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On the topic of the multi-racial cast, Mumbai-based writer and critic Sanjukta Sharma writes: “The epic becomes intelligible and universal – and tells us why something as captivatingly human as the Mahabharata should not belong just to one nation or race.” Awards The production's use of an international cast caused heated intercultural debate. The film version of the Mahabharata received a 20-minute standing ovation at the 1989 Venice Film Festival and received an Emmy Award after the film was aired on TV. Musicians from Iran, Turkey, and Denmark joined the production in order to score musical elements discovered by Tsuchitori, who was particularly influenced by Rabindra Sangeet. Music composer Tsuchitori Toshiyuki remained in India for months on request from Brook make sure the play would "not use the music which everybody knows". While working on the adaptation, Marie-Hélène Estienne travelled across Nepal and India, journeying from Manipur to Kanchipuram, in order to learn of the many different forms of the ancient epic from “Brahmins and writers and dancers and theatre people” across the subcontinent.
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Along with one Indian actress, other actors of Caucasian, African, Asian ancestry filled the cast of Brook's version, including Vittorio Mezzogiorno as Arjuna, Sotigui Kouyaté as Bhishma, and Tapa Sudana as both Pandu and Lord Shiva. Using an elaborate-yet-minimal set and multi-racial cast from 16 different countries for the film, Brook's Mahabharata stood in contrast with the “opulently religious melodrama” of the 94-episode BR Chopra version of the Mahabharata which aired a year before the Brook-Carrière adaptation appeared on TV. The Mahabharata is the story of two warring factions of cousins - 100 demons in human form against five sons of gods. The poem says it itself: ‘Everything which is in the Mahabharata is elsewhere which is not in the Mahabharata is nowhere.'" "It’s quite impossible to ‘forget’ the Mahabharata. An example of this is atman, which is translated in the adaptation as depth of one’s being. In his book In Search of the Mahabharata: Notes of Travels in India with Peter Brook 1982-1985, Carrière speaks about the difficulty of adapting the Sanskrit into the European languages, particularly in regards to choosing the right words for certain terms. This and the eventual filmed version were the first time that the entire (albeit abridged) story of the Mahabharata was brought to the stage and made into a feature film. Three years before the film version was made, Peter Brook staged their adaptation in French at a quarry in Avignon, France. The French and eventual English version of the Mahabharata took several years for Brook and Carrière to write and bring to the stage.