and create a sense of oneness.

The Kumbh Mela is one of the largest festivals in the world, which takes place at four pilgrimage sites in India; Ujjain, Prayagraj, Haridwar and Nashik. On this occasion, devotees take a ritual dip in the holy rivers of Shipra in Ujjain, Ganga-Yamuna-Sarasvati in Prayagraj, the Ganges in Hardwar, and Godavari in Nasik.

People follow the tradition of exchanging sweets and gifts on special occasions. National festivals are marked as Government holidays such as 2 October celebrated as Gandhi Jayanti, 26 January celebrated as Republic Day, and 15 August celebrated as Independence Day.

One thing which you find common in all festivals is cleaning the house, decorating, and worshipping God. Festivals are auspicious occasions that bring good health, wealth, joy, and prosperity into the lives of people.

Apart from the National festivals, Pongal, Onam, Baisakhi and Bihu celebrated in Tamil Nadu, Kerala, Punjab and Assam respectively are the seasonal festivals celebrated with very high energy by the people of that particular state. Farmers in India worship God and Goddess of agriculture on such seasonal festivals to seek their blessings and wish for good yields for the successive years.

Thus, the festivals in the given essay on festivals tell about various cultures and diversity in a particular country and about the customs followed by the people in festivals to make them grand and happening.

Also Read: Importance of Makar Sankranti

Relevant Blogs

Festivals hold a significant role in the human life. They are important to continue the traditional culture, religion, and practices of that particular religion and region. It plays a key role in uniting people and filling up the communication gaps thereby increasing the social dependency of people.

Festivals are extraordinary events celebrated to commemorate the traditions followed by our ancestors. It holds a significant role in joining the society and passing on the traditions to the future generations. They create an ambience of positivity, joy, and prosperity all around. Every region and religion follows their own festivals worldwide.

Festivals are the source of happiness. They are the best part of the year. Festivals are celebrated with people belonging to different cultures and religions and it helps in uniting them and enjoying the feeling of oneness and togetherness.

Here are 10 lines on why we celebrate festivals: Festivals are a chance for everyone to unite for a cause; It is considered auspicious to conduct prayers and worship God and Goddess. ; People of different religions follow different customs and practices to celebrate festivals.; Festivals create a happy atmosphere all around; In India, people celebrate many festivals throughout the year; Holi and Diwali are the two main festivals in India; Decorating the surroundings, cleaning the house, worshipping god, wearing new clothes, and sharing good wishes, and gifts are some of the important elements of any festival; Festivals are considered incomplete without sweets; The special occasion builds friendship among the people and increases interdependency; These special days are celebrated with utmost pomp and enthusiasm.

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Crafting the Perfect Festival Essay: Step-by-Step Writing Guide

Table of Contents

Festivals are an integral part of every culture around the world. They are celebrated w it h great enthusiasm and fervor, bringing together people from all walks of life. Whether it’s a religious festival, a cultural celebration, or a simple get-together, festivals play a vital role in shaping our social fabric . But what makes a festival special? Is it the food, the decorations, the music, or something else altogether? In this essay, I will explore the various aspects of festivals and their significance in our lives.

How Do You Write a Festival Essay?

A festival is a time for celebration, joy, and revelry. It brings people together, creates a sense of unity and belonging, and provides an opportunity to express oneself through art, music, dance, and food. However, if you are tasked with writing an essay about a festival, how do you go about doing so? Here are some tips to help you write a compelling festival essay:

Choose a topic: The first step in writing any essay is to choose a topic. When it comes to a festival essay, your topic should revolve around the theme of the festival, its history, its significance, or its impact on society. For example, you could write about the origins of Halloween, the evolution of Carnival, or the cultural significance of Diwali.
Research thoroughly: Once you have chosen your topic, it’s essential to conduct thorough research. Read books, articles, and online resources to gain a deep understanding of the festival and its context. Talk to experts, attend festivals, and observe the rituals and practices associated with them. This will help you develop a rich and nuanced perspective on the subject matter .
Develop a thesis statement: Your thesis statement should clearly state the main argument or point of your essay. For instance, “The festival of Holi symbolizes the triumph of good over evil and the victory of love over hate.” This statement sets the tone for the rest of your essay and helps guide your arguments.
Outline your essay: An outline is a useful tool for organizing your thoughts and ensuring that your essay flows logically. Divide your essay into introductory, body, and concluding paragraphs. Each paragraph should focus on one aspect of the festival and build upon the information presented earlier.
Use de script ive language: Festivals are sensory experiences, so it’s important to incorporate vivid descriptions of sights, sounds, smells, tastes, and textures into your essay. Use metaphors, similes, and other literary devices to create engaging imagery. For example, you might describe the colors of Holi as “a kaleidoscope of hues,” or the flavors of Indian cuisine as “a symphony of spices.”
Provide historical context: Festivals often have a rich history, so don’t neglect to include details about their origins and evolution. Explain why certain customs and practices were adopted and how they have changed over time. This will add depth and complexity to your essay.
Discuss the significance of the festival: Every festival has a purpose or meaning behind it. Explore this significance in your essay and explain how the festival reflects the values and beliefs of the culture it originates from. For example, you might discuss how the festival of Christmas represents the birth of Jesus Christ and the message of love and redemption he brought.
Conclude with a thoughtful ending: Finally, sum up your main points and leave your readers with something to think about. End your essay with a thought-provoking quote, a personal reflection, or a call to action. For example, you might conclude by saying, “As we continue to face challenges in our globalized world, festivals offer us a chance to come together, find common ground, and celebrate our differences. Let us embrace the power of diversity and unite under the banner of love and respect.”

By following these steps, you can craft a compelling festival essay that explores the history, significance, and impact of a particular celebration. Remember to stay focused, use descriptive language, and provide historical context to make your essay stand out. Happy writing!

How Do You Research a Festival for an Essay?

Researching a festival for an essay involves gathering information from various sources to create a comprehensive overview of the event’s history, significance, and impact on society. Here are some steps to follow:

Start with online search engines such as Google or Bing and look up articles related to the festival. Use specific keywords such as the name of the festival, its location, and any notable events or traditions it may include.
Check out websites dedicated to cultural heritage, tourism boards, or local government pages for more information. These resources often provide valuable insights into the festival’s origins, evolution, and current practices.
Consult books or academic papers published on the topic. Look for works by experts in the field who can offer in-depth analysis and historical context.
Talk to people involved in organizing or participating in the festival. They can share their personal experiences and perspectives, which can add richness and depth to your understanding.
Attend the festival if possible. Observing the event firsthand will give you a better sense of its atmosphere, rituals, and overall vibe. Take notes and ask questions to further inform your research.
Keep track of your sources and references. Make sure to properly cite them in your essay to avoid plagiarism and maintain academic integrity.

Remember to approach your research with an open mind and be willing to learn. The more diverse your sources and perspectives, the stronger your essay will be.

What Are Some Tips for Writing a Festival Essay?

When writing a festival essay, here are some key tips to keep in mind:

Choose a clear thesis statement that summarizes the main argument or point of your essay. This will help guide your writing and ensure coherence throughout.
Organize your ideas logically. Consider starting with an introductory paragraph that provides background information and sets the stage for your discussion. Then, break down your essay into sections that address different aspects of the festival, such as its history, significance, or cultural importance.
Provide concrete examples and evidence to support your arguments. Draw upon your research to illustrate how the festival has evolved over time, its role in shaping local culture, or its impact on community engagement.
Analyze the festival within its broader social and cultural context. Examine how it reflects or challenges societal norms, values, or beliefs. This will help you develop a nuanced understanding of the festival’s meaning and relevance.
Use descriptive language to bring the festival to life. Incorporate sensory details, quotes from participants, or vivid descriptions of performances or rituals to make your essay feel more immersive and engaging.
Edit and revise your work carefully. Ensure that your sentences flow smoothly, your transitions are logical, and your conclusions are strong and thoughtful.

By following these guidelines, you can craft a compelling and well-structured festival essay that showcases your knowledge and critical thinking skills.

How Do You Structure a Festival Essay?

The structure of a festival essay typically includes an introduction, body, and conclusion. Here is a general outline to get you started:

Introduction (approx. 10% of total word count)

Introduce the topic of the festival and its significance
Provide background information or context
Clearly state your thesis statement

Body (approx. 70% of total word count)

Discuss the festival’s history and evolution
Describe its cultural significance and symbolic meanings
Explain its role in shaping local customs and traditions
Highlight its impact on community engagement and participation
Analyze the festival within its broader social and cultural context

Conclusion (approx. 20% of total word count)

Summarize your main points
Reiterate the significance of the festival
Offer recommendations or suggestions for future research

Remember to adjust this structure based on your research and the requirements of your assignment. The most important thing is to present your ideas clearly and persuasively, while also demonstrating your mastery of the subject matter.

How Do You Write About the Cultural Significance of a Festival?

When it comes to writing about the cultural significance of a festival, there are several key points to consider. Firstly, it is important to understand the historical context of the festival and how it has evolved over time. This can involve conducting extensive research into the origins of the festival, its evolution through different eras, and any significant events or traditions that have shaped its development.

Additionally, it is essential to explore the role that the festival plays within the local community and how it brings people together. This could include discussing the ways in which the festival promotes social cohesion, celebrates cultural heritage, and provides opportunities for cultural exchange.

Finally, it is also important to examine the symbolism and meaning behind the festival’s rituals, customs, and practices, and how these contribute to its overall cultural significance. By taking a comprehensive approach to understanding the cultural significance of a festival, writer s can create engaging and informative pieces that highlight the importance of this unique aspect of culture.

What Are Some Festivals That Are Celebrated Worldwide?

There are many festivals that are celebrated worldwide, each with their own unique characteristics and meanings. Here are just a few examples:

New Year’s Day (January 1st): Celebrated around the globe, this holiday marks the beginning of a new year and is often observed with fireworks, parties, and other festive activities.
Christmas (December 25th): A religious holiday that commemorates the birth of Jesus Christ, Christmas is widely observed across the world and features gift-giving, decorations, and special meals.
Diwali (various dates): A Hindu festival of lights that takes place in autumn, Diwali is celebrated throughout India and by Indian communities around the world. It involves lighting lamps, exchanging gifts, and eating traditional sweets.
Chinese New Year (varies): A lunisolar holiday that falls between late January and mid-February, Chinese New Year is one of the most important holidays in the Chinese calendar. It is marked by parades, firework displays, and family gatherings.
Ramadan (varies): The Islamic holy month of fasting, Ramadan is observed by Muslims around the world during daylight hours from dawn to sunset. It culminates in the festival of Eid al-Fitr, which marks the end of the fasting period.

These are just a few examples of the many festivals that are celebrated worldwide. Each one offers a unique insight into the diverse cultures and traditions that exist across our planet.

How Do You Write About the Environmental Impact of Festivals?

The environmental impact of festivals is an increasingly important topic, particularly as concerns about climate change and sustainability continue to grow. When writing about the environmental impact of festivals, it is important to take a balanced approach that acknowledges both the positive and negative aspects of these events.

On the one hand, festivals can bring people together, promote cultural heritage, and support local economies. On the other hand, they can also result in waste, pollution, and resource depletion. To address these issues, writers should focus on finding solutions that balance the needs of the event with those of the environment.

For example, organizing recycling programs, reducing energy consumption, and choosing eco-friendly vendors can help minimize the environmental impact of festivals while still allowing them to thrive. By presenting a nuanced view of the issue, writers can inspire readers to make more informed choices about their own involvement in festivals and advocate for greater sustainability in future events.

What Are Some Festivals That Have a Negative Impact on the Environment?

While many festivals have a positive impact on the environment, others may have unintended consequences that harm the natural world. Here are a few examples of festivals that have been criticized for their environmental impact:

Burning Man (Black Rock City, Nevada): While Burning Man is known for its art installations and creative expression, it has faced criticism for its reliance on non-renewable energy sources, water usage, and waste management practices. In response, organizers have implemented measures such as renewable energy generation, water conservation initiatives, and expanded recycling efforts.
Rio Carnival (Rio de Janeiro, Brazil): One of the largest and most famous carnival celebrations in the world, Rio Carnival generates massive amounts of waste, including plastic bottles, food scraps, and confetti. In recent years, city officials have taken steps to reduce waste and encourage sustainable practices among participants.
Tomatina (Buenos Aires, Spain): During this annual tomato fight festival, thousands of kilograms of fresh tomatoes are thrown at each other, resulting in widespread damage to property and the environment. Organizers have since introduced measures to reduce waste and promote sustainability, such as composting and recycling programs.

By examining these cases and others like them, writers can identify areas where festivals may need improvement and offer suggestions for more sustainable practices. At the same time, they can emphasize the potential benefits of festivals for building community, fostering cultural exchange, and supporting local economies. By striking a balance between these competing interests, writers can help ensure that festivals remain vibrant and sustainable for generations to come.

What Are Some Festivals That Have a Positive Economic Impact?

There are many festivals around the world that not only bring communities together but also have a positive economic impact on local businesses and communities. Here are some examples of such festivals:

The Tomatina Festival in Spain – This annual event attracts thousands of visitors who come to throw tomatoes at each other in a friendly game of slop fight. It has become a major tourist attraction and generates significant revenue for the local economy through hotel bookings, food sales, and souvenir purchases.
The Burning Man Festival in Nevada – This week-long event is known for its art installations, music performances, and community-driven ethos. It has grown into one of the largest and most influential alternative events in the world, generating millions of dollars in revenue for local businesses and artists.
The Rio Carnival in Brazil – This two-week celebration takes place before Lent and features elaborate costumes, parades, and street parties. It is considered one of the biggest tourist attractions in South America and brings in significant revenue from foreign visitors.

When writing about the economic impact of festivals, it’s important to include data and statistics to support claims. For example, you could mention the number of visitors, revenue generated, and job creation opportunities provided by the festival. Additionally, highlight any specific initiatives or programs put in place to ensure sustainability and environmental responsibility during the festival.

How Do You Write About the Social Impact of Festivals?

Festivals can have a profound social impact on communities, bringing people together and fostering a sense of belonging and connection. When writing about the social impact of festivals, consider including stories and anecdotes from individuals who have attended the festival and experienced this positive effect firsthand.

For example, you could interview locals who have been coming to the same festival every year since childhood and ask them how it has shaped their identity and sense of community. Alternatively, you could speak with visitors from different backgrounds and cultures who have come together at the festival to share experiences and form new connections.

It’s also important to acknowledge any potential negative aspects of festivals, such as overcrowding, noise pollution, and safety concerns. However, overall, the benefits of festivals far outweigh the drawbacks, making them an essential part of our cultural landscape.

What Are Some Festivals That Bring People Together?

Festivals are inherently designed to bring people together, whether it’s through shared traditions, music, dance, or food. Here are some examples of festivals that promote unity and inclusivity:

The Kumbh Mela in India – This massive spiritual gathering takes place every 12 years and attracts tens of millions of pilgrims. It is a symbol of religious harmony and diversity, showcasing the richness of Indian culture and tradition.
The Pride Parade in New York City – This annual event celebrates lesbian, gay, bisexual, transgender, queer, and other marginalized identities, promoting acceptance and equality. It has become a global phenomenon, inspiring similar events across the globe.
The World Food Day Festival in Italy – This culinary extravaganza celebrates the diversity of Italian cuisine while raising awareness about hunger and malnutrition. It brings together chefs, restaurateurs, and food enthusiasts from around the world, fostering cross-cultural exchange and understanding.

When writing about festivals that bring people together, focus on the ways in which they promote unity and inclusivity. Highlight the diverse participants, the shared values and beliefs, and the sense of community that arises from these events. Emphasize the importance of festivals in breaking down barriers and building bridges between different groups of people.

How Do You Write About the Personal Impact of a Festival?

The personal impact of a festival can vary greatly depending on individual experiences and perspectives. When writing about the personal impact of a festival, try to capture the emotional resonance and significance that it holds for those involved.

For example, you could describe the transformative power of a music festival that helped someone overcome addiction or find their passion in life. Or, you could recount the joy and nostalgia felt by someone returning to their hometown festival after years away.

To make your story more compelling, incorporate sensory details and vivid descriptions that evoke emotion. Use active voice and present tense to create a sense of immediacy and engagement. By sharing personal accounts, you can help readers connect with the festival on a deeper level and understand its lasting impact.

What Are Some Festivals That Have Impacted Your Life?

As a writer, I have had the privilege of experiencing many festivals throughout my travels. Each one has left an indelible mark on me, teaching me something new about myself and the world around me.

One of the most memorable was the Glastonbury Music Festival in England. As a young journalist, I covered the event for a national newspaper, and it was there that I discovered my love for live music and journalism. The energy and creativity of the festival inspired me to pursue a career in writing, and I continue to attend whenever possible.

Another pivotal festival was the Holi Festival in India. As a child, I had never seen anything like it – the colors, the laughter, the sheer exuberance of the crowd. It was a reminder that even in the midst of chaos and conflict , we can still find beauty and joy in the world.

These experiences have taught me the value of stepping outside my comfort zone and embracing new experiences. They have shown me that festivals are not just entertainment; they are opportunities to learn, grow, and connect with others. And they have given me a lifelong appreciation for the power of music, color, and community.

Conclusion:

In conclusion, festivals are a reflection of our values, beliefs, and traditions. They provide us with an opportunity to come together, share our joys and sorrows, and connect with each other on a deeper level.

Whether it’s a family gathering, a religious ceremony, or a public celebration, festivals remind us of the importance of community and togetherness. So let us embrace the spirit of festivals and make the most of these special moments in our lives.Consider reading >>>> How Do Film Markets Work? to learn more.

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Home — Essay Samples — Arts & Culture — Festival — My Most Precious Festival Experience

My Most Precious Music Festival Experience

Categories: Festival Personal Experience

About this sample

Words: 680 |

Published: Apr 30, 2020

Words: 680 | Page: 1 | 4 min read

Works Cited

Richards, G., & Palmer, R. (2017). Eventful Cities: Cultural management and urban revitalisation. Routledge.
Getz, D. (2012). Event Studies: Theory, Research, and Policy for Planned Events. Routledge.
Small, C. (2017). Musicophilia: Tales of Music and the Brain. Vintage.
Allen, J., O'Toole, W., Harris, R., & McDonnell, I. (Eds.). (2019). Festival Places: Revitalising Rural Australia. Channel View Publications.
Veal, A. J., & Salazar, N. B. (Eds.). (2020). Tourism and Events: Opportunities, Impacts and Challenges. Routledge.
Curtis, N. (2018). Music Festivals and Regional Development in Australia. Springer.
Knifton, R., & Chamberlain, K. (Eds.). (2015). Wellbeing, Recovery and Mental Health. Cambridge Scholars Publishing.
Mathijs, E., & Sexton, J. (Eds.). (2019). The Routledge Companion to Popular Music History and Heritage. Routledge.
Widdicombe, S., & Wooffitt, R. (Eds.). (2018). The SAGE Handbook of Online Research Methods. Sage Publications.
Freitas, R. F. (2016). Music Festivals and the Politics of Participation. Springer.

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Descriptive Essay: Cultural Festivals in Different Countries

Cultural festivals occur in every country of the world. Attending a festival from another culture is like putting that culture under a microscope, as when attending a festival, one often sees the fine and intricate components of that culture in vivid and vibrant detail. Let’s take a closer look at three different festivals in various parts of the world – Spring Festival in China, the San Fermin Festival in Spain, and Carnival in Brazil – by placing them under that microscope.

Otherwise known as Chinese New Year, Spring Festival is the most important festival celebrated by Han Chinese. Beginning on the eve of the lunar New Year, families travel near and far to get together for an enormous meal, accompanied by weeks-long fireworks. Spring Festival lasts for fifteen days, the first few of which are designated for visiting family, then extended family and, lastly, friends. Mandarin oranges are given as gifts of good fortune for the coming year. New clothes are purchased, and most wear red, as not only does this color symbolize good fortune, but the color comes into play in the Spring Festival story of the mythical monster, Nian, who is frightened away by loud noises, fire and the color red. Red lanterns are hung and red envelopes full of cash are given to the young by their elders. Drums are beaten to lion dances, and fireworks explode to scare away evil spirits with both the sound and the light. If visiting China, Spring Festival is a great cultural experience, full of delicious food, thrilling performances and splendid company.

The San Fermin Festival in Pamplona is home to the famed Running of the Bulls. Starting on July 6th, the festival lasts until midnight on July 14th. On the 7th, San Fermin’s statue is carried through Pamplona’s streets and the Running of the Bulls follows, reoccurring every morning of the festival week. During the running, six steers and six bulls are guided through the narrow streets of Pamplona by courageous (or incredibly stupid) runners to the Plaza de Toros, where the bulls will later take part in bullfights and be killed. Though the course is over 825 meters long, it lasts only three minutes, as hundreds of people race alongside the bulls, often incurring injury in the process. Over a dozen people have been killed over the years, and each year sees around 200 to 300 participants injured. Though this festival is quite a risky one, the Running of the Bulls is a sight to see…though perhaps not one to participate in.

Catholics worldwide celebrate Carnival, but it is the most famous holiday in Rio de Janeiro, Brazil. Marking the beginning of Lent, Carnival is celebrated 46 days before Easter and, being as such, is primarily driven by the Christian calendar. However, the week-long festival in Brazil combines Christian, Pagan and Brazilian traditions. Huge parades traipse through the streets, whilst music, dancing and partying sets the city alight with life. People dress up in bright clothes and costumes, eat and drink in excess, and enjoy general merriment. Carnival is a must if visiting any South American country in early-March.

Though we’ve but a brief glimpse through the microscope at Spring Festival, the San Fermin Festival, and Carnival, one might only see the fine and intricate components of these cultures by attending the festivals in the flesh.

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Festivals and Their Importance for Modern Culture Essay

A festival is an event that is characterized by celebration and removal from the daily routine: it is full of different rituals, artistic performances, and other actions that bring some deeper meaning. The roots of most festivals are in traditions, local and global cultures, and religious beliefs. Modern festivals are connected with modern mass culture, and their organizers are usually professional event managers: they can be considered commercial events. Festivals are an essential part of modern culture, and their meanings, rites, and rituals are still actual today.

Festivals are built on modern and ancient traditions; they consist of rites and rituals that can be considered “building blocks” of the festival; those are the ceremonial actions that have some more profound sense. For example, rites of passage symbolize the transition from one state to another; rites of reversal emerge as masquerades and shows; rites of consumption are feasts where people eat and drink together for the sake of something (Fallasi 4–5). Today, festivals are widely used for communication between different people and cultures: they are important events for socialization (Cudny 644). Traditional festivals, such as Latin fiesta, usually adopt elements of global Western culture, such as elements of pop music, in their conventional music performances (Martinez 02:00–02:30). Thematic festivals are trendy and vital for today’s culture: different music festivals, art and design festivals, and even sex festivals (Cudny 650-651). Thus, festivals are essential to contemporary culture; they bring new senses and purposes.

Modern-day festivals are widespread around the Earth, and they often combine the elements of local cultures and modern global culture. For example, as the immigrants from Latin America, such as Peru, migrate to the United States, they adopt the global culture associated with mass media and capitalism and bring it home (Martinez 34:57). International festivals became popular: they usually use the traditional elements and present them in a modern way, usually much more impressive and large-scale than original elements. The large fire shows and performances in Peruvian fiestas are awe-inspiring (Martinez 35:50–36:20). Traditional music played at such festivals combines elements of modern pop and rock music. Traditions became the marketing element: festivals are widely used to attract attention, promote goods, and connect people (Catherine M. Cameron 167–70). In that way, today’s festivals are much more than only traditional holidays of the past: they are organized on higher levels, are used for different purposes, bring different themes and senses, and connect other people.

The reasons festivals became widespread in the 20th century are the increased level of festival tourism, improved management methods of festival organization, and general sociocultural changes. In industrial societies, people are happy to escape from everyday routine to the festive and vibrant atmosphere (Cudny 646). Most modern festival organizers are professional marketers, project and event managers, and promoters, and they similarly organize festivals as any other commercial event (Catherine M. Cameron 170–71). Such commodification is often treated as “evil” and leads to the loss of deeper meanings and authenticity of the cultural heritage; in fact, it is the evolution of purposes and not losing them (C. M. Cameron 165–66). Thus, today’s festivals are large, bright, multicultural, and multipurpose events.

One can conclude that festivals are an essential part of modern culture and are widely used for recreation, socialization, connecting people, and self-expression. Contemporary festivals, developed from ancient ceremonial holidays, are bright, vibrant events that connect elements of different cultures. Different types of festivals are used for self-expression, enjoyment of music and other art, and other experiences. People love festivals, enabling them to escape the daily routine and plunge into a festive, vibrant atmosphere.

Works Cited

Cameron, C. M. “The Marketing of Heritage: From the Western World to the Global Stage.” City & Society , vol. 20, no. 2, 2008, pp. 160–68.

Cameron, Catherine M. “The Marketing of Tradition: The Value of Culture in American Life.” City & Society , vol. 1, no. 2, 1987, pp. 162–74.

Cudny, Waldemar. “The Phenomenon of Festivals. Their Origins, Evolution, and Classifications.” Anthropos , vol. 109, no. 2, 2014, pp. 640–56.

Fallasi, A. “Festival: Definition and Morphology.” Time out of Time , 1987, pp. 1–10.

Martinez, Wilton. “Transnational Fiesta – a Couple Attends a Traditional Festival in Peru.” Kanopy , uploaded by Documentary Educational Resources, 1992. Web.

Martinez, Wilton. “Transnational Fiesta: Twenty Years Later – the Evolution of Transmigrant Communities.” Kanopy , uploaded by Documentary Educational Resources, 2013. Web.

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An Indian Festival Paragraph: Celebrating Rich Culture and Traditions

An Indian Festival Paragraph: India is a country known for its diverse culture and rich traditions. One of the most significant aspects of Indian culture is the celebration of festivals. Indian festivals are not only a time for celebration and joy but also a reflection of the country’s cultural diversity and heritage. In this article An Indian Festival Paragraph, we will explore the importance of Indian festivals and how they contribute to preserving the country’s rich cultural identity.

An Indian Festival Paragraph

In this blog An Indian Festival Paragraph, we include the An Indian Festival Paragraph, in 100, 200, 250, and 300 words. Also cover the An Indian Festival Paragraph belonging to classes 1, 2, 3, 4, 5, 6, 7, 8, 9, and up to the 12th class. You can read more Essay Writing in 10 lines, and about sports, events, occasions, festivals, etc… An Indian Festival Paragraph is also available in different languages.

Overview Of Indian Festivals

India is a land of festivals, with each state having its unique set of traditions and celebrations. The country celebrates a plethora of festivals throughout the year, ranging from religious to cultural and secular. Some of the major festivals celebrated across India include Diwali, Holi, Durga Puja, Eid, Christmas, and New Year. Each festival has its significance and is celebrated with great zeal and enthusiasm.

Diwali, also known as the festival of lights, is one of the most widely celebrated festivals in India. It marks the victory of good over evil and symbolizes the triumph of light over darkness. People light diyas, decorate their homes with rangolis, and burst firecrackers to celebrate this festival.
Holi, on the other hand, is a festival of colors and signifies the arrival of spring. People smear each other with colors, dance to music, and enjoy traditional sweets and snacks during the festival. Durga Puja, celebrated predominantly in West Bengal, is a ten-day-long festival that honors Goddess Durga and her victory over the demon Mahishasura.
Eid is a significant Muslim festival celebrated across India and marks the end of the holy month of Ramadan. It is a time for prayers, feasting, and exchanging gifts with family and friends. Christmas and New Year are also celebrated with great fervor, with people decorating their homes, exchanging gifts, and enjoying delicious food and drinks.

Significance Of Indian Festivals

Indian festivals are not just celebrations but are associated with different myths, legends, and religious beliefs. Each festival has its significance and is rooted in the country’s cultural and religious traditions. Festivals provide a platform for people to express their cultural identity and showcase their traditional arts, music, and dance forms.

For instance, during Durga Puja, people across West Bengal create elaborate pandals, depicting various themes and cultural aspects of the state.
They also participate in traditional dance forms like Dandiya and Garba during Navratri, the nine-day-long festival that precedes Durga Puja.
Similarly, during Diwali, people decorate their homes with intricate rangolis and light diyas to honor Lord Rama’s return to Ayodhya after defeating Ravana.

The Impact Of Indian Festivals On Society

Indian festivals play a significant role in promoting unity and harmony among people from different cultures and religions. During festivals, people come together, forget their differences, and celebrate as one community. Festivals provide a platform for people to connect with their roots and foster a sense of belongingness and pride in their cultural heritage.

Festivals also have a positive impact on the economy, with increased spending on food, clothing, and other items. For instance, during Diwali, people buy new clothes, sweets, and gifts, contributing significantly to the country’s economy.

The Importance Of Preserving Indian Festivals

Despite the significant cultural and social significance of Indian festivals, many of these celebrations are at risk of fading away. As India becomes more modernized and urbanized, the younger generations may not value these traditions as much as their parents and grandparents did. Many young people prefer to celebrate Western holidays and traditions, which they perceive as being more modern and fashionable.

This shift away from Indian festivals has led to concerns about the preservation of the country’s cultural heritage. If these festivals are not preserved, India risks losing a crucial part of its identity and cultural heritage. Therefore, it is essential to take measures to ensure that these festivals continue to be celebrated and valued by future generations.
One way to preserve Indian festivals is to raise awareness about their cultural and social significance. It is crucial to educate young people about the history and traditions associated with these festivals. Schools and colleges can play an important role in this by organizing cultural events and educational programs that highlight the significance of Indian festivals.
Another way to preserve Indian festivals is to make them more accessible and inclusive. Often, festivals are restricted to certain communities or social groups, which can lead to the exclusion of others. Making festivals more inclusive can help to bring people from different backgrounds together and promote greater social harmony.
In addition, it is crucial to support and encourage traditional arts and crafts associated with these festivals. Many traditional artisans and craftsmen have been practicing their crafts for generations, but are now facing challenges due to a lack of recognition and support. By promoting and supporting traditional arts and crafts, we can not only preserve these traditions but also help to promote the livelihoods of those who practice them.

In conclusion, Indian festivals are an integral part of the country’s rich cultural heritage. They bring people together, promote unity and harmony, and showcase the country’s diverse traditions and customs. It is crucial to continue celebrating these festivals in the face of modernization and globalization to preserve India’s unique cultural identity.

By celebrating Indian festivals, we can connect with our roots, promote unity, and foster a sense of pride in our cultural heritage. You can also read about An Indian Festival Paragraph in the given below link.

Read More: Festival Of Tripura Paragraph

FAQs On An Indian Festival Paragraph

Question 1. What is the Indian festival essay? Or an Indian festival paragraph?

Answer: The Indian festival essay would typically be an essay that explores the rich cultural heritage of India, its diverse religious traditions, and the colorful festivals that are celebrated throughout the year. It would discuss the historical and cultural significance of these festivals, their rituals and customs, and the social and spiritual dimensions of these celebrations.

It would also reflect on the spirit of unity and harmony that these festivals evoke, bringing people of different backgrounds together in a shared sense of celebration and joy.

Question 2. What is a festival paragraph?

Answer: A festival paragraph is a brief piece of writing that describes a festival or celebration. It typically includes information about the cultural or historical significance of the festival, the traditions and customs associated with it, and the ways in which it is celebrated.

The paragraph may also reflect on the social or spiritual dimensions of the festival and its significance for the community that celebrates it. Overall, a festival paragraph aims to capture the spirit and essence of a festival, conveying its richness and diversity to the reader.

Question 3. How do you write a Diwali paragraph?

Answer: Here is an example of a paragraph on Diwali:

Diwali, also known as the Festival of Lights, is one of the most important festivals in India. It is a five-day celebration that marks the triumph of good over evil and the victory of light over darkness.

During Diwali, people light diyas or earthen lamps to decorate their homes and temples and burst firecrackers to drive away evil spirits. The festival is also a time for family gatherings, feasting, and exchanging gifts. Overall, Diwali is a joyous and colorful festival that symbolizes the power of love, hope, and faith.

Question 4. What is a festival in 50 words?

Answer: A festival is a cultural or religious celebration that is marked by a special event or ceremony. It typically commemorates an important historical or mythological event or honors a particular deity or saint. Festivals often involve music, dance, food, and other forms of cultural expression, and serve as a means of promoting community solidarity and cultural heritage.

Question 5. Why do we celebrate festival 10 lines?

Answer: Here are 10 reasons why we celebrate festivals:

To commemorate significant events or milestones in history or mythology.
To express religious or spiritual devotion and seek blessings.
To honor and remember our ancestors and forefathers.
To promote cultural diversity and exchange.
To strengthen social bonds and build community solidarity.
To provide an opportunity for leisure and recreation.
Enjoy good food and indulge in festive treats.
To showcase traditional arts, crafts, and music.
To instill a sense of pride in our cultural heritage and identity.
To find joy, happiness, and hope amidst the challenges of life.

Our National Festivals Essay Pakistan

Here I have wrote our national festivals essay Pakistan for your exams preparation points of view. This essay is written in simple English as a students of each level can learn. Before reading here I would like to mention that the religious festivals and national festivals are different. National festivals are those which are make after the history and our cultural background by our forefathers. while the Hajj is our religious festival which is ordered by Allah and told by Muhammad SAW. So now you get ready to explore Pakistan right from this post! Read this entire article and get know the over-viewed details about each national festival including a touch of history and the imprint on upcoming nation in Pakistan under the light of this festival. When a festival takes place and what are its arrangements by the Pakistani nationals are written here below this passage. Scroll down and read it all.

Biotechnology Scope In Pakistan April 6, 2023
SIBI MELA: SIBI is a town which is located in the Quetta province of Baluchistan on the 110 miles from the Quetta Sukkhar Highway. There people celebrate the 3 days SIBI Mela that is all included with the Traditional sports, exhibitions of handicrafts, dresses, jewelry; horse show, cattle show, camel & horse races, camel & horse dances, tent pegging, concerts and colorful stalls in industrial Exhibition. It celebrates every year.
SINDH HORSE & CATTLE SHOW: Jacobabad is located near the Sukkhar its 85 Kms fare from the sukkhar and Jacobabad as these both cities are connected with the Karachi and in the Jacobabad “Sindh Horse and Cattle Show” Festival Celebrates for the 3 days. It is all involved in featuring with the traditional sports, exhibitions of handicrafts, dresses and jewelry; horse and cattle show, camel and horse races, camel and horse dances, tent pegging, bull racing, concerts and colorful stalls.
BASANT KITE FLYING FESTIVAL: The Basant festival held in the end of winter season and arrival of spring. It is celebrated in the entire country that is all added with flying kites in the all over the Punjab. This festival starts at mid-night when the white kites flying in the sky are light in the midst of millions of flood lights from every roof top. Lahore, Kasoor, Gujranwala, Rawalpindi, Gujarat, Faisalabad and other major cities of Punjab become the hub of activities with sky full of kites of different styles, sizes and colors.
MELA CHIRAGHAN: MELA Chiraghan held in the Lahore for the one week at the Shrine of a Famous saint. It celebrates near the Shalimar Gardens.
SHANDUR POLO FESTVAL: The Shanur Polo Festival is the festive and colorful tournament that is played between the top divisional teams of Gilgit, Chitral, Hunza & Skardu.
SHAH ABDUL LATIF BHITTAI’S FESTIVAL: This festival is the Urs for 6 days which celebrates every year. This festival is held every year as it marks the Urs celebration of the popular Sindhi mystic Shah Abdul Sehwan Sharif. As this festival takes place during August-September each year.
Eid ul Fitr: Eid ul Fitr is the Biggest Islamic festival which celebrates every year in all over the world. It is 3 days festival at the end of Ramzan as it is all included with cultural and social activities.

in the end you are advised that never mixed with the topic details. Our national festivals essay Pakistan is all written here with headings. you can add more data you know and you must add the conclusions after your topic and written material.

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Essay On My Favourite Festival

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Festivals hold a special place in our hearts, bringing joy, togetherness, and a sense of cultural identity. Each festival carries its unique charm and significance. In this blog, we’ll explore my favorite festival and share essays of varying lengths to capture the essence and celebration of this special occasion. To help you with your essay writing , we’ve prepared a series of essays in simple words. Whether you need a 150-word overview or a more detailed 500-word essay on the topic “My Favourite Festival”, we’ve got you covered.

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Essay On My Favourite Festival 1: 150 Words

My favorite festival is Diwali, celebrated with immense joy and enthusiasm in India and among the Indian diaspora worldwide. Diwali, also known as Deepavali, is the Festival of Lights and holds a special place in my heart.

Diwali spans five days, each with its significance. The festival begins with Dhanteras, where people buy gold and utensils, followed by Naraka Chaturdashi, when we light oil lamps and celebrate Lord Krishna’s victory over the demon Narakasura.

The main day of Diwali involves prayers, elaborate rituals, and the lighting of diyas (oil lamps) to welcome Goddess Lakshmi, the deity of wealth and prosperity. Homes are decorated with colorful rangoli, and families exchange gifts and sweets. The evening sky is ablaze with fireworks, creating a spectacle of light and color.

Diwali is not just a festival of external celebrations; it’s also a time for inner reflection and renewal. It reminds us of the victory of light over darkness, knowledge over ignorance, and good over evil. Diwali encourages us to embrace goodness, compassion, and unity.

Essay On My Favourite Festival: 200 Words

Diwali, also known as Deepavali, is my favorite festival. It’s celebrated by millions of people across the globe, making it one of the most significant festivals in India. Diwali signifies the victory of light over darkness and good over evil. The festival spans five days and is a time of immense joy, spirituality, and togetherness.

During Diwali, our homes are adorned with beautiful oil lamps and colorful rangoli designs. We exchange gifts and sweets with friends and family. The highlight of Diwali is the bursting of fireworks, lighting up the night sky with a mesmerizing display of colors.

For me, Diwali is not just about the festivities but also about the deep-rooted traditions and values it represents. It’s a time to seek blessings from elders, visit temples, and offer prayers for a prosperous and harmonious life.

Diwali brings people together, transcending cultural and religious boundaries. It’s a festival that spreads happiness, love, and goodwill among all. The spirit of Diwali reminds us to illuminate our hearts with kindness and compassion, just as we light lamps to dispel darkness.

Essay On My Favourite Festival: 250 Words

Holi, the vibrant and colorful festival of India, is my absolute favorite. Celebrated with unparalleled enthusiasm and energy, Holi marks the triumph of good over evil, the arrival of spring, and the celebration of unity and joy.

The festival usually falls in March and is a two-day affair. The first day, known as Holika Dahan, involves lighting bonfires to symbolize the victory of good over evil. It’s a time for prayers and reflection.

The main day of Holi is a riot of colors and exuberance. People gather in streets and open spaces, armed with colorful powders and water balloons. The air is filled with laughter, music, and the shouts of “Holi Hai!” as friends and strangers alike drench each other in hues of red, green, yellow, and blue. It’s a day when social barriers dissolve, and everyone becomes equal in the kaleidoscope of colors.

Holi also boasts a mouthwatering array of traditional sweets and snacks like gujiyas and thandai. Families come together to prepare these delicious treats, enhancing the sense of togetherness.

What makes Holi truly special is its universal appeal. It transcends age, religion, and nationality, inviting people from all walks of life to partake in its colorful revelry. It’s a festival that spreads happiness and strengthens bonds, whether with family, friends, or even strangers.

In conclusion, Holi is much more than just a festival of colors; it’s a celebration of life, love, and unity. Its vibrant spirit, cultural richness, and the sheer joy of playing with colors make it my favorite festival. Holi leaves an indelible mark on the hearts of those who experience its magic, fostering a sense of togetherness that is truly unforgettable.

Essay On My Favourite Festival: 300 Words

Christmas, my favorite festival, is a time of immense joy, love, and celebration that brings families and communities together in a spirit of togetherness and giving. It’s a time when the world seems to glow with warmth and happiness.

The beauty of Christmas lies in its universal appeal, transcending borders and beliefs. It celebrates the birth of Jesus Christ, who is regarded as a symbol of love, peace, and goodwill. However, even for those who may not observe it as a religious holiday, Christmas holds a special place as a season of kindness and generosity.

One of the most cherished aspects of Christmas is the tradition of gift-giving. It’s a time when we exchange thoughtful presents with our loved ones, expressing our affection and appreciation for each other. The joy of giving is as profound as the joy of receiving.

Decorating the Christmas tree is another highlight of the season. The sparkling lights, colorful ornaments, and tinsel create a magical atmosphere in homes and public places. The aroma of freshly baked cookies and the sound of carolers singing festive songs fill the air with happiness.

One cannot forget the excitement and anticipation that build up as Christmas Day approaches. Children eagerly await the arrival of Santa Claus, believing in his magical ability to deliver gifts. The act of hanging stockings by the fireplace in hopes of finding surprises the next morning is a delightful tradition.

In addition to the festivities, Christmas is a time for reflection and gratitude. It reminds us to be thankful for the blessings in our lives and to extend a helping hand to those in need. Many engage in acts of charity and volunteerism during this season, embodying the true spirit of Christmas.

Christmas brings families and friends together, fostering a sense of unity and love. It’s a time when people set aside their differences and come together to celebrate the values of love, compassion, and forgiveness.

In conclusion, Christmas is not just a festival; it’s a feeling of warmth, love, and togetherness. It reminds us of the importance of kindness, generosity, and gratitude. For me, Christmas is a time to cherish the company of loved ones, make lasting memories, and celebrate the beauty of the human spirit. It truly is the most wonderful time of the year.

Essay On My Favourite Festival: 500 Words

Among the myriad festivals celebrated in India, Diwali, also known as Deepavali, stands out as my favorite. This Festival of Lights is not only a time of external celebrations but also a period of profound spiritual significance, family togetherness, and cultural pride.

Historical and Religious Significance: Diwali holds historical and religious significance in various cultures and faiths. In Hinduism, it marks the return of Lord Rama to Ayodhya after his victory over the demon king Ravana. It also symbolizes the triumph of light over darkness, knowledge over ignorance, and good over evil.

Spiritual and Cultural Significance: For me, Diwali is not just a festival; it’s a spiritual journey. It’s a time to light the inner lamps, dispelling the darkness of ignorance and ego. The festival encourages self-reflection, forgiveness, and the pursuit of righteousness. It serves as a reminder to be a beacon of positivity in our own lives and in society.

Festive Preparations: Diwali preparations begin weeks in advance. Homes are thoroughly cleaned and adorned with colorful rangoli patterns, diyas (oil lamps), and decorative lights. The aroma of sweets and savories being prepared fills the air. The excitement builds as families shop for new clothes and exchange gifts.

Main Day Celebrations: The main day of Diwali is marked by elaborate rituals. Families come together to perform puja (prayers) to Goddess Lakshmi, seeking her blessings for wealth and prosperity. The lighting of diyas symbolizes the victory of light over darkness. As night falls, the sky erupts in a mesmerizing display of fireworks, filling the atmosphere with joy and wonder.

Cultural Diversity: One of the remarkable aspects of Diwali is its universality. It transcends cultural and religious boundaries, celebrated by people of various faiths. In Sikhism, Diwali holds particular significance as it commemorates Guru Hargobind Ji’s release from imprisonment. Jains celebrate Diwali as a day of spiritual awakening and the attainment of moksha (liberation).

Family Bonding: Diwali is a time for family reunions. It brings relatives and friends together, strengthening bonds and creating cherished memories. The exchange of gifts and sweets signifies love and goodwill among loved ones.

Social Responsibility: Diwali also reminds us of our social responsibility. It encourages us to share our blessings with those less fortunate, making charitable donations, and helping the needy. The festival promotes a sense of community and compassion.

Environmental Concerns: In recent years, there has been growing awareness about the environmental impact of Diwali celebrations, particularly the use of firecrackers. Many individuals and communities are now opting for eco-friendly celebrations, focusing on lights and festivities without noise and pollution.

Conclusion: In conclusion, Diwali is much more than a festival of lights; it’s a celebration of spirituality, cultural heritage, and togetherness. It holds deep historical and religious significance, reminding us of the eternal battle between good and evil. For me, Diwali represents the triumph of inner light over darkness, the pursuit of righteousness, and the importance of family and community bonds. It’s a time to cherish our cultural diversity and social responsibility while spreading love, happiness, and hope. Diwali will forever remain my favorite festival, illuminating my life with its timeless message of light, joy, and love.

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FAQs on Essay on My Favourite Festival

What is your favorite festival essay.

Diwali, also known as Deepavali, is my favorite festival. It's celebrated by millions of people across the globe, making it one of the most significant festivals in India. Diwali signifies the victory of light over darkness and good over evil.

How to write an essay for Diwali?

To write an essay about Diwali, start with an introduction explaining the significance of the festival. Then, discuss its traditions, rituals, and cultural importance. Share personal experiences or stories related to Diwali, and conclude by highlighting its universal message of light overcoming darkness.

What is the Favourite festival of India?

The favorite festival of India varies among individuals, but some of the most widely celebrated festivals in India include Diwali, Holi, Eid, Christmas, and Navratri. The choice of favorite festival depends on personal preferences and cultural backgrounds.

What is a paragraph about a festival?

A festival is a joyous occasion that brings people together to celebrate and commemorate a significant event or tradition. Festivals often involve various rituals, ceremonies, cultural performances, and feasting. They provide an opportunity for people to connect, share happiness, and create lasting memories. Whether religious or cultural, festivals play a crucial role in preserving traditions and fostering a sense of community and belonging.

What is the importance of celebrating Deepavali?

The celebration of Deepavali (Diwali) holds immense importance as it symbolizes the triumph of light over darkness and good over evil. It fosters unity, family bonds, and spiritual renewal, spreading joy and hope among communities.

Write An Essay On A Festival In Your Community

I’m excited to share with you all about a festival that holds a special place in my heart. It’s a time when our community comes together to celebrate, share joy, and create lasting memories. So, let’s dive into the details of this wonderful festival that brings so much happiness to everyone.

Table of Contents

Essay: A Vibrant Celebration – The Festival in My Community

Decorations and lights.

The festival in my community is truly a visual spectacle. As the festival approaches, our town starts to transform into a colorful and magical wonderland. Bright and vibrant decorations adorn the streets, houses, and public spaces. Imagine walking down the road with twinkling lights hanging from trees, and colorful banners dancing in the breeze. It’s like entering a world of enchantment where every corner holds a surprise of creativity and beauty.

Traditional Food

Ah, the aroma of delicious food fills the air during the festival. Traditional dishes, rich with flavors and history, are prepared with love and shared among families and friends. From aromatic curries to mouthwatering sweets, the festival offers a feast that tantalizes the taste buds. The heartwarming aspect is that these recipes are often handed down through generations, carrying the essence of our community’s culture and heritage.

Games and Activities

Laughter and cheers fill the festival grounds as people of all ages engage in various games and activities. The event is a hub of excitement and friendly competition. From sack races that tickle the funny bone to sackfuls of goodies for the winners, the festival is alive with the spirit of playfulness. There are games that challenge our skills, teamwork, and agility, creating an atmosphere of camaraderie and shared enjoyment.

Dances and Music

Music, like a magic thread, weaves through the festival, connecting everyone in its rhythmic embrace. Dancing is an integral part of the celebration, and people of all ages join in, moving to the beat of the drums and the melodies that fill the air. From traditional folk dances that tell stories of our history to modern moves that add a contemporary touch, the dances are a reflection of our community’s vibrant spirit.

Traditional Clothes

As the festival approaches, the excitement of dressing in traditional attire builds up. Vibrant colors, intricate patterns, and elegant designs are showcased through these clothes, bringing out the unique cultural identity of our community. Donning these garments is not just about wearing fabric; it’s about wearing a piece of our history and proudly displaying our heritage to the world.

Sharing and Happiness

One of the most beautiful aspects of the festival is the sense of unity and togetherness it brings. The spirit of sharing is at its peak during this time. Families come together to prepare food, which is then distributed to everyone, regardless of age or background. The festival becomes a platform for strengthening bonds, spreading smiles, and reminding us all of the power of compassion and generosity.

Cultural Performances and Showcases

The festival is also a stage for showcasing our community’s talents and creativity. Cultural performances, from plays to music recitals, shine a light on our artistic expressions. Local artisans display their crafts, allowing everyone to appreciate the skills and artistry that exist within our community.

In conclusion, the festival in my community is not just a simple event; it’s a time of coming together, celebrating our culture, and building memories that will last a lifetime. From the enchanting decorations to the sumptuous food, from the joyous dances to the warm sharing of love, every aspect of the festival reflects the essence of our community. As we eagerly await its arrival each year, we’re reminded of the bonds that tie us together, the beauty of our traditions, and the happiness that radiates when we celebrate as one.

Hello! Welcome to my Blog StudyParagraphs.co. My name is Angelina. I am a college professor. I love reading writing for kids students. This blog is full with valuable knowledge for all class students. Thank you for reading my articles.

Festivals of India Essay for Students and Children

500+ words essay on festival of india.

Festivals are larger than life celebrations of various things. They occur at regular intervals and helping in breaking the monotony of life. Furthermore, they give you the chance to celebrate the little and big things in life. Festivals are the carriers of peace and joy in the communities. All nations of the world have certain religious and cultural festivals. However, India is one of the largest countries to celebrate numerous festivals. As India is a very cultural and diverse country , so are the festivals. They divide into three general categories of national, religious and seasonal.

Types of Indian Festivals

As we can divide the Indian festivals into national, religious and seasonal, we see how they differ from each other. In general, national festivals are celebrated in honor of reputable people and events. The religious ones follow legends of faiths and their beliefs. The seasonal ones are celebrated with each season that we experience that varies from region to region.

National Festivals

Moreover, they help in setting aside the differences of the countrymen and unite each other like never before. The capital of India, New Delhi is the seat of national festivals. For instance, it witnesses the grand parade of the Republic Day. The flag hoisting takes place in New Delhi, which is broadcasted on national television for the whole country to see.

Religious Festivals

The religious festivals are one of the most famous festivals not only throughout India but over the world. Some of the most prominent religious festivals are Diwali, Eid-Ul-Fitr, Christmas, Guru Nanak Jayanti, Holi and many more. Diwali and Holi are the most prominent festivals of the Hindu religion. They are very colorful and full of lights.

Next up, Eid-Ul-Fitr is an Islamic festival which celebrates the end of Ramadan. It is about delectable dishes and family gatherings. Christmas celebrates the birthday of Jesus Christ. Furthermore, it is about Christmas trees and Santa Claus. Guru Nanak Jayanti celebrates the birthday of Guru Nanak Dev.

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Seasonal Festivals

Finally, the particular regions of the country celebrate seasonal festivals. For instance, Bihu is a festival of Assam. Likewise, Tamil Nadu celebrates Pongal. In addition, there is Basant Panchami which people celebrate through North India and West Bengal as well.

Importance of Festivals

Festivals are very important. They make us forget our cultural and religious differences . They unite people and they come together for the sole purpose of celebration and happiness. Other than that, festivals also help us embrace our culture and religion. They are very helpful in breaking the monotony of life.

Moreover, people look forward to festivals all-round the year. Festivals spark joy and give people something to look forward to. In addition, people also repair their homes and paint them that look like brand new. It beautifies the look of the locality.

In short, festivals fill our lives with colors and enthusiasm. They bring us closer every year and eliminate any feelings of communal hatred. Further, they strengthen the bonds of the community and remove the malice from people’s hearts. Therefore, festivals are quite important and must be celebrated with passion.

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Top Essays on Different Pakistani Cultural Festivals

Pakistan is the land of diverse people and ethnicity. The cultural and religious values are deep-rooted in its society. God has blessed this country with many cultural values and festivals. In addition to religious, cultural festivals, the country also takes pride in several cultural festivals and customs as well.

Being the land of festivals, Pakistanis observe these festivals throughout the year. These festivals are being observed from time immemorial.

The major Pakistani festivals are:

Eid al Fitr
Eid al Adha

Eid Milad-u-Nabi

Shab-e-barat.

Independence Day
Defense Day
Pakistan Day / Resolution Day
Alama Iqbal Day
Quaid-e-Azam Day
Mela Chirghan
National Horse & Cattle show

Here we are giving the details of some festivals and cultures in Pakistan:

Eid-ul-Fitr

Eid-ul-Fitr is a religious festival for Muslims, and it is celebrated at the end of Ramadan after fasting and on 1 st of Shawwal of every Islamic month. People celebrate this festival with a lot of keenness and joy. Girls wear henna on their hand on Chand Raat which is the last night of Ramadan.

Eid-ul-Azha

Eid-ul-Azha is another Eid is about observing the great sacrifice that was offered by Prophet Abraham (A.S.) celebrated on 10 Zilhaj on 12 th month of Islamic Calendar. People get together for collective prayers in Masajids and make the sacrifice of goats, sheep, cows or camels. Their meat is distributed among the family relatives, friends and poor.

Eid Milad-un-Nabi is celebrated to observe the birth of our beloved Prophet Muhammad (Peace Be Upon Him) on 12th of Rabi-ul-Awwal which is the 3rd month of Islamic Calendar. On this holy day, streets and mosques are decorated, and Milads are conducted.

This is another religious Cultural Festivals in Pakistan which is celebrated on 14 th of Shaban of Islamic Calendar. On this night, people offer prayers and send sweets and dishes to their relatives and children play with fireworks.

The above-mentioned festivals are religious festivals. Some other cultural festivals are also celebrated on the arrival of seasons. Like:

Independence Day (14 August)

Another important social festival which has great importance in the history of Pakistan is Independence Day (14th of August). On this day whole country pay homage and tribute to the people who gave many sacrifices for the built up this country. Also, pay tribute to those who work hard to make Pakistan and after that those persons whose contribution to make Pakistan in progress and save from enemies.

Basant is celebrated on the arrival of the spring season in the mid of February. Form last few years government has banned this Cultural Festivals in Pakistan due to security and its dangerous and life risk purpose but in few cities of Pakistan people still, celebrate this festival. On this day people fly kites, get together for parties, and arrange festive dinners.

Sibi Festival

(Last week of February) At Sibi (Balochistan). Traditional sports, handicrafts exhibition, folk music and dances.

Sindh Horse & Cattle Show

(Last week of February) At Jacobabad (Sindh). Similar activities as in Sibi Festival.

Jashan-e-Larkana

(Last week of February) At Larkana (Sindh). Traditional sports, an exhibition of handicrafts, folk music and dances.

(21-23 March) Celebrated only in Gilgit, Hunza, Skardu and Chitral. Polo, football, volleyball and hockey matches, folk dances and music.

Pakistan Day

(23 March) Commemorating the anniversary of Pakistan Resolution passed on March 23, 1940. Military parade in provincial capitals and Islamabad.

Mela Chiraghan (Festival of lamps)

(Last week of March) Held for 01 weeks outside Shalimar Gardens, Lahore.

Horse & Cattle Show

(End of March till 1st week of April). At Dera Ismail Khan. Local games, folk dances, music, cattle races and exhibition of local handicrafts.

Jashan-e-Shikarpur

In April for 01 week) At Shikarpur, Sindh. Cultural activities, local sports and handicrafts exhibition.

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Short Essay on Our Culture Our Identity [100, 200, 400 Words] With PDF

Culture is the most significant identity of human beings. So, knowing own culture is very much important. In this lesson today, you will learn how to write an essay on the popular phrase: Our Culture Our Identity.

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Short Essay on Our Culture Our Identity in 100 Words

Culture plays an important role in our lives. Every person is unique and different from the other. It is mainly because of their culture. People belong to several nations and communities. So their language changes, their dresses are different, their habits also do not match with each other. All of these happen because we belong to several cultures.

Our culture builds us to be complete human beings. It is our identity. Culture affects our behaviour, manners, and style. It includes the nature we have. Also, it comes from our family background, the teachings we receive and the moral education that we are given. If we are well cultured, then everyone will praise us.

Short Essay on Our Culture Our Identity in 200 Words

The line ‘ Our culture our identity’ comes from the country Nepal. Nepal is a land of diversity. It has various types of flora, fauna, festivals, food, dresses, and culture. But now this is applicable to every country living on Earth. Culture is a part of our identity. It builds our character and manners. If we are cultured, then we are praised by all.

Culture also includes language and our behaviour. It also contains our social activities. Culture differs from person to person. It happens due to different nations. We grow up under a definite culture. It affects our moral development. Culture comes both from our family and also from our surroundings.

Culture Whatever we believe comes from our culture. It remains throughout our life. Nowadays, several people are going to different countries. They study or work abroad. Then the culture of that foreign land affects the person. He mixes the foreign culture with his own. Everything in our life is controlled by culture. It makes us what we are. Our wishes are also part of our culture.

When we succeed in our life, our culture is praised. Culture includes our religions and festivals. Durga puja is now an important festival in foreign countries. All know about Durga Puja. So this helps the Hindu religion and Indian culture get more popular. We live for our culture. Our culture is our pride.

Short Essay on Our Culture Our Identity in 400 Words

We are Indians and we are proud of our nation. We are proud of its people, culture, diversity, independence, nature, and surroundings. What is important for us is the culture we have. Culture makes our identity. As Indians, we have a specific culture. It is different from what others have.

Our culture separates us from others. It is something that makes us unique. It teaches the right and the wrong. We start learning about our culture from childhood. So that we can forever remember it. So culture is our strength. If we follow our culture and its rules, then we will be praised forever.

The identity of a person is formed by his culture. Whatever we believe comes from that. If we have plans for the future, then our culture helps us in it. When we work for our nation, our culture is praised. Every culture has its own value. We cannot forget that. As we grow up, we have to maintain those values. It helps to grow our lives. It makes our lives more beautiful.

These values are different from one another. Every country has its own culture. It has its own values and morals. We see different habits, people, their practices, festivals, foods, clothes, and language. All of these happen because of culture. Our behaviour and manners are also important. It shows how beautiful our culture is.

We are taught about our culture from our childhood. Parents always teach their children about the cultures of their country. Even a small society has a separate rule. Culture comes from our family. If we are well behaved, then people praise our family background. Our grandparents also give us lessons on our culture. They are old and wise.

They know a lot about the culture of the nation. Our environment plays an important role in building us as well. If we have a bad surrounding, then it affects us. We do not learn good manners, we become rough, and also go the wrong way. It becomes very difficult for us to adjust if our culture is not good. So culture creates good and strong personalities.

The line ‘our culture our identity’ comes from Nepal. Nepal is a land of diversity. It has a different language, nature, clothes, food, festivals and people. But now this is applicable to all countries. Culture is very important for us. We must know about it. It makes us proud of what we have. A cultured person is always the best human being on Earth.

In this session today, you have learned how you can write essays on the popular topic: Our Culture Our Identity. In this lesson, I have tried to discuss the topic from a very easy perspective to make it easier to understand for all kinds of students. If you still have any doubts regarding this context, post them in the comment section below.

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Essay On Festivals in Pakistan...

Published by admin on 27th September 2022

Essay On Festivals in Pakistan

Fesitivals are the beautiful celebration that makes a nation follow its values and culture. We celebrate different festivals to promote our culture by sharing and revising the reasons of events tha took place. There are numerous fesitivals we celebrate in Pakistan. However, if we look at past, there we less events that were celebrated than today. As the globalization has taken place many we have adopted many festival from the west.

If we talk about the religion on which this Country was establish is Islam. According to our religion there are only two beautiful festivals that are obligatory incldues, Eid ul fitr,and Eid ul azha. While, there are different religion sectors that follow many other festivals following their ancestors. Here we will list few of the revitalizing festivals of pakistan that makes us happy and let us socialize in that period of the year.

Eid ul Fitr

This beautiful festivale is celebrating on 1st shawal, after the islamic month Ramadan. People celebrate this eid by preparing delicious food, as following the fasting month. This eid brings a lot of colors and everyone prepare new clothes for this eid. Not only is Pakistan, muslim all over the world celebrate this festival with full zeal and happiness. This festival teaches us to be patient and show love and care to our other muslim brothers and sisters.

Eid Ul Azha

The festival that teaches us to sacrifice for the sake of Allah. This fesitval has the sacred islamic histroy associated with it. This month increase our love for almighty by reminding us why we have been sent to this world, i.e. to worship almighty and instinct the sacrificial emotion.

Shab-e-barat

This festival is celebrated almost by all the reglious sectors of Pakistan but in different ways. Muslim sectors believe that at this auspicious night the past deeds of muslims are taken into account and the destinies for the next year is decided. Many people do fire works, share sweet dishes with one another and offer prayers for the night.

Eid-Milad-un-Nabi

This festival is also celebrated by some of the religious sectors however, others put fast and do a lot of prayers at this event. Milad is celebrated at many places on big scale. According to some sources this festival is celebrated because many muslim believe that 12th of Rabi-ul-Awal is the birthday of Holy Propher (P.B.U.H), however, it is not confirmed with the reliable sources.

Shab e meraj

This is considered as another blessed night when Holy Prophet (P.B.U.H) traveled to skies to meet Almighty Allah. He was accompained by the angel Jibreel. There were many other pledge that took place at this blessed night.

If we see islamic history it is full of amazing stories that makes us strong muslim if we follow the real meaning of them. There are more information that you can get with Research paper writing service in pakistan . Anyone can also ask them to write the paper on islamic history or any other festival they want. Festivals are very previous and every country should promote them in a healthy way inducing knowledge to young generation.

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A Reminder About Catharsis: Oedipus Rex by Rimas Tuminas, A Co-production of the Vakhtangov Theatre and the National Theatre of Greece

The Russian-language press thoroughly covered Oedipus Rex by Rimas Tuminas after it opened in the ancient Greek city of Epidaurus (29 July 2016), and after its Russian premiere at the Vakhtangov Theatre in Moscow on the day of the company’s 95th anniversary (13 November 2016). Almost a similar “boom” in newspaper publications occurred in November 2013 after the opening of Eugene Onegin at the Vakhtangov; it seems that almost every Moscow periodical with an arts section published an article dedicated to this production.

Most recently the critics’ attention was once again drawn to Oedipus; the Vakhtangov Theatre revived this play—the last production by Tuminas in the 2016-7 season—to open its new season on 6 September 2017. Apparently, the life of this production is still very dynamic; from one performance to another, Oedipus changes tangibly and still has a strong impact on the audience, including those who saw it a number of times. The life of this production is worth remembering, discussing, and covering in the press, today and in the future. The goal of this article is modest: to share some of the impressions of a witness and participant of the creative process, from the emergence of the concept of Oedipus Rex to its performances in Russia.

In fact, there were two productions of Oedipus Rex by Tuminas in 2016. The first one opened in July in ancient Epidaurus, and played there only twice, in compliance with the rules of the Summer Festival in Greece, then once in September, at the Odeon of Herodes Atticus in Athens (the second performance had to be cancelled because of the heavy rain). That Oedipus remained in Greece, preserved only in a video made by the National Theatre of Greece: it was shot on the day of the first premiere—29 July—with multiple cameras and edited by Greek filmmakers. This production might be revived in the future if the decision is made to show it again on the open stage of an ancient theatre, be it in Greece, Italy, Israel, or some other country. Within the orchestra of the theatre in Epidaurus, the production can be performed only twice: there have been almost no exceptions to this rule throughout the history of the Summer Festival in Greece. Perhaps the only exception was the legendary production of The Birds by Aristophanes directed by Karolos Koun: it was performed several times—in Epidaurus, and within the orchestra of the Odeon of Herodes Atticus in Athens—because of its exceptional importance to the theatre culture of Greece.

The second Oedipus was created specifically for the stage of the Vakhtangov Theatre in the fall of 2016, prior to the Moscow premiere. It was this production that the Moscow and St. Petersburg audiences saw. Lots of things were added to the first Oedipus which opened in Epidaurus. Firstly, never before had a Russian theatre company opened a production within the ancient orchestra in order to perform the premiere there, in Greece, in front of an audience of thousands. Before 2016, the most notable performance by Russian actors on the stage of an ancient theatre was the Russian production of The Oresteia directed by Peter Stein which toured Epidaurus in 1994. However, The Oresteia was produced within the framework of the Chekhov International Festival at the Theatre of the Russian Army in Moscow; the ancient theatre space was not its essential element, but only an episode of its existence.

Secondly, never before had a production with Russian actors featured a Greek chorus. In the past, slightly different things happened; in 1961, in the Mayakovsky Theatre’s production of Medea directed by Nikolai Okhlopkov on the stage of Tchaikovsky Concert Hall, the role of Medea was several times performed by Greek actress Aspasia Papathanasiou, who came to Moscow specifically for that purpose. The current production of The Bacchae at the Electrotheatre Stanislavsky in Moscow is performed by Russian actors with the participation of the Greek director, Theodoros Terzopoulos, who in the final scene performs a Greek lament song.

Oedipus at the Ancient Theatre of Epidaurus, Greece . Photo: Vahktangov Theatre.

The idea to invite a Greek chorus to participate in the production and to make Oedipus a joint project of the Vakhtangov Theatre and the National Theatre of Greece emerged immediately, during the initial discussions of the production in the winter of 2016. Of course, it certainly helped that 2016 was the year of Russia in Greece, and Greece in Russia. However, the main reason for bringing the Greeks and Russians together was different; Greek culture is the only one to be endowed with practical knowledge about the chorus in drama, and theatre in Russia or Lithuania has no source from which to draw this knowledge.

European drama actors started to perform within ancient orchestras as early as the late nineteenth century. The Comédie-Française actors were the first to try their hand at performing in an ancient Roman theatre at Orange in the South of France. Then, in 1911, at the arena of Circus Schumann in Berlin, Max Reinhardt produced his famous Oedipus, featuring a chorus of several hundred people. Later, in Italy and Greece they would hold festivals on ancient stages. However, regular work with the chorus within the orchestra started no earlier than in 1938 when celebrated Greek director Dimitris Rontiris, assistant and student of Max Reinhardt, was the first in Greece to direct a production in Epidaurus with actors of the Royal Theatre, which became the National Theatre of Greece. Performances by Greek actors in Epidaurus and Athens happened more and more often, and in 1954 they grew into a regular Summer Festival, where Greek companies would annually present ancient plays, and every year the chorus would perform within the orchestra.

Actually, what is the chorus? What is this group of 12 people who are collectively referring to themselves as “I,” not “we,” who are constantly present on stage—from time to time reacting to the actions of solo actors—and who in the breaks between episodes perform collective parts, sometimes taking the form of recitatives, songs, or even ecstatic exclamations?

That has been thoroughly discussed by the 20 th century scholars; however, in the National Theatre of Greece there is a practical concept of the chorus, drawn from ancient texts and tested in practice multiple times. The concept is passed from one director to another; actors are also familiar with it. I learned about it from director and composer Thodoris Abazis, deputy artistic director of the theatre and creator of the choral parts in Oedipus Rex.

The chorus, according to this concept (and the chorus, in accordance with ancient rules, consisted of 12 or 15 people), is the audience, the members of which are allowed to go to the orchestra and act in compliance with the tradition, embodied in the text of the drama: to comment, evaluate, agree or disagree, answer, or actively react to every element of action. That is why the chorus’s conventional location during the work of solo actors is close to the seats of the audience, often along the orchestra’s curve, becoming, so to say, the first row of the auditorium. That is how the union of the chorus and the audience was marked.

The Greek Chorus. Photo: Valery Myasnikov.

The chorus’s words sound like statements, anticipating the audience’s reaction; the chorus “orchestrates” the audience’s mood and emotional experience, directing and amplifying them, plotting the vector of the their emotions, and harmonizing (i.e. putting into words and music) strong feelings, inspired by the action. In order to perform their parts between the episodes, the choreuts enter the orchestra, thus breaking away from the audience and facing it. Now the chorus talks to the audience directly, contemplating in front of it through songs and, of course, appealing to gods; in ancient times tragedy was performed only during sacred rituals, therefore the sacred images of gods (Dionysus, in the first place) were placed near the orchestra.

Of course, some skeptics might have reservations about this interpretation of the chorus as an audience member acting on stage. For instance, in the works of Euripides the majority of choruses are women whose origin is far from aristocratic (as well as in The Choephori by Aeschylus); it is hard to imagine that the Council of 500 in Athens, as well as other male audience members, could have been able to identify with these women. However, the fact that this concept is understood by the actors, accepted by the audience, and may be applied in practice in a variety of ways, has been proved many times by the productions of Greek companies on ancient stages.

In Oedipus the chorus, according to Sophocles, consists of male citizens of Thebes, feeling all the hardships of the terrible pestilence which befell the city. Therefore, in the production by Tuminas, during their first entrance they trudge, exhausted and holding onto each other; someone falls to the ground, breaking this sad row, but others instantly help him to get up, because the Thebans are used to such fainting.

For the costumes Tuminas drew on the aesthetic of “gangster” world, as if borrowed from the movies about the 1930s Chicago: black suits, waistcoats, white shirts, and fedora hats. All the choreuts are undoubtedly devoid of any gloss not only because there is pestilence in the city; for them these costumes are, so to say, casual. They are used to wearing them in everyday life.

“Chicago” as the aesthetic reference point for the chorus is a sudden insight of Tuminas which has proven itself totally right. First of all, the Greeks—bearded and emotional in a southern way—look very colorful in these costumes. Secondly, the aesthetic is justified by action; the chorus consists of Oedipus’s confidants, witnesses of all of his conversations, interrogations, meetings, as well as Oedipus himself—played by Victor Dobronravov. The King’s hot temper, fury, demands for absolute submission, and readiness to begin shouting at any minute to start a fight or sentence someone to death, sometimes resembles the “kings” of gangster world. However, the chorus can never serve as an instrument for the hero to realize his intentions; that is impossible in ancient tragedy.

Thus, on the one hand, the chorus is a part of Oedipus’s world; Coryphaeus, the character created by Vitalys Semenovs, is his constant confidant, often rather bold and straightforward. However, the concept of the chorus as a part of the bulk of the audience was also realized in the production; this was especially noticeable at the opening in Epidaurus.

When Oedipus appeared in his royal attire, the choreuts, shocked, would fall on the ground and listen to their king, sitting with their backs to the audience and forming a semicircle (similar to the semicircle of the orchestra), as if the first row of the auditorium had been transferred onto the stage. Prior to the final episode, the choreuts exited the stage, went towards the audience, and sat just a step from the first row, right on the stone floor of the theatre, following the curve of the orchestra, with small gaps between one another, to watch the final scenes.

Lyudmila Maksakova as Iokasta. Photo: Valery Myasnikov.

In the Moscow production of Oedipus this aspect of the chorus’s existence was less noticeable. Raised stage and portal arch divide the stage from the auditorium, therefore when the chorus falls on the floor in order to listen to the king’s solemn address to the city, this mise-en-scène no longer gives the audience a chance to feel the visual and emotional proximity to the chorus as fully as it did in Epidaurus. Prior to the final episode, the chorus went backstage, and not to the auditorium. This is the only way it could happen, because on the black box stage the laws for tragedy are different than on the open stage; here the action has to be more autonomous, wholesome, and condensed.

However, recalling the open and free interaction between the performers of the tragedy and its viewers in the ancient, open-air theatre, Tuminas begins the production at the Vakhtangov with house lights on. When the chorus enters the stage, some actors sit on the chairs, placed on the left and right along the wings, and look intently and curiously at the audience, as if making it clear that the portal arch is fully transparent and permeable, so that the look from the stage enters the auditorium as freely as the returned gaze. And when the lights in the house slowly dim, the actors continue hypnotizing the audience, appealing to its members as if they were “the citizens of Thebes,” so the members of the audience have a role in the production anyway.

Still, given the circumstances of the black box stage, instead of visually bringing together the chorus and the audience, the creators of the production put more effort into emotionally gripping the audience through the action of the chorus, which descends very easily from the stage to perform from the auditorium. We should admit that at the Vakhtangov Theatre this worked even better than within the orchestra in Epidaurus.

The strong emotional impact of the chorus in Oedipus is first of all determined by the fact that very powerful Greek actors have participated in it from the very beginning. It is not a secret that in Greek theatre culture, as once in the ancient world, the choreuts were never placed on the same level with solo actors; at that time the tragic contests (and awards) were only for solo actors and never for the chorus.

When in the National Theatre of Greece there was a casting call for the chorus of Oedipus, there were over 150 candidates for only 11 places. Eventually, the majority of the chorus participants could have been promoted to principal roles because of their maturity, high professional reputation, and enviable resume. However, they were motivated only by their enthusiasm for this joint Russian-Greek production, the Vakhtangov Theatre, and, of course, the director, Tuminas. (By the way, 4 of the 11 actors even spoke Russian because of their connection with Russian theatre schools). Many theatre people in Greece admitted that this was by far the strongest performance of the chorus in a tragedy that they could remember.

Rehearsal of Oedipus at the Vakhtangov Theatre, Moscow. Photo: Vahktangov Theatre.

The first time that the Russian actors could feel the impact of the choral parts in all its strength, was in Moscow, at the very beginning of the rehearsals on the small stage of the Vakhtangov Theatre in spring 2016, when Thodoris Abazis arrived and played a record that the chorus made during the rehearsals in Athens. And when in July joint rehearsals of the chorus and actors at the arena of the summer stadium in Athens started (where the National Theatre of Greece normally rehearses before opening a production on the open stage), Liudmila Maksakova said, half joking and half serious, “No doubt they will surpass us!”

Thodoris Abazis, who wrote the chorus’s parts, created a complex combination of declamation, recitation, melo-declamation, and singing (unisonant and part-singing) without using musical instruments or a sound record. This combination is based on the pace, set, first of all, by breathing. The impact of a rhythmic sound, in which one can distinctly hear the energetic and powerful breathing of a group, turned out to be very impressive; the phonetics and melodics of the Greek language helped a lot. The composer, similarly to the director, interpreted the tragedy as the place where all kinds of emotions manifested themselves: not only fear, sadness, and anxiety, but also joy, enlightenment, and triumph. The promise of the unilateral exultation is heard in the third choral song, in which the choreuts, praising Oedipus, are waiting for the prompt revealing of his birth; they have no doubts that he was born to one of the immortals.

That is how the genuinely Greek chorus of Oedipus Rex was born, the first Greek chorus in Russian theatre whose presence in the tragedy was instantly perceived by the Russian audience as a necessary, naturally legitimate, and integral element of the stage action—from the very first performances in Moscow.

Starting the rehearsals in Moscow, Tuminas suggested that the Vakhtangov actors should create interactions between one another through fight and exchange of “blows”—in words, gestures, and the state of mind—hence the particular emotional tension and overexcitement of almost every dialogue in Oedipus.

As early as in the first monologue of the Priest (Evgeny Kosyrev), when there is a plea to Oedipus to save Thebes, we can distinctly hear the notes of reproach addressed to Oedipus—where are you and why haven’t you yet done anything? And the first line of Oedipus after coming to the Priest: “Known, ah, known too well…” also reveals dissatisfaction and irritation. Anger, headiness, and propensity towards conflict have led him to kill his own father, to feud with the prophet Teiresias, and later with Creon.

As the famous saying of the ancient Greek philosopher Heraclitus goes, “Character is destiny.” It probably means that, when man goes through the crucible of life, when the mind isn’t fast enough to follow statements and actions, then character takes over man (which also means passions, imposed by nature). Character sends the strongest life impulses; it leads man through life, thus mapping the line of fate. Victor Dobronravov captures this characteristic feature of Oedipus very precisely; an angry and heady temper has got the hold of his soul and adds belligerence to every conversation. That is how Sophocles saw Oedipus and that is the basis of his character in the production by Tuminas.

That is why, whenever Oedipus enters the stage (as he does in every episode), there is a collision, confrontation, or fight. His first opponent is the blind prophet Teiresias, who doesn’t want to reveal the truth about Oedipus instilled by Apollo. In this production, the role of Teiresias belongs to Evgeny Knyazev. I noticed that in the majority of performances of Oedipus Rex (in Epidaurus, Athens, Moscow, and St. Petersburg) the first applause of the audience is heard exactly after the first episode, when the confrontation between Oedipus and Teiresias reaches the boiling point; Oedipus is ready to stomp the rebellious prophet to death, in response drawing his ire, and is especially fearsome because the gods side with him. In fact, in Epidaurus it is uncommon to applaud before the end of the show. However, the audience inevitably applauded after the episode with Oedipus and Teiresias, and again after every episode, and after several appearances of the chorus.

The farther from Epidaurus, the more the character of Teiresias, created by Evgeny Knyazev, is filled with cunning, irony with a smirk, and pinch of madness—often present in depitions of prophets. This prophet managed to confuse everyone. At first he said that he was going to keep mum, and then suddenly he declared Oedipus the main culprit; at first he declared that he wanted to leave soon, and then, getting angry with Oedipus, delivered a long monologue in which one could hear either prophecy or condemnation. Eventually, he went away with a smirk, leaving Oedipus alone with the news, which may have come either from Apollo or from an insane old man.

The next confrontation is between Oedipus and Creon. The role of Creon is performed by Eldar Tramov, a young actor of the Vakhtangov Theatre studio. Tuminas is the first director to see in Creon not as a grown man or as a revered old man, but as a young man—a peer of Oedipus or someone even younger. Thus the potential for conflict has been maximized, as collision between peers, whose positions in the royal house are relatively equal, with fewer moderating forces than struggles between people with big age differences.

At the beginning of the play, Tramov’s Creon is the total opposite of Oedipus; he is lenient, weak-willed, enthusiastic, affectionate towards everybody and everything, and in adoration of his place in the royal house next to his sister Jocasta. Without lifting a finger, Creon can rule the city and enjoy the benefits of the royal house, and therefore is quite self-sufficient. That is how he looks when we first see him, on his way from Delphi, in the prologue. Here we can sense the brewing confrontation between him and Oedipus, which is not obvious but implied. Creon is laid-back and self-assured (Tuminas gave Tramov a clue that in Delphi they had already promised Creon that he would soon ascend to the throne); Oedipus is irritated by Creon’s mannerisms and even by the sheer presence of his wife’s brother. Like many kings, Oedipus suspects that his brother-in-law covets the throne.

In the second episode, Tramov conveys a sharp change in the manner of Creon’s behavior. It seems that for the first time the royal son does not look laid-back anymore, but rather fears that he is going to lose not only his position, but his life. He both believes and does not believe that he can die. Here he looks a bit like a holy fool; by hook or by crook he is holding onto his life, looking for support from everyone around him (the chorus, the audience) so that they could also persuade Oedipus that Creon is good and not guilty.

In the second to last episode, there is another collision, this time between the messenger from Corinth and the herdsman from Thebes. In Epidaurus and Athens, the Corinthian was performed by Valery Ushakov, and the Theban by Artur Ivanov; in Moscow, the cast of Oedipus was joined by Oleg Forostenko (the Corinthian) and Ruben Simonov (the Theban). I do not remember any other production where the director managed to reveal the war between the two messengers of Sophocles so convincingly, or where the actors conveyed it so impressively. The Theban wants to hide the truth about the baby with broken ankles, which the Corinthian is trying to reveal. The Theban knows that the truth will bring woe, the Corinthian is, on the contrary, positive that the truth will bring happiness to everyone and an award to him. The Theban has forever blamed himself for not being able to kill the baby (when asked why, he shouts in despair: “Through pity…”); the Corinthian, on the contrary, has always been happy as a result of his giving the baby to the house of the Corinthian king and deserving an award.

Only one character of the tragedy remains outside the battle: Jocasta, the wife and mother of Oedipus, a character created by Lyudmila Maksakova. When she first appears on stage (in the second and longest episode), Jocasta tries not to wage war, but to make peace between Oedipus and Creon.

In a conversation, Tuminas confessed that it is Jocasta who is the main character of his story. Jocasta is depicted as a strong and wise woman, mother, queen and patroness of the royal house, and the closest friend and advisor to her young husband and her young brother. Indeed, it is in Jocasta that Oedipus and Creon find strength and confidence; it is she who is the pillar of the kingdom.

Jocasta, in this production, is never happy, for she has suffered the utmost hardships which can befall a woman: the loss of a newborn child, the loss of her husband, the fatal disbelief in the justice of gods, and the suffering that from that disbelief. Only once does she utter an exclamation which sounds like an expression of happiness, when she hears that Polybus (whom Oedipus considered his father) died, which means that the prophecy about patricide failed. Yet even this exclamation is mixed with bitterness, for what can be joyful in the fact that the gods lie? Their lies put into question the very existence of truth in the human world. The conversation with the Corinthian herdsman has led her (earlier than Oedipus, because she is wiser) to the discovery of the terrible incestuous relationship—her marriage to a young husband which gave her temporary hope. This discovery was followed by the verdict—“Put to death!”—which she pronounced to herself. In listening to the ending of the herdsman’s monologue and bidding farewell to Oedipus by promising to be “silent evermore,” she immediately enforced the verdict without hesitation.

The composer for the production, Faustas Latenas, composed a splendid musical theme for Jocasta. It has beauty and yearning for flight, but at the same time, deep sadness and hopelessness, as if a man inhaled, flapped his wings and started towards the sky, but this was instantly followed by an exhale, accompanied by the understanding that the wings refused to fly, for there was not enough strength. One more flap—again no strength. Once in the performance this melody is performed by Oedipus; at the end of the chorus’s part following the second episode, he paces the stage, playing the saxophone, and the chorus picks up the tune. This happens right after a statement by the chorus that both in the royal house and Thebes there is disbelief in gods: “Apollo is forsook and faith grows cold.” Soon we will learn from Jocasta that it is Oedipus who is restless because he anticipates woe. Jocasta’s theme serves as the musical symbol of this premonition and becomes the theme for Oedipus, and the leitmotif of the entire production.

Rehearsal of Oedipus at the Vahktangov Theatre, Moscow. Photo: Vahktangov Theatre.

Before singing along with Oedipus, the chorus members put on military helmets, covering their faces. The chorus’s helmets and their action of singing with Oedipus’s saxophone were both introduced specifically for the Moscow production. Helmets replace masks, behind which the choreuts seem to be hiding from their own disbelief and shame, from their own unwillingness to stay in the chorus and sing, addressing the gods, who, according to the kings, lie. A few seconds before the saxophone, the chorus angrily reproaches the tyrants for their pride in front of the gods, and the choreuts are almost ready to dissolve and leave the stage in order not to praise the proud men—a witty reaction by Tuminas to the line: “If sin like this to honor can aspire, why dance I still and lead the sacred choir?”. Then they sadly get back together, and in order not to become proud men themselves, put on their helmet-masks and start singing along with the tune played by Oedipus. The choreuts see disbelief in themselves; through them the whole city is filled with the mood of despair, anticipation of woe, shame, and a desire to hide from the gaze of heaven. The beautiful tune of Latenas reminds more of a former beauty of a life which will never return.

The music and sounds created by Latenas deserve special mention; they play an important part in the success of Oedipus Rex. It was noted long ago that Tuminas’s productions are musical, and musicality is their inner, essential feature. Director Tuminas and composer Latenas share this musicality of thinking; their long-term co-creation in theatre is not accidental. In Oedipus, as in their previous productions, all their meaningful accents are musical, the periods of stage action are similar to musical phrases, the dynamic of action is picked up by music, and the dramatic turning points are accentuated with the intrusion of a sound composition. Almost every sound on stage becomes an element of the show’s monolithic musical palette.

Two musical themes define Oedipus : first, the aforementioned theme for Jocasta, and second, the theme of the loud, “beastly” breathing of fate, taking an active part in the life of Oedipus and the members of his household.

The set designer of the production, Adomas Jacovskis, created an impressive physical embodiment of “the machine of fate,” a topic thoroughly covered by critics and journalists. It is a giant cylinder with small square holes along its surface, relating to a huge clock mechanism, a mammoth music box, or probably an execution machine that will crush flat everyone who is doomed to lie under it. The “beastly” breathing and heartbeat of this machine was shaped by Latenas into a powerful musical and rhythmic theme—exhaling smoke, restlessly swinging and at the end rolling towards the auditorium and almost reaching the footlights—which is heard more and more often as the show approaches its conclusion.

The image of an object of fate that rolls over the people is highly characteristic of the artistic world of Tuminas and Jacovskis. In 1997, in The Masquerade of the Small Theatre of Vilnius, the image of a growing snowball was introduced. It was supposed to crush the main character at the end. In 1998 in Oedipus in Vilnius that very “machine of fate” was also in action—a cylindrical pipe with square holes, but of a slightly different shape and smaller size than what was needed for the orchestra of Epidaurus and stage of the Vakhtangov Theatre, which are much larger spaces. In 2001, in Vilnius, at the National Theatre of Lithuania, Inspector General opened, in which a giant “church” with a small cupola flew over the stage. It was made in a simplified manner and therefore resembled blind pagan dolls; it was swiping away every trouble the people stirred, and moved towards them as a giant ghost, but they still failed to notice it.

Therefore, Oedipus Rex, from the scenographic point of view, is on one hand a reminiscence of the productions by Tuminas and Jacovskis from the turn of the twenty-first century. On the other hand, “the machine of fate,” embodied by a pipe, rolling towards the actors and audience, is an impressive symbol of doom in our time, as well as an object that fits into both the open stage and the black box stage.

In both Epidaurus and Athens, the technical conditions of the stages did not allow for the giant pipe “roll over” the first row of the audience, so that the whole auditorium could feel the doom heavily hanging over it. However, this worked marvelously on the Vakhtangov stage. Therefore, the ending of Oedipus became famous and already left a mark in the history of contemporary theatre: two girls in white dresses—Oedipus’s daughters, Antigone and Ismene—are trying to escape the terrifying roll, running towards the footlights and attempt to roll it in the direction of the backdrop, but it advances anyway. When the girls run away in fear, “the machine of fate” goes fully into effect; it freely rolls over the audience, swings, emanates smoke, breathes loudly, and one could hear a giant heart beating, which sounds either like a threat or like the guarantee of life.

This ending is the result of a wise insight that Tuminas had during the final rehearsals. According to the initial concept, the production was supposed to end with the famous moralizing speculation of Sophocles’s chorus:

Look ye, countrymen and Thebans, this is Oedipus the great, He who knew the Sphinx’s riddle and was mightiest in our state. Who of all our townsmen gazed not on his fame with envious eyes? Now, in what a sea of troubles sunk and overwhelmed he lies! Therefore wait to see life’s ending ere thou count one mortal blest; Wait till free from pain and sorrow he has gained his final rest.

During the rehearsals in Athens two last lines of this chorus part were edited out; eventually, before the very departure for Epidaurus, this whole chorus part was edited out. Our age does not accept direct moralizing, and Tuminas decided that a visual and sound image would do a much better job for the ending; the subsequent performances fully proved that. The last words before the ending of the Vakhtangov Oedipus are the king’s words about his daughters, addressed to Creon:

O leave them not to wander poor, unwed, Thy kin, nor let them share my low estate. O pity them so young…

The “machine of fate” brought Oedipus to stage twice: in the first episode, when he, solemnly put his hand on a staff and gave a loud promise to spare the city of abomination, and in the last episode, when Oedipus, broken by woe and turned into an old man, with both hands on the staff as his only support, delivered his farewell monologue before exile. Victor Dobronravov splendidly conveyed this change in Oedipus through the means of acting: from the stately king in full attire at the beginning (who seemed huge), to the frail old man in a canvas robe at the end. It seems that he has downsized two times, lost body volume, slumped and “shrunk” because of the hardships befalling him.

This very “machine of fate” brought towards the backdrop the characters who held onto it with one hand, as on a rack: Oedipus before the final monologue and the member of Oedipus’s household telling what happened in the house after Oedipus discovered Jocasta who had hanged herself.

Viktor Dobronravov as Oedipus. Photo: Valery Myasnikov.

Maksim Sevrinovsky, an actor of the Vakhtangov Theatre studio, plays Sophocles’ Messenger, interpreted by Tuminas as a member of Oedipus’s household. Normally, directors bring the Messenger to stage precisely at the moment when the audience needs to be told how Jocasta hanged herself and Oedipus stabbed out his eyes. In this production, the Messenger, who delivers the monologue at the end, appears at the very beginning of the show as a silent character. As the majority of Thebans, he is fatally ill, his face is covered with a bandage; he is a reminder of the pestilence that befell the city and is inevitably getting to the royal house. Sevrinovsky’s monologue, permeated with the feeling of horror caused by current events, is handled through the physical conveying of visual images that were witnessed by the Messenger; in describing how Jocasta hanged herself, he tightens the band near his neck; in speaking about the blinding of Oedipus he uses powerful and energetic gestures to show how Oedipus stabbed himself in the eyes multiple times. Closer to the ending of the monologue he removes the bandage and reveals huge, blind eyes in black caves. We can hear the loud, intermittent breathing of a man, who is inhaling for the last time before his death. This is an impressive precursor to the final monologue of blinded Oedipus.

Tuminas, as it is customary, introduced a number of characters, who were not among the original dramatis personae. Those include the Soldier (Pavel Yudin, actor of the Vakhtangov Theatre studio) and the Lady with the Wings (Ekaterina Simonova), who both live on the stage from the first moments of the production.

The Soldier is the instrument of Oedipus’s vindictive plans and threats: his endlessly faithful dog; the guard of his house, tirelessly running in circles (this running around the orchestra marked the beginning of the performance in Epidaurus); a threat to the enemies of Oedipus and participant in his bullying of Creon (Oedipus jokingly crowns the Soldier with Creon’s golden wreath when he wants to execute his brother in law); and eventually, the king’s most loyal subject, crying more than others, when the entire truth about Oedipus is revealed.

The director and actress created the character of the Lady with the Wings, inspired by the image of the Sphinx, which was defeated by Oedipus. According to the myth, Oedipus solved her riddle, thus facing deflecting threats from Thebes, and the Sphinx ended her life by jumping off a cliff. Tuminas, true to his manner of posing non-conventional questions to traditional tales (“and what if it did not happen this way…”), made an assumption that Sphinx had not died, instead becoming a captive and servant in Oedipus’s house, always accompanying the queen, Jocasta. As a result, they came up with an image of a girl with huge wings: raven-haired, with deep black eyes, and beautiful in a strange, exquisite way. She flaps her wings—at times black, at times white—but it is understood that she will never take off again. Because of that, her beauty is combined with sadness, as in Jocasta’s musical theme. Ekaterina Simonova’s movements are smooth and harmonious, as a ritual dance, but she often bends down in a gesture of submission, folding her wings behind the back. Here we see the image of power and beauty, going beyond all human capabilities, and yet defeated by man, living joylessly like the rest of the people in Oedipus’s house.

In Oedipus of the Small Theatre in Vilnius (1998) there was also a winged maiden. However, she was more like a small white angel and her image was more ironic than filled with sadness caused by beauty in captivity. Generally, in the Lithuanian production there was much more irony, laughter, and more props; they had a big figure of a tiger, and the manner of communication between the characters was closer to prose than to poetry.

The Lithuanian production had success, and performed in Russia, too, where it played at the Baltic House festival. This makes it especially interesting to compare the two versions of Oedipus in Vilnius and Moscow.

Firstly, the scenography of the Moscow production was “cleaner” and more reserved. Secondly (and perhaps most importantly), in Oedipus at the Vakhtangov there was much less irony than in the Lithuanian version; its structure has become simpler, it is now much more serious, in the tradition of classical tragedy.

Of course, even in this version there were moments when the director and actors found humor appropriate. For instance, for some reason Creon is late on his way back from Delphi, and the audience feels some kind of a funny fear—how long is the delay going to be? (They do not have to wait for long.) During the second episode, Creon, maddened by anticipation of execution, which Oedipus threatened him with, suddenly and desperately bursts into singing a popular Greek song about love “Eim’ aetos choris ftera / Choris agapi kai chara” (“I am an eagle without wings/ without love and joy”). Or the moment, when the chorus, condemning the tyrants and flying into a rage caused by righteous anger, suddenly leaves the stage, refusing to continue its performance. After hearing that, the audience in Epidaurus burst into laughter, because for a moment it seemed that the performance, which had sold 7000 tickets, could be suddenly interrupted before the ending.

These moments, however, do not distract from the most important thing: creators of the production managed to achieve the incredible seriousness and acuteness of tragedy—a seriousness unheard of and forgotten these days. In the era of the “post-” (postmodernism, postdramatism, postculture, metatheatre, etc.), it sometimes seems impossible to hold the audience’s attention without tricks, jokes, and laughs. The ancient tragedy of Oedipus, with its themes of human dignity, responsibility for crime, crisis of belief in the divine, helplessness of royal power in the face of conscience, frightening discoveries of truth about oneself, and heroism in self-knowledge, arouses compassion and fear, as Aristotle would put it, in an auditorium with 1100 seats.

Evgeny Knyazev as Tiresias. Photo: Valery Myasnikov.

Of course, a lot in the Moscow Oedipus was determined by the venue of the first performance in Epidaurus. The Moscow audience might get a sense that all the Vakhtangov actors play “with memory” of the magical land named the Argolis, with its sea, mixed with healing springs, the best oranges and olives in Greece, and with the thousands of audience members in the ancient theatre at twilight during the premiere. The Moscow Oedipus resonates far beyond the Vakhtangov theatre. The words of the actors leave the stage and go above beyond the walls, balconies, and gallery, in the direction of the place dedicated to the cult of Asclepius and Apollo, connected in our mind with material and spiritual catharsis. They play with memory of the most beautiful theatre in the world—the first theatre with an ideally round orchestra, erected in the sanctuary of Asclepius, it seems, specifically for the purpose of healing through visual harmony and magical energy.

And I will remember how, at the beginning of the performance in ancient Epidaurus, two laughing girls in white dresses were running against the background of the black forest—how, accompanied by the rumbling theme of fate, huge shadows of birds, carried on high poles by the choreuts, were flying above the ground and branches of trees—how the grove surrounding the theatre in Epidaurus, was alive with sound, because Tuminas and Latenas made a witty decision to put the speakers close to the trees behind the orchestra—and finally, how at the very end of Oedipus a complete blackout occurred. The only light reaching the people, was coming from the stars in the night skies: therefore all the thousands of people in the audience—in those several seconds of silence before the final applause—raised their heads up to the sky.

English translation by Anna Shulgat.

Dmitry Trubotchkin (Moscow, Russia) is Doctor of Sciences in Art Studies; Head of Department at the State Institute for Art Studies; Vice-rector and Chair of Art Studies and Humanities at the Higher School of Performing Arts; Professor of Theatre Studies at the Russian Institute of Theatre Arts (GITIS). He has published extensively (in Russian, English and Italian) and presented at conferences around the world on European classical theatre and on contemporary Russian theatre. His most recent monographs, in Russian, include: Ancient Greek Theatre (Moscow, 2016); Rimas Tuminas: Moscow Productions (Moscow, 2015).

European Stages, vol. 10, no. 1 (Fall 2017)

Editorial Board:

Marvin Carlson, Senior Editor, Founder

Krystyna Illakowicz, Co-Editor

Dominika Laster, Co-Editor

Kalina Stefanova, Co-Editor

Editorial Staff:

Taylor Culbert, Managing Editor

Nick Benacerraf, Editorial Assistant

Advisory Board:

Joshua Abrams Christopher Balme Maria Delgado Allen Kuharsky Bryce Lease Jennifer Parker-Starbuck Magda Romańska Laurence Senelick Daniele Vianello Phyllis Zatlin

Table of Contents:

The 2017 Avignon Festival: July 6 – 26, Witnessing Loss, Displacement, and Tears by Philippa Wehle
A Reminder About Catharsis: Oedipus Rex by Rimas Tuminas, A Co-Production of the Vakhtangov Theatre and the National Theatre of Greece by Dmitry Trubochkin
The Kunstenfestivaldesarts 2017 in Brussels by Manuel Garcia Martinez
A Female Psychodrama as Kitchen Sink Drama: Long Live Regina! in Budapest by Gabriella Schuller
Madrid’s Theatre Takes Inspiration from the Greeks by Maria Delgado
A (Self)Ironic Portrait of the Artist as a Present-Day Man by Maria Zărnescu
Throw The Baby Away With the Bath Water?: Lila, The Child Monster of The B*easts by Shastri Akella
Report from Switzerland by Marvin Carlson
A Cruel Theatricality: An Essay on Kjersti Horn’s Staging of the Kaos er Nabo Til Gud ( Chaos is the Neighbour of God ) by Eylem Ejder
Szabolcs Hajdu & the Theatre of Midlife Crisis: Self-Ironic Auto-Bio Aesthetics on Hungarian Stages by Herczog Noémi
Love Will Tear Us Apart (Again): Katie Mitchell Directs Genet’s Maids by Tom Cornford
24th Edition of Sibiu International Theatre Festival: Spectacular and Memorable by Emiliya Ilieva
Almagro International Theatre Festival: Blending the Local, the National and the International by Maria Delgado
Jess Thom’s Not I & the Accessibility of Silence by Zoe Rose Kriegler-Wenk
Theatertreffen 2017: Days of Loops and Fog by Lily Kelting
War Remembered Onstage at Reims Stages Europe: Festival Report by Dominic Glynn

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