| 9 | | A classicist ideology was attributed to her work with Modhu Bose for the Calcutta Amateur Players and later in film. Her best-known play, Alibaba (1934; filmed 1937), helped translate the musical style of [[Calcutta Theatres]], originating with Khirode Prasad Vidyavinode, into Broadway/Hollywood inspired Orientalist spectaculars. Introduced these into Hindi cinema, via directors like Chaturbhuj Doshi (Shankar Parvati) and Kidar Sharma (Vish Kanya). In her autobiography (Sadhona Bose, 1963), plays like Theme Songs of Omar Khayyam and Hindu Dance Dramas, Birth of Freedom, Samarpan and Ajanta are described as ‘neo-classical ballets‘ while her later films are called ‘film ballets’, adhering to all the tenets of traditional art. Produced the show Rhythm of Victory as a political spectacular with more than 40 dancers. An English version of her best-known film, Raj Nartaki, was distributed in the USA as Court Dancer. |
| | 9 | A classicist ideology was attributed to her work with Modhu Bose for the Calcutta Amateur Players and later in film. Her best-known play, Alibaba (1934; filmed 1937), helped translate the musical style of [[Calcutta Theatres]], originating with Khirode Prasad Vidyavinode, into Broadway/Hollywood inspired Orientalist spectaculars. Introduced these into Hindi cinema, via directors like [[Chaturbhuj Doshi]] ([[Shankar Parvati]]) and [[Kidar Sharma]] (Vish Kanya). In her autobiography (Sadhona Bose, 1963), plays like Theme Songs of Omar Khayyam and Hindu Dance Dramas, Birth of Freedom, Samarpan and Ajanta are described as ‘neo-classical ballets‘ while her later films are called ‘film ballets’, adhering to all the tenets of traditional art. Produced the show Rhythm of Victory as a political spectacular with more than 40 dancers. An English version of her best-known film, Raj Nartaki, was distributed in the USA as Court Dancer. |