On Theatre

Badal Sircar

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Perhaps no other theatre personality has had such a deep and pervasive influence on theatre practice and theory in post-independence India as Badal Sircar. As a writer of proscenium plays in the 1960s, all of which have been widely produced by leading directors in several Indian languages; as the pioneer of non-proscenium political theatre in the 1970s; as the mentor of countless directors and theatre activists who have carried his ideas to far corners of the country, his work is an integral part of contemporary Indian theatre history. Badal Sircar has over the years written and expounded on his key concepts such as free theatre, humanity in theatre, masks in theatre, and the term with which he is most closely identified, the Third Theatre. This volume brings together for the first time his seminal writings in both Bengali and English, written over three decades, between 1972 to 1992, an invaluable opportunity for cultural scholars and theatre lovers to familiarize themselves with this most influential of practitioners as he delves deep into the evolution of his theoretical stances and analyses his own milestone productions. Written with the same honesty and directness for which his theatre is renowned, these writings reflect a cultural landscape representative of a historical period prior to the watershed of liberalization.

Badal Sircar

Badal Sircar (15 July 1925 – 13 May 2011), also known as Badal Sarkar, was an influential Indian dramatist and theatre director, most known for his anti-establishment plays during the Naxalite movement in the 1970s and taking theatre out of the proscenium and into public arena, when he transformed his own theatre company, Shatabdi (established in 1967 for proscenium theatre ) as a third theatre group . He wrote more than fifty plays of which Evam Indrajit, Basi Khabar, and Saari Raat are well known literary pieces. A pioneering figure in street theatre as well as in experimental and contemporary Bengali theatre with his egalitarian "Third Theatre", he prolifically wrote scripts for his Aanganmanch (courtyard stage) performances, and remains one of the most translated Indian playwrights.[2][3] Though his early comedies were popular, it was his angst-ridden Evam Indrajit (And Indrajit) that became a landmark play in Indian theatre.[4] Today, his rise as a prominent playwright in 1960s is seen as the coming of age of Modern Indian playwriting in Bengali, just as Vijay Tendulkar did it in Marathi, Mohan Rakesh in Hindi, and Girish Karnad in Kannada.