Shankar Das keeps his lead, enjoys one-shot advantage
Shankar Das keeps his lead, enjoys one-shot advantage ahead of final round
Shamim Khan on the leader’s tail
Noida, February 9, 2017: Shankar Das will look to regain his winning touch come the final round of the PGTI Players Championship at Noida Golf Course. The Kolkata pro fired a rock-solid three-under-69 in the penultimate round on Thursday to lead the tournament by one stroke at 12-under-204.
He will be chased by Delhi’s Shamim Khan on the final day, a two-time winner at the Noida Golf Course. Shamim shot the day’s best four-under-68 to lie second at 11-under-205.
While Shankar and Shamim will be the top contenders in the last round, Delhi’s Honey Baisoya (69) in third at 10-under-206 and Chandigarh’s Ajeetesh Sandhu (70) in fourth at nine-under-207 will also be in the reckoning.
Shankar Das (67-68-69), the overnight leader by two strokes, retained his lead on the third day thus raising his hopes of a long-awaited title. Shankar, who last won in November 2015, had early breakthroughs as he birdied the first and third holes for the second day in succession making a long putt on the latter.
The 33-year-old, a winner of six professional titles, looked in total control when he produced an extraordinary tee shot on the par-3 10th to tap-in for his third birdie. He then suffered a minor blip, bogeying the 12th, but soon recovered ground with another birdie on the 14th.
“It was a steady round. I performed well with the 3-wood and hit it close on a number of occasions. The 3-wood has been my strong point this week. But those long eagle conversions continued to elude me. I need some luck for those putts to roll in.
“It’s going to be a tight contest in round four as there are three players within three strokes of the lead. Shamim in particular will be very competitive as he knows this course well. I will have to plan my round well. It’s been a long time since I last won and I’m now really eager to win another trophy,” said Shankar.
Shamim Khan (66-71-68), who was overnight tied second, two behind Das, reduced the latter’s lead to one shot with a determined effort of 68 on day three. Shamim sank three long birdie putts and landed his tee shot within three feet for another birdie on the par-3 fifth.
Shamim said, “It’ll be an interesting final day as Shankar and me are playing together for the third time this week. We both know each other’s game well and are equally experienced.
“I feel the fact that I have won twice here at the Noida Golf Course is a big plus for me. I have also enjoyed success very recently with a victory in Mumbai in November. That adds to my confidence. However, I need to improve on my tee shots to have a chance.”
Honey Baisoya (70-67-69) and Ajeetesh Sandhu (68-69-70), two and three shots off the lead respectively, will also be among the contenders on Friday.
Panchkula’s Angad Cheema lies fifth at six-under-210 while Chandigarh’s Harendra Gupta is a further shot back in sixth.
Gaurav Pratap Singh in tied seventh at four-under-212 is the highest-placed Noida golfer. He shares seventh place with Gaurav Ghei of Delhi, the first round joint leader, and Gurgaon-based Pranav Kaul.
5 PLAYS PERFORMED TODAY DURING NATIONAL SCHOOL OF DRAMA’S 19th EDITION OF BHARAT RANG MAHOTSAV
New Delhi, 8th February, 2017: Today during the 19th edition of National School of Drama’s International Drama Festival Bharat Rang Mahotsav 2017, 5 Plays were performed including Rajkumar Raikwar’s hindi play Panchali ki Shapath, Amitava Dutta’s bengali play Tomar Ami, Dharmik Pandya’s gujarati play Mannbhat Aakhyan, Aditi Desai’s gujarati play Samundramanthan, and S I Samarakkodi’s non-verbal play of University of the Visual and Performing Arts, Sri Lanka – Love & Life. All the plays were well appreciated by students, theatre aficionados, litterateurs and theatre lovers. As part of Advitiya 2017, 3 teams from various Institutes & Colleges out of the total 53 enacted Street Plays at NSD Lawns under Ambience Performance.
Today, during the Meet the Director – face to face at National School of Drama, renowned theatre personality Sunil Shanbag, Director ofLoretta explained about why he chose 1970’s as the backdrop for his play “70’s was the period of many faces for example the hippie movement and many other around the world but I wanted to look at 1970’s more objectively and present a Goan point of view because of the revolution taking place in terms of theatre in that period. We don’t have much about Goa in the history of theatre even though it had a strong identity at that time.”
Shyamal Chakraborty, Director of Shekal Chhenra Hater Khonjie commented “the production process took more than 2 years in this time we gave an extensive thought to the relevance of the content and how can we communicate and exchange our views on the leftist politics at that time to the audience in an easier way.” D. Elumalai, Director of Draupadi Vasthirabaranam on the choice of open space for the performance he said “the style of Proscenium theatre is more prevalent in southern parts of India that’s why we choose open spaces for our performances and because the audience is more interactive in that region, it is just not a play there it a religious and a cultural celebration back in Tamil Nadu.” Y. Sadananda Singh, Director of Love Your Nature answered on why he chose this particular art form and how did he prepare for it said “I love the non-verbal form of theater I find it very communicative even without language, but the process is not easy as it seems, it took around 5 years for the preparation for this play and the actors went through vigorous training for body movements and facial expressions.”
Debora Merola, the Nepali Director of Anna In The Tropics on the question on the multiculturalism and difficulties faced from it she said “I as an American who lives in California find multiculturalism very interesting and homely because of the strong Latino presence there. I think we theatre artists are courageous and fool hardy and not afraid to improvise, if I was afraid of difficulties I wouldn’t be in theater.”
Katha Workshop Series in Performance & Craft of 19th Bharat Rang Mahotsav today had its 5th workshop on Keerthan. It was participated by its experts Mr. Charu Datta Aphale, Mr. Vijay Upadhye, Mr. Manoj Bhandwalkar. Marathi Kirtan is spiritual teaching through story-telling. It is typically performed by a main performer, the Kirtankar with musicians accompanying on tabla and harmonium. Incorporating singing, dancing, and story-telling it is the glorification of God. There are different types of Kirtans such as the Naradiya, Rashtriya, Varkari, etc. Usually a core text, an abhang, is interlaced with other scripted material, such as songs of saints, and also with improvised verse, all alternating between song, narrative, storytelling and humour. The Kirtan essentially has two parts – The Purvaranga, as the Natyashastra explains, is the prelude where the performer introduces a religious or philosophical problem. In the Uttararanga, which follows, the performer expands and elaborates, and illustrates his answer through a story. The first part displays the erudition of the performer and the second his dramatic talent. The performance begins with prayers to different deities and concludes again with prayers and an Arti.
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