The Six limbs of Indian Art

The definition of art is the product of imagination and creativity, particularly in a physical form. A painting, theatrical performance and a sculpture are each an example of art.

Art is the desire of a man to express himself, to record the reactions of his personality to the world he lives in.

 

Roopabhedah pramanani bhava-lavanya-yojanam | Sadrishyam varnakabhangam iti chitram shadakam ||”

This Shloka enumerates the six limbs of Indian Art- Rupa-bheda (secrets of form), pramanani (proportion), bhava (emotional Disposition), lavanya-yojanam (gracefulness in composition), sadrisyam (('similitude')and varnika-

Indian art is considered to have originated during the peak of the Indus Valley Civilization, somewhere around 2500 BC. Indian paintings during the time were often inspired by spirituality and sensuality, making it stand out in terms of content and aesthetics, an aspect that is appreciated even today.

Saranga-The Art Of Painting.  

Those are the variety of form, proportion, infusion of emotions,the creation of lustre and iridescence, portrayal of likeliness and the colour mixing to produce the effect of modelling. The Sadanga translated mean: Roopbheda – The knowledge of looks and appearances.

 

Now, India of the 1st century BC had seen the evolution of the ‘Sadanga’ or the Six Limbs of painting, which are considered as the prime principles of the art even today. 

 The Six Limbs are:“Roopabhedah pramanani bhava-lavanya-yojanam |  

The Sadanga translated mean:

Roopbheda – The knowledge of looks and appearances.

‘Roopa’ means the outer form or appearance of the subject. ‘Roopabheda’ enables an artist to perceive and depict things as they appear. Of course, this knowledge cannot depend solely on the power of sight. Experience is as much important as the former.

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Pramanani – Accuracy and precision of measurement and structure.

This principle is governed by certain laws, which give us the capability of proving the correctness of our perception and delineation. ‘Pramamani’ teaches us the exact measure, proportion and distance of the subjects. It provides an insight into the structural anatomy of objects, too.

Bhava – The feelings on forms.‘Bhava’ means an emotion, a feeling, an intention, or an idea. This aspect of art is depicted in the form of feelings expressed by the subject. . A bhava is like a breeze of air – it gives the painting the much-needed motion.

Lavanya Yojanam – Blending grace in an artistic representation.Your painting should be gracefully high in its artistic quality. 

Abanindranath Tagore, the famous artist from West Bengal, has described lavanya yojanam as a ‘loving mother,’ who is also careful about the rules of raising up her child. We can also imagine the aspect as a round pearl without its luster. It won’t attract buyers, anyway.

·         Sadrisyam or Resemblance.

This is perhaps the most challenging task of creating a painting. Sadrisyam suggests the degree to which a depiction is similar to an artist’s vision or the subject itself. In a way, it is also a way of depicting similitude.

Why do poets often compare a woman’s locks of hair with a snake? Why is a beautiful girl called ‘moon-faced’? Why are her lips like rose petals and eyes like those of a deer? . The delineation must come from their artistic way of painting.

·         Varnakabhangam - An artistic way of making use of the brush and colours.

The term translated means the way a subject is being drawn and coloured. So, obviously, there shall be the use of brush and pigments. What this principle focuses on, is the way the strokes are being applied to a canvas, and the knowledge of the artist about the different colours.

The Sadanga is an inevitable part of every great Indian masterpiece. From the ancient paintings of Ajanta to those created by Raja Ravi Verma, and Hussain of today, you will observe that every notable artist has silently put to use all the six principles. 

 

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Short story writing

 

Starting to write short fiction

The short story is a form of literature in its own right, and is loved because

 it is able to strike directly into the heart and mind without preamble. A short story is a short, self-contained work of fiction that generally falls between 1,000 and 10,000 words. 

 The compulsion to tell stories is a very powerful and ancient one which continues to have a place in our modern culture.

Short stories demonstrate how diverse, funny, sad, illogical, cruel, rapturous, shocking and mysterious the human experience can be.

It is often said that a short story should provide a snapshot of a moment of illumination.

 

 Short stories typically contain between 1,000 and 10,000 words. Stories longer than 10,000 (but shorter than 40,000) words are generally considered novellas. You might even come across the term novelette to refer to a story between 7,500 and 17,000 words. Once you hit about 50,000 words, you’re in novel territory .

What’s in a short story?

Every short story has these five elements:

·                     Character

·                     Plot

·                     Theme

·                     Conflict

·                     Setting

Characters are the people or animals, aliens, mythical creatures, or sentient objects who do the action in your story. Your protagonist is the character who undergoes some kind of change or lack thereof as a result of the story’s main conflict.

Your antagonist is the character or something abstract attempting to prevent the protagonist’s change.

To clarify, the antagonist doesn’t have to be a person—

1.      it could be the protagonist’s environment,

2.    their society, or

3.    even an aspect of themselves. 

Plot is the series of events that illustrate the story’s conflict.,

A short story’s theme is its central message. This is the point the author wants readers to take away from their work. 

Conflict is the action that drives the story’s plot. It’s the obstacle the protagonist has to overcome or the goal they’re attempting to reach.

 A conflict can be internal, like to prove to herself .

 it can be external, like the protagonist striving to prove to her society

Setting is the time and place where a story’s action occurs. For example, our alien story’s setting might be Nevada in 1955. 

How to write a short story

Mine your imagination

Just like every other type of writing, a short story starts with brainstorming. I

Start your brainstorming session with the elements you already have, then flesh out your story idea from there.

 Write down your setting,

your characters,

 the conflict they face,

 and any key plot points you have in mind.

 Without a conflict, you don’t have a story. Although all of the five elements listed above are necessary for writing a great short story, conflict is the one that drives your plot, shapes your characters, and enables you to express your theme. 

 

The next step in writing short fiction is outlining your story. 

When you outline your story, you organize the notes from your brainstorming session into a coherent skeleton of your finished story.

Outlining your story is a key part of prewriting because it’s where you develop your story’s framework and sketch out how each scene follows the previous scene to advance the plot.

This stage is where you determine any plot twists or big reveals and fit them into the story’s sequence. 

·                     Keep the ending in mind.

·                     Listen to how people speak.   Then, write dialogue that sounds like real conversations. These conversations won’t necessarily be grammatically correct, but they will make your characters sound the way people naturally speak.

Once you have a finished first draft, let it rest. If you have the luxury of waiting a day or so to come back and read what you wrote, do that. That way, you can read your writing again with fresh eyes, which makes it easier to spot inconsistencies and plot holes. 

 

Then it’s time to edit. Read your writing again and note any places where you can make the writing more descriptive, more concise, more engaging, or simply more logical. At this stage, it can be very helpful to work with readers’ feedback. If you’re comfortable sharing your work and receiving constructive criticism, share your rough draft with friends and family—and, if possible, with other writers—and let their feedback guide the revisions you make.  

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Script Layout Formats

 

Basic Script Layout Formats

 There is not one standard script layout. Script layout styles can vary widely. Some prefer a single-column cinematic format, with transitions in a left margin, and all video and audio information in a single main column.

 Other versions use two vertical columns, with picture treatment (cameras, switching) on the left, and action and dialogue on the right, together with studio instructions and lighting/effects cues.

Single-Column Format

 Although there are different variations of the single-column format, all video and audio information are usually contained in a single main column. Before each scene, an explanatory introduction describes the location and the action. Reminder notes can be made in a wide left-hand margin, including transition symbols (for example, X = cut; FU = fade-up), cues, camera instructions, thumbnail sketches of shots or action, and so on. 

This type of script is widely used for narrative film-style production and single-camera video, in which the director works alongside the camera operator. 

Two-Column Format

This traditional television format is extremely flexible and informative. It gives all members of the production crew shot-by-shot details of what is going on. They can also add their own specific information (e.g., details of lighting changes) as needed Two versions of the script are sometimes prepared. In the first (rehearsal script), the right column only is printed.

 

Planning is an essential part of a serious production, and the script forms the basis for that plan. The script usually begins the production process.

 The Dramatic Script

 The dramatic full script may be prepared in two stages: the rehearsal script and the camera script. The rehearsal script usually begins with general information sheets, including a cast/character list, production team details, rehearsal arrangements, and similar details. There may be a synopsis of the plot or storyline, particularly when scenes are to be shot/recorded out of order. The rehearsal script generally includes the following types of details: 

• Location: the setting where the scene will be shot. 

• Time of day and weather conditions.

 • Stage or location instructions: (The room is candlelit and a log fire burns brightly.)

 • Action: basic information on what is going to happen in the scene, such as actors’ moves (Joe gets in the car). 

• Dialogue: speaker’s name (character) followed by his or her dialogue. All delivered speech, voice-over, voice inserts (e.g., phone conversation), commentary, announcements, and so on (perhaps with directional comments such as “sadly” or “sarcastically”) (Figure 5.2). 

• Effects cues:

The Dramatic Script The dramatic full script may be prepared in two stages: the rehearsal script and the camera script. The rehearsal script usually begins with general information sheets, including a cast/character list, production team details, rehearsal arrangements, and similar details. There may be a synopsis of the plot or storyline, particularly when scenes are to be shot/recorded out of order. The rehearsal script generally includes the following types of details:

 • Location: the setting where the scene will be shot.

 • Time of day and weather conditions.

 • Stage or location instructions: (The room is candlelit and a log fire burns brightly.) 

• Action: basic information on what is going to happen in the scene, such as actors’ moves (Joe gets in the car). 

• Dialogue: speaker’s name (character) followed by his or her dialogue. All delivered speech, voice-over, voice inserts (e.g., phone conversation), commentary, announcements, and so on (perhaps with directional comments such as “sadly” or “sarcastically”) (Figure 5.2). 

• Effects cues: indicating the moment for a change to take place (lightning flash, explosion, Joe switches light out).

 • Audio instructions: music and sound effects.

 Scriptwriting Basics A successful script satisfies two important requirements: 

• The program’s main purpose: to amuse, inform, intrigue, persuade, and so on.

 • It must be practical. The script must be a workable vehicle for the production crew. Fundamentally, we need to ensure that:

 • The script meets its deadline. When is the script required? Is it for a specific occasion? • The treatment is feasible for the budget, facilities, and time available. An overambitious script will necessarily have to be rearranged, edited, and have its scenes rewritten to provide a workable basis for the production.

 • The treatment usually must fit the anticipated program length. Otherwise, it will become necessary to cut sequences or pad the production with added scenes afterwards to fit the show to the allotted time slot.

 • The style and the form of presentation are appropriate for the subject. An unsuitable style, such as a lighthearted approach to a very serious subject, may trivialize the subject. • The subject treatment is suitable for the intended audience. 

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How to Write a TV Show Proposal

 TV stations receive many proposals for shows. You only have a short time to impress.

The proposal format may vary, but at minimum the document should contain these elements:

§  Objective or Process Message - a brief statement about the desired message that you want the audience to get from watching the show

§  Target Audience - a well-defined process message helps determine the target audience. Be specific about the intended audience, whether it's kids,  men or women, etc

§  Show Format - are you producing a stand-alone show or a series? How long is the show? The format helps you know how you want the show to be distributed and is also vital for planning the budget.

§  Show Treatment - a narrative description of the show, that could take up several pages. But start out with a brief treatment that helps readers get a sense of what the show will look like when finished.

§  Production Method - will the production be , Will you shoot live or will there be heavy emphasis on post-production? You also need to determine the need for costumes, props and other additional materials under production method.

§  Tentative Budget - an estimate of your budget is made using the latest rates available through independent production and post-production houses. A budget reflects the costs associated with the production services, equipment rentals and wages. Budgets also include travel expenses, food and lodging, gratuities and even legal services that include liability insurance. Usually insurance is calculated to be about 20 percent of your total budget.

§  Timeline - come up with an estimate of how long it will take you to achieve certain tasks. Usually the timeline includes how long you can expect to work on pre-production, production and post-production. It often takes less time to do the production work (camera and lighting) than it will doing post-production (editing, marketing and distribution). A timeline is helpful in determining the budget.

So you need to demonstrate your show is likely to run. Know your target audience and the sort of shows programmed by this particular TV company.

 

Instruction of Writing TV Program Proposal

Instruction to write a proposal for the ABC TV program

1. You are to form a group of five or six members to work on this assignment. Form a media company and organize your company structure.

2. Your company has been invited to submit a 10 minutes proposal to the management of TV ABC.

3. You propose a magazine-typed  program for TV ABC.

4. For the proposal, you need to include the followings: i. Name of program.  (make sure it is attractive and catchy enough to get ratings). ii. Description of program. (A brief description of the program. What is the program about? What does the program focus on?) iii. Target audience. (Who is your target audience? Why are you targeting the audience? Give statistics to support. iv. Justification. (Why should TV ABC produce the program? What is the uniqueness of the program? What are the advantages of the program? v. Execution of the program. (How do you suggest the program should be produced? Come up with a running order for the program. vi. The team. (Who are and who in your company. Include their professional CV. vii. The best three proposed programs will be invited to present at the ABC station.

 proposal model

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Television writing

 Television writing is the art of writing a TV show. Television is an exciting medium for writers because they get to control everything from the stories that are told to how the sets are built. TV writers develop stories, write scripts, make edits and revisions, and help determine what an episode looks like.

1. TV scripts are shorter . Writing an episode of television takes less time and results in fewer pages. TV episodes are either 30 minutes or 60 minutes long with commercial breaks, while feature films are at least 90 minutes long.
2. TV shows have different narrative structures. A movie has a clear beginning, middle, and end, while TV shows are episodic and allow for multiple beginnings, middles, and ends. Each TV script is part of a larger narrative, with multiple character and story arcs divided across a number of episodes and seasons.
3. TV scripts don’t have to resolve every story right away. Every episode will come to its own conclusion, but they don’t have to be wrapped up neatly; the stories and characters will continue to grow into the next episode. TV writers can take things slow, play with cliffhangers, and allow plots to develop over time.
4. TV scripts are dialogue-driven. TV shows typically focus on the writing rather than the visuals to drive the story. Movies are more cinematic than most TV shows and involve more considered cinematography.
5. TV shows require more writing in the long-run. Individual episodes are shorter than movies, but require more writing over the course of a season or entire series.

6. Before you begin writing your script, it’s important to understand how to structure an episode of TV. Let’s examine how a standard one-hour television show is structured. Typically on network television, there are about five acts roughly lasting about 11 pages each. Here’s how Rhimes views the structure of each of the acts:

   • Act I: Introduce your characters and present the problem.
   • Act II: Escalate the problem.
   • Act III: Have the worst-case scenario happen.
   • Act IV: Begin the ticking clock.
   • Act V: Have the characters reach their moment of victory.

   It’s helpful to think about how you want each of your acts to end as you begin to lay out the structure for your episode. 

   The other essential components of your episodes are your A, B, and C storylines:

   • A storyline: The A storyline involves your main character and is the core of your show.
   • B storyline: The B storyline is secondary and helps the narrative keep moving forward.
   • C storyline: The c storyline, sometimes referred to as “the runner,” is the smallest storyline and holds the least weight.
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   • Work these out ahead of time and properly set your story up for them, rather than dumping a twist at the end of each act just for excitement’s sake.

Writing a TV comedy, or sitcom, is a different process from writing a TV drama. Here’s what makes them different:

• Tone. TV sitcoms are funny, tackle lighthearted topics, and intend to make viewers laugh. Dramas are more serious and take time to develop a story rather than telling jokes.
• Story Arc and Pace. Sitcoms have a quick narrative pace, they focus on the build to the climax, have less act breaks, and introduce the conflict before the end of act one. The more time the characters spend solving a problem, the less room there is in the script for humor. Dramas are paced slower, have more act breaks, and spend more time developing the story, building to a climax, and arriving at a conclusion.
• Run Time. 
• Sitcoms run for approximately 21 minutes without commercials
• while dramas run for about 43 minutes without commercials.
•  
• One page of a script in Final Draft equals about one minute on air, so a 21-minute sitcom script should be around 20 pages long, and 
• a script for a 43-minute long drama should be about 40 pages long.

How to Pitch a TV Show

Once you have a great concept for a show, there are three things you’ll need in order to pitch it to network executives:

• A treatment. A treatment is a document that provides an explanation of your TV show’s setting, main characters, and storyline. Every treatment should include a title, logline, synopsis, summary of episodes, and character bios.
• A pilot script. A pilot is the first episode of a TV series. Your TV pilot needs an opening that is going to grab your viewers and says something important to your audience about the show they are going to watch. Without a compelling pilot, you don’t have a TV show. Pilots are crucial for hooking an audience and setting up your characters and storyline for an entire season.
• A show bible. A show bible, also called a story bible or a series bible, is a document that contains the history of your characters, an outline of every episode in the first season, and how you see the show expanding into future seasons. Writing a show bible forces you to think beyond the pilot episode and can help you see the bigger picture of your show idea.

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