09-Ness-11 (Jan-Mar)


Welcome to Nine-Ness, our First Quarterly Update between January – March 2011

Yours Truly Theatre’s Official Newsletter (giving you updates on our every quarter) 

Quarterly Update for the previous years are as follows

2008 – 0-Ness
2009 – 1-Ness to 4-Ness
2010 – 5-Ness to 8-Ness
2011 – 9 –Ness to 12-Ness

From the Editors’ Desk
The first quarter of 2011 was packed with — shows.  A quarter when we premiered our current production Common Man ver2.0 with music by the Carnatic Rock Band “Agam”. A quarter when we hosted Strings Puppet Theatre group from UK, who not only performed in Bangalore but also conducted a puppet workshop for all the YT members.  A quarter when “Adyanth” from the YT Childrens Workshop team got selected to act in a Hollywood movie called “Life of a Pie by Ang Lee.

In this newsletter we focus on “the making of CMver2.0” we also have a special interview with Ajay Pandey, the show manager for CMver2.0. we also have a new section called  ” Theatre Bits ” articles by Nandini Rao.

In the other sections Vishal Bhandhary dabbles his pen with < his one thoughts, click here> Arun Sachi does a review of the CommonManVer2.0 < in a not so common way click here>. Karen takes us through < her experiences of being click here > part of the Basic Theatre Workshop.

You can click on the show images for a larger version of the picture. Happy readings !!!



Shows in the 1st Quarter (January 2011 – March 2011)

8th Jan – Signs at Desire Society
A series of short stories for children at Desire Society (children or parents infected HIV+)

30th Jan – Wakaoo at ALMA
A series of short stories in Complete The Story Theatre Style

13th Feb – Rainbow Series at ALMA

27th Feb – Common Man Ver2.0 at ADA Rangamandira
Premier of the next production done in CTS Style of Theatre

20th Mar – The Red Balloon by Strings Theatre – London  at ADA Rangamandira
Three shows of marionette string puppet theatre performance.

27th Mar – “The Drama in our Lives” at ALMA
An interactive Theatre performance on celebration of World Theatre Day.

:

“COMMON MAN VER 2.0” My first experience watching an interactive theatre play!! totally loved it .. says Shabari Jayakar Marla

“Glad i went for Common Man ver 2.0!!! It made my evening more wonderful!” says Ekta Rastogi

“ I’m different from rest of d crowd ,i went out n watched a “common man” than watching god bleed blue at home ….;) says Krithi Mithun

“ great show ! YT ( Applause Applause) . Loved the new version . The production looked very rich with SFX , Good costume design , Amazing play of lights ,great background score by Agam, fantabulous performance”  says Arun Sachi

“ Great show, very peaceful and a serene show. Grt energy by everyone, enjoyed it thoroughly “  says Vasant kumar

“ This was the first time I ever saw a theatre performance and was simply floored by yours-truly’s performance. You guys simply rock. ” says Suman Kumar

Group Feature:  Silent Spectator
Media: Indian Express
Date: Feb, 18, 2011
Link:http://tinyurl.com/43cxya5

Group Feature: Common Man
Media: Blog
Date: March 1, 2011
Link: http://tinyurl.com/3nxtjur

Group Feature:  Stage is set for the new
Media: Deccan Chronicle
Date: March 26, 2011
Link:  http://tinyurl.com/3kklgro

Group Feature: Up, up and Away
Media: Deccan Herald
Date: March 30, 2011
Link: http://tinyurl.com/4ym65hc



Chapter 201:
  Strokes of Chaotic Stillness

Chaos
One of the literal meaning of the word chaos is “a state of disorder.”
A physical, mental, emotional, and spiritual state of disorder.
Chaos can disturb people in the 3 stages; before, during and after.

Splash of Paints on walls
A painter lashes out all his colors on the wall.
The strokes of brushes make their way through the colors.
As the colors start merging, they begin to make meaning under the watchful eyes of the painter with a brush.

Chaotic Disturbance in an Actor
For actors in Imrpovizational theatre work you have to deal with these states of disturbances; physical, mental, and emotional.
In an Improv performance chaos is the order of the day.
It always happens.
An actor can never run away from Chaos, they have to live with it as long as they practice the art form.
Infact Improv is nothing but plain Chaos.

Very often new Improv actors are constantly disturbed by chaos.
They reach a yield point, a point where they either fight or flight it.

It is here that the taming of chaos begins,

but many who pursue this beautiful art from never realize it.
At this point, many quit the art from and never come back to it, simply bcos they are unnerved by chaos.  Unable to handle chaos within and outside themselves. They run away from it forever; yes forever.
but at this point, a few who understand that it can be tamed and enjoy the process, and continue to work on this art form.

This is a crutial milestone in the journey of an Improv actor.
The process of understanding and taming chaos.

Chaos if tamed well by artists can be moulded into a beautiful and creative outpourings.
Chaos if tamed well by Improv actors can create beautiful interpretive works.
An experienced Improv Actor thrives on Chaos, along with a team.

Taming can be an individual journey, a hard one
OR it can happen along with a team
OR it can even happen under the watchful eyes of a master who helps the student tame and deal with it in stillness.

Few experienced Improv actors enjoy, live, and thrive on chaos, they are always ready for chaos.

Finding stillness with the moving brush
As the brush finds its way through the chaotic paint,it begins a journey to form and tame; giving it color, depth and more importantly meaning to the chaotic paint, the brush being ” still ” creates.

There is great beauty in Chaos.
To stay in the moment while there is Chaos.
To be still while there is Chaos
To create while there is Chaos
All this requires a mind; to be still, ready, and be ready to let go.

Very often the process of taming chaos in artistic outpurings can in itself be very spiritual.

While taming it, individually you feel you are meditating on your own and as a team you feel you are meditating along with a team around you.

So the next time you are in a chaotic situation
Can you tame it or is it taming you?
Can your mind be still?

Writer: Ranji David

Workshop Show:  Wakaao
30th Jan – A Series of 4 short stories done in Gibberish at the ALMA.
Four original short stories were presented in Complete the Story Format.

Workshop  Participant Feedback: For me that day was like trying to find myself by disappearing into something other than who I am.Closing my eyes I was just feeling, savoring. Immersing in the music as my body moved made me feel like the rest of the world just disappeared… says Karen to read more click here

Yours Truly Theatre conducts workshop for people with no prior theatre experience, if you are keen to join our caravan (travel and grow along with us), feel free mail us at yourstrulytheatre@gmail.com


The Making of Common Man Ver2.0:

Editors: Common Ver2.0, is it really an upgraded devised version of the first one that happened in 2007.
Nandini: Absolutely, Common Man in 2007 was one of the most popular plays in Bangalore and we decided to revisit it. Though the play is very powerful we realized that it needs to be more contemporary and should talk about here and now. So we decided to come up with Common Man ver.2.0 ( pun about the upgradable lives we live). The Ver 2.0 is an evolved play in many ways starting from script, while earlier version focused on only one common man’s life, ver.2.0 zooms in and out of one man’s life and looks at a much larger framework in parallel.  The fundamental conflicts in the new version are far more deep rooted and systemic,  it delves in aspects of conditioning and norms of the society and more important our inability to assert. This has made the play more non linear and thus more scope for symbolism and familiar abstraction. This make complete the story part more exciting and real.
Ranji: With CMver2.0 we infused one more ” ism ” to our work.  Existentialism.  As an audience you deep dive in and you are pulled out to another layer. Very often we go micro and macro with this play, like a lens.  Our emphases consciously is on existence, freedom and choice. I guess Man realizes that he exists and in that existence he defines himself. Infact the most exciting time of the entire process was the pre-rehersals to the rehersals. we did many scenes of the play which just did not exist and later on we chose not to keep those scenes even though they were exciting,  each of these scenes were done with costumes and music,  I have goosebumps even recollecting all those scenes, this was the most exciting process of the journey called CMVer2.0. From the first version of this play was done in 2005, then in 2007 and  now in 2011, by this time the play has matured both in its structure and execution, and in its length, breath and depth. I have consciously stayed away from the scripting part and let Nandini flesh out the details, I feel its important to have one script writer overseeing the structure of the story, bcos a writer needs freedom to choose what he/she wants in that script finally.

Editors: What’s the most exciting aspect of being the director for CMver2.0
Nandini:  Thought the basic framework was already available we spend lot of time devising newer concepts and ideas which has been integrated in the play. Infact we had to let go of many interesting ideas as we wanted to keep the new version as crisp and tight. However ver 2.0 is slightly longer than previous version.  High on visual aesthetics, the play has far more sophisticated light design, costumes makeover and music by Agam making it a treat to watch.
Ranji:  By now we have developed a language in our devised work.  Devising is the most exciting time for a director and the cast needs to be adept and experienced to know what it means to form a painting out of just a splash of colors overlooked by a director who is willing to paint and splash like the actors themselves. The integration in CMVer2.0 was the most exciting part.  In creative work, it is important to let go and we all get tested on this time and again.  CMVer2.0 is another YT classic Team work with 46 people involved, managing this was easy as the people involved in this were focused.  Everybody had one goal ” the play ” and nothing else. we are proud of our team.


Editors: Bhagwan Dhoondo rehersals were till around 1 in the night, CMver2.0 saw rehearsals till 5:00 am early next morning; are the efforts increasing or was it the demand of the play.

Nandini: I wouldn’t call it effort, the team totally enjoys doing theatre, and considering time is always a constrain, yes we have been pushing the envelope in regards to rehearsals timings, to rigor of reharsals to production quality including detailing in every aspect of onstage and beyond stage work. Common Man ver2.0 demanded more from everyone right from actors, to the technical crew to sfx team to beyond stage team. Infact what was incredible is that all of them have put in the same amount of time, effort and focus to make the production what it is. Special mention to Ajay Pandey who was the show manager and he lead the production from the front. Without him and his team we wouldn’t have been able to achieve all we wanted from the new version. At the end of the day when you see the production coming alive on stage, all the hard work seems worth it.
Ranji:  Firstly, it was not our fantasy to work on a play from 9: am to 5: am next morning, it was the demand of the play.  The play required that kind of effort from all the 46 people who were involved.  Secondly, the team working on this production were extremely committed, including actors, technicians, crew and all. Thirdly in theatre work continuous work produces amazing results, if results is what we are focused on.  The play is complex as it requires coordination of 5 different creative teams (music, lights, SFX, Project, Smoke) including actors.  The play requires alertness, stamina, and stillness as it is an extremely demanding play.  With the list of things that were not done we could do another 3 separate devised production of this scale, we had to let go of many beautiful interpretation due to the paucity of time and duration of the play.  if we actually put up all that we had formulated, the play would have been easily 8 hours in duration with no breaks.

Editors:  Nandini, take us through the journey of being a lyricist of play you both have written the lyrics for Bhagwaan Dhoondho too, Sumit has it been different and Ranji how does it feel to now start scripting lyrics and composing.
Nandini: Writing poetry in general is far easier, but to contextualize it to the moments of the play is the real challenge and at the same time most exciting part. It was the second time and we were more aware of the craft of writing a song for the play. The theme song subtly communicates & verbalizes everything which is unsaid on stage as dialogues and communicates the essence. Moreover when these powerful lyrics gets crafted in the soulful music it creates the perfect ambience.
Sumit: This time around theme was common man and his journey. Common Man (CM) has linear story line up but also in between several issues were depicted. It was quite exciting and challenging to bring those general aspects in relation to the specific story line of the play in lyrics. Play deals with several deepest layers like – unspoken inner fears, expectations from relations and consequences, failures in life etc. We had conveyed these emotions using symbolism in lyrics like – fears were compared to shadows, relations were compared to bunch of entangled silk threads.  I guess being part of the cast during the evolution period of CM helped a lot in connecting with right notes with the theme.  It is an abundant source of inspiration for me.
Ranji: I feel awesome. ha ha ha two songs happened while we were experimenting, spontaneously. One was “this is the story of” had to write this with the help of Nandini.  The second one was at the Agam Studio when Ganesh played a tune and we gave a it a full stretch by belting whatever came as a tune irrespective of the words, that became the “awesome” song which was used for the PPGS scene. I guess as creators if we are ready to play and let the moment take you ahead then the journey becomes quite exciting.  the most important part of integration was done by Ganesh from Agam, and that became the full circle and a complete package.

 

Editors: The audience were in for a visual treat this time though Mixed Media, how was it to design Images for a Play, of this magnitude.
Nandini:  At yours truly theatre, we are always looking at new ways to engage audiences, we believe plays need to have high visual aesthetics. We have been using mixed media visuals for our improv shows, but this was the first time we integrated them in a production of this size. It gives you complete freedom to communicate in a new way, the challenge is really to integrate mediums in such a way that they don’t seem to be different pieces put together while creating an imbalance, but it is mastery to pivot all effects and techniques to the main theme of the play and not diverge away from it. So visuals combined with intelligent blocking & light design can give stunning effects. As I was also directing the play it as much easier, I could design exactly what I was visualizing. Having said that the real magic on stage happened when we integrated the visuals in the improvisation part. In the second part it becomes actors responsibility to be aware and find innovative ways to integrate it.


Editors: Welcome back to YT, its newsletter time, time to reflect, so folks What prompted you both to travel to India?
Sole: Thanx, its grt to be back. We chose India because we thought it is a country where the majority of children do not have many opportunities to experience theatre, at least in the way we conceive it. I wanted to travel there with a show to give and leave something to the children. The UK has strong links with India and going to the roots (India) is enriching for my own personal experience of life and cultures. Our project originated without any money involvement and I decided that a country like India suited better this frame – rather than a European country where the majority of children have the means and possibility of experiencing theatre.
Stan: I knew that India has some of the oldest traditions of puppetry and story telling in the world, so felt that our show would be appreciated by Indian audiences. We also wanted to perform for audiences who might not have ever seen a puppet show in the form of long string marionettes as we do.   

Editors: How was the Bangalore Experience of the Red Balloon?
Sole: The experience in Bangalore was extremely welcoming and enriching. The Red Balloon was given a lot of attention and the feedback from the audiences was most rewarding.
Stan: We had a fantastic time in Bangalore! All the puppets enjoyed their stay and loved meeting the kids in the Yours Truly Theatre drama group!

Editors: What do you think about Yours Truly Theatre, the group, the studio space, the people, coffee, food, stay n everything?
Sole:Yours Truly is a fantastic theatre group with a great team spirit. The space at disposal is good for workshops and intimate performances. The people are open-minded and non-judgmental, great qualities that are at the basis of free expression and creativity. Nice food and coffee too!
Stan: Yours Truly Theatre were wonderful hosts who made us feel really at home and well looked after. Plus all the hard work in publicizing the show which meant we had full houses for all our public performances. The group were also a great support and made everything run so smoothly!

Editors: What is the toughest experience of being a puppeteer traveling and performing, does it affect or tire you out?
Sole:The toughest is transporting the touring theatre on our shoulders! Because of the nature of our theatre, that involves having the puppeteers out of view, we have to transport a lot of gear to be able to create a separate magic world in a professionally looking way. Touring is tiring but the reward you get while performing pays it back
Stan: The toughest thing about touring is that every venue you perform in is completely different so you have to try and be flexible which can be difficult when you have such complex set up as we do. Also having to pack everything up so tightly in all the boxes, there is always a fear that when you next open the box, that things will be broken. Carrying so much luggage is also quite challenging, at one point during our tour of India, one of our puppet boxes burst open in the middle of Mumbai Central station and all the puppets fell onto the platform!

Editors: How did you begin your journey of becoming a puppeteer?
Sole:  I trained at the Puppet Theatre Barge in London and did a full immersion tour in the summer of 2007. For one year before starting the traineeship, I used to work as a front of house person for the theatre, which allowed me to become familiar with the theatre, their shows and activities. My actual journey as a puppeteer started as a boat journey that left Little Venice – in Central London – in the direction of towns outside London, in specific Marlow and Henley, where I spend the whole summer playing with puppets! To become a puppeteer a summer is not enough, you carry on learning and develop in the years.
Stan: My family run a puppet theatre in London called the Puppet Theatre Barge so i have been working there since i was a child along with my brother, mother, father, grandmother and grandfather!

Editors: Where did you travel next after India with your Red Balloon?
Stan: Lemme get that, after returning from India we have performed in London at the Roundhouse in Camden and then at Latitude arts festival in the English countyside and finally on the Isle of Wight at another arts festival. We are now working on our new production which should be ready by next september

Editors: So as organizers how does it feel to have got the best of European puppetry down to Bangalore, we also heard you refused to see their video before they landed here while many conservatives had their own RED balloons flying up?
Ranji: 
Interesting set of questions guys, you are doing your best to hear the stories from me eh, ha ha ha anyways from the time we were in contact with Strings Theatre almost a year back I was quite convinced that Bangalore audiences deserved a puppet theatre performancelong-string marionettes and puppet performance is quite unheard of in this part of the world. We were ready to host them and take care of them completely from food, stay, performance, travel, everything.  Lets also focus on the success of the show and the collaboration.  Hosting Strings Theatre meant that we opened our doors to a whole new set of theatrical possibilities outside our country.  We have been hosting faculties from across the globe at YT.  Its now time for performance groups.  All the three shows of Strings Theatre was a house full, YoursTrulyTheatre made that happen.  We also ensured that the seating style be the same as they wanted including the number of audiences per show, we did out best to ensure that we create the same environment as they have back in London. A visiting group down here also meant an OK session for us.  We are starving for knowledge, and as a group we are ready whenever artists visits our studio, we invite them and keep our cups empty.  Since we worked closely with Stan and Sole, we were very inspired by their style of work, focus, commitment, and above all passion.  As far as the future is concerned I can tell only one thing now, you will hear more of YT Collaborates and I wont elaborate ha ha ha 🙂



Editors: In this section we talk to the show Manager of CMver2.0, about the journey of putting up a show on a scale such as CMver2.0.  The show Manager Ajay Pandey shares us his thoughts. So Ajay, was it a journey
Ajay Pandey:  The Common Man Version 2.0 was indeed a journey for anyone associated with it, in any capacity. I feel that all of us -volunteers+actors+director were part of another show also, during this time, which went something like Warming Up :-  It was a Jan 8 afternoon at Alma after the show at Desire Society. It was then when Ranji asked me. Yes, there were no phone calls for me – it was straight into face. I will be lying, if I say I wasn’t shocked or awed by the responsibility. I thought, factored in some other factors and finally signed up for the job, by calling him in the night. The next weekend Ranji and Nandini listed down the items to be bought, tasks to be done, people to be contacted. And this is when the real enormity of the task dawned upon me 🙂 – Ninja scene Costumes, Swamiji scene Costumes, Winter scene Costumes, Umbrellas, light ball,swords, bench, chairs, set design – it was overwhelming to be honest. We got a rough schedule and had some deadlines to beat, props ready before Feb – costumes ready by feb 2nd week – sets+projection ready by probably feb 3rd week – and then the D-day.  All we needed was a few good men and a few women too – the Volunteers. The Call for duty happened sometime in late Jan. Quite a few folks responded enthusiastically and some even called me up to ask why they are not being given any responsibilities Instead of a notebook, I started using excel sheet – one tab for taks, one tab for expenses, one tab for volunteers – I knew I was being probably more process-oriented, probably a bit of show off – but I was liking it doing that way. And then Ranji taught me what a hightlighter does to a dull excel sheet.

Editors: So lets put this like you suggested in Acts:
Ajay: Oh yes, Act 1 : The Shopping :-  Last 2 weekend of Jan were very crucial. We had to finish all the purchases. From satin – to carduroy – to chairs – to bench – to mirror – to curtain – to plates –  to spoons – to ropes – to bamboo – to goggles – to torches…..It was like we were setting up the house of newly-married couple. The act of finding around stuff, bargaining and finally purchasing – though seems like an hardship – but is an interesting act. Talking to cloth merchants, bamboo sellers, furniture sellers, sometimes toystores/fancy stores – bargaining/fighting with them – knowing their stories – was a learning in itself. Both Deepak and I now know that Kareem shop that gave most of our costume material, was setup in 1940s by the father of current owner and he himself described how the Jumma Masjid Road changed since Independence. It was fun going out in sun and meeting the some people, with whom we usually don’t interact much these days – thanks to the Shopping Malls/Megamarts of today.

Editors: So it must have been something to be on the move, get calls, seems like you were almost running a parellel business?
Ajay: It was also fun to receive calls from ‘Bombay Satin Store’ and negotiating about satin rates and their delivery dates, during office amongst bewildered eyes of fellow software engineers. It was fun to act like a big fat businessman receiving calls from employees (read volunteers ) about rates and permission for purchase, okay just kidding here.  Fortunately we got most of the stuff. We were having trouble finding a cheap bench. One beautiful day, we happened to notice an old bench in some used furniture dumps. We got it polished and bought it dirt-cheap. Now whenever I think about the bench – it symbolizes to me that quote from Paulo Coelho – when you really want something, the whole universe conspires for you to achieve that thing.  The costumes were designed by Ameet and Nandini and the design was executed by our neighborhood tailor – the tailor with a conscience – Zameer tailor and I was happy that I don’t have to do anything there. February was when run-throughs started and I got time to watch them. It was fun to bring in tonnes of food from Adigas every weekend for the crew and folks at Adigas really started recognizing us. It was fun to store the number of chai-wallah and to call him for Chai/Tea/Badam milk.

Editors:  So if that was what happened in ACT 1 we wonder what happens next?
Ajay: Act 2 : The Nightouts :-  With costumes and props done, it was the arrival time for other important elements – the music, the sets, the projections, the light design, and the RUNTHROUGHS. One fine evening in Feb. at Alma, we tried the bamboo frames designed by Ashish at Alma. They were to be hanged from celing and in the they looked good. Similary projections were tried out. Light designs were being finalized. Everything was coming together – the rehearsals and run-throughs were going till late, once they went till 4am. Backstage team was too syncing up their act with the cast. There was a sense of urgency in all of us.  I don’t remember what exactly I was doing at that time but I guess I was doing something or other  Final volunteers list was prepared. Ranji and Nandini guided me in job allocation and I guess we devoted one or two hours- solely for that purpose.

Editors: The final act must be the show, what a journey so far?
Ajay: so lets get to Act 3 : The D-day :- It started early , 5:30ish for few of us. We reached ALMA at 7-7:30 and were at ADA with all the stuff by 8-8:30. Thanks to prior trips to ADA by Ashish and me, we had a good understanding of how to install those lamps. But still , arranging those 10 lamps, took almost 6 folks – 2:30 hours = 15 man-hours. After that it was smooth sailing of sorts or at least I wasn’t aware of any hiccupps. Lights were fixed quickly. Music tuned in. Projector setup.Lunch brought at time. Varun figured out how to drop umbrellas from the top  – you need a lion heart to do that job. Run through started. Front desk setup beautifully. It was like a well-oiled machine in operaton – and I was actually jobless at one point of time again, kudos to the complete team. Audience started pouring in and Ranji’s voice said “Let’s Watch”.  For the complete CM team including actors+volunteers+director one show was already over and one show was starting. As I sat in the last row for sometime during the show and wondered at those projections on those lamps, with actors sitting on that bench with those umbrellas, wearing those costumes , amongst applause of audience – I realized we had done something.

Editors: It must have been really something for you and your beyond stage team
Ajay: Yea the Cooling down :- It feels amazing till date about what we did. What is worth cherishing that, each of the team member had a sense of ownership towards the production. Thank you – all of you at Yours Truly – for giving me this opportunity to be part of this experience.

Articles written by Artistic Director Nandini Rao, who shares her perspectives, insights, learnings, englightments, all condensed into one section called “Theatre Bits”.  In This edition Nandini talks about keeping the Balance in Theatre.

Theatre professionals constantly face conflicts in almost every aspect, from people to process, from kind of performances to type of audience, from being commercial to doing justice to artist within. There is no perfect answer.. says Nandini Rao.  To read more click on this link

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Responses

  1. love the new look and feel of the newsletter 🙂 the banners, the whites, the pictures all create a very edgy format, that enhances the reading experience. Ajay, the interview does little justice to the enormity of the task you so magnificently handled 🙂 Three cheers to Theater, Three cheers to YT

  2. This is fantastic read. It takes me back to the first quarter of this year. Watching red ballon magic, late night rehearsals for Common Man ver 2.0 , Awesome awesome awesomw premiere of CM ver 2.0 , Ajay’s focus and commitment in managing the show and special mention to our tailor – Zameer 🙂 .

    Interactions with focussed artists – Sole and Stan. Celebration of World’s theatre day in YT’s playback style. Enriching article on discovering still mind in chaos.

    Kudos to YT Editors for playing back the moments of the quarter in an interactive style.

  3. This is brilliant, I love the range of articles this newsletter brings.. Ajay’s commentary on his experiences is insightful. the Chaos concept is out of this world. Theatre bits by Nandini is a must read for all.
    I like the way three months in YT’s busy schedule of Shows, Workshops and YT collaborations have come together in one place in 9Ness.
    The editors have done a fantastic job of compiling a plethora of interesting reads and presented it beautifully.

  4. I must say that I loved the look and feel of the YT-ness. It feels very vibrant.
    I thoroughly enjoyed reading “From A Diary” section. It compels a reader to read it again.. The Beyond stage is very meticulous and nostalgic … I am loving this read..


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