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UGC NET Unit 7 — Modern Indian Theatre – Performing Arts

(Study Note)

1. Overview: What is Modern Indian Theatre?

Modern Indian theatre denotes theatre practices that emerged in the 19th and 20th centuries as a response to colonial modernity, social reform movements and later, post-Independence nation-building. It fuses indigenous performance traditions (folk, ritual, classical) with western dramatic forms (proscenium, realism), producing hybrid aesthetics that are social, political and artistically experimental.

2. Origin and Development — National and Regional Perspectives

  • Colonial roots: Modern theatre evolved from colonial encounters (missionary plays, British educational institutions), the rise of print culture, vernacular dramaturgy and the emergence of urban public spheres (theatre as social forum).

  • Early pioneers: Early dramatists and theatre activists adapted myth, historical narrative and social themes to create a modern stage language in regional languages—Bengal, Maharashtra, Punjab, Karnataka, Kerala and Andhra/Telangana developed distinctive modern traditions.

  • Regional consolidation: Each region combined local performance idioms with modern dramaturgy:

    • Bengal: A strong tradition of politically conscious and literary theatre (group theatre movement).

    • Maharashtra: A rich satirical and social-realist tradition (Marathi modern drama).

    • Karnataka: A vigorous playwright-director culture (Kannada modern drama).

    • Punjab, Kerala, Andhra, Assam, Northeast: Regional experiments blending folk, ritual and literary theatre.

  • Post-Independence trajectory: A flowering of institutional theatre, experimental groups and socially engaged theatre forms that addressed nation-building, class, caste, gender and regional identity.

3. Major Trends & Movements Since Independence

(The syllabus asks for a brief study of key tendencies — below are clear, exam-friendly summaries.)

A. IPTA (Indian People’s Theatre Association)

  • Nature: Mass cultural movement with leftist/popular cultural politics.

  • Contribution: Brought theatre to the people — street performances, political plays, songs and worker-peasant themes; pioneered socially committed theatre.

B. Navanatya Movement (New Theatre)

  • Nature: Modernist theatre experiments in form and content.

  • Contribution: Introduced new dramaturgies, director-centric aesthetics and reinterpretation of myths and history.

C. Root Theatre / Third Theatre / Alternative Theatre

  • Third Theatre: Non-proscenium, intimate, actor-audience proximate performance (simple sets, direct address). Emphasizes accessibility and collective creation.

  • Root Theatre: Return to roots — integrating folk and ritual forms into modern performance language.

  • Alternative Theatre: Umbrella term for experimental, non-commercial theatre outside mainstream proscenium constraints.

D. Street Theatre & Jana Natya (People’s Theatre)

  • Nature: Performances in public spaces for popular mobilization and awareness (labour, communal harmony, civic rights).

  • Contribution: Democratized theatre; powerful tool for activism (anti-illiteracy, labour movements).

E. Theatre of the Oppressed & Forum Theatre

  • Origins: Augusto Boal’s pedagogy adapted in India.

  • Use: Participatory techniques to empower communities; theatre as reflective, problem-solving practice rather than mere representation.

F. Applied Theatre & Community Theatre

  • Nature: Theatre for education, development, health, rehabilitation.

  • Contribution: Applied methods for change in schools, NGOs, prisons and community development.

G. Site-Specific & Experimental Forms

  • Nature: Performances closely tied to specific locations (historic sites, urban spaces) and multi-media experimentation.

  • Contribution: Rewires audience perception by rooting the event in place and memory.

4. Key Playwrights, Directors and Contributions (selective, representative)

Playwrights

  • Girish Karnad (Kannada): Mythic reworkings and modern dilemmas — Tughlaq, Hayavadana, Nagamandala — critical exploration of history and identity.

  • Vijay Tendulkar (Marathi): Urban realism, social conflict, gender and power — Ghashiram Kotwal, Sakharam Binder, Silence! The Court is in Session.

  • Badal Sircar (Bengali): Innovator of Third Theatre and “anti-illusion” theatre — Evam Indrajit; emphasis on minimalism and social engagement.

  • Habib Tanvir (Hindi/Chhattisgarhi): Fusion of folk forms with modern narrative; created Charandas Chor and founded Naya Theatre.

  • Mohan Rakesh (Hindi): Psychological realism — Adhe Adhure.

  • Utpal Dutt (Bengali/Hindi): Politically engaged theatre and powerful adaptations.

  • Ratan Thiyam (Manipuri): Ritual and mythic dramaturgy; founder of Chorus Repertory Theatre.

  • Kavalam Narayana Panicker (Malayalam): Integrated Kerala ritual forms and folk aesthetics into contemporary theatre.

Directors & Practitioners

  • Ebrahim Alkazi: Institutionalized modern Indian theatre practice as Director of National School of Drama (NSD); rigorous actor training and production standards.

  • Shanta Gandhi, Shyamanand Jalan, Satyadev Dubey, Prasanna, B.V. Karanth: Important directors who shaped modern performance vocabulary across regions.

5. Representative Plays (widely studied & performed)

  • Tughlaq, Hayavadana, Nagamandala (Girish Karnad)

  • Ghashiram Kotwal, Sakharam Binder (Vijay Tendulkar)

  • Charandas Chor (Habib Tanvir)

  • Adhe Adhure (Mohan Rakesh)

  • Evam Indrajit (Badal Sircar)

  • Theatre of Roots experiments by Ratan Thiyam and Kavalam Panicker

6. Popular Playhouses, Companies, Institutions & Their Contributions

  • National School of Drama (NSD), New Delhi: Premier actor/director training, pedagogy and repertory.

  • Sangeet Natak Akademi: Apex national academy for performing arts — recognition, documentation and grants.

  • Prithvi Theatre (Mumbai): Cultural hub and producer of contemporary theatre; supported repertory culture and festivals.

  • Naya Theatre (Habib Tanvir): Folk-inspired theatre company; popularized folk-modern fusion.

  • Jana Natya Manch (JNM): Street theatre collective — prominent in political activism.

  • Regional groups: Bohurupee (Bengal), Rangakarmee, Little Theatre Group, theatre companies linked with universities and cultural centers — they sustain new writing, regional repertory and actor training.

  • Theatre Festivals & Residencies: Facilitate cross-regional exchange and experimentation (state festivals, NSD festivals, Prithvi Theatre festivals).

7. Contribution & Impact

  • Sociopolitical role: Modern Indian theatre has been an instrument of social critique, political mobilization and cultural reflection.

  • Aesthetic innovation: Blending of classical, folk and Western techniques created a plural modernism — e.g., folk choruses, ritual use of space, Brechtian narration, and meta-theatre.

  • Pedagogy & institutionalization: NSD and state institutions professionalized training; repertories and festivals created sustained practice.

  • Community engagement: Street theatre, forum theatre and applied theatre engaged non-elite publics and addressed grassroots concerns.

8. Exam-Focused Tips (how to answer UGC-NET questions)

  • Define terms precisely: e.g., Third Theatre, Theatre of the Oppressed, IPTA — briefly state core idea and significance.

  • Use examples: Mention 2–3 plays or practitioners to illustrate any movement (e.g., Habib Tanvir → Charandas Chor for folk-modern fusion).

  • Compare & contrast: Be ready to contrast institutionalised proscenium theatre (NSD style) with street/third theatre methods.

  • Regional examples: Cite one playwright/production from major regions — Marathi (Vijay Tendulkar), Kannada (Girish Karnad), Bengali (Badal Sircar), Chhattisgarhi folk fusion (Habib Tanvir), Manipuri (Ratan Thiyam).

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