Unit 7 — Modern Indian Theatre, modelled on the style and topics that appear regularly in UGC-NET Performing Arts papers. They cover origins, movements (IPTA, Navanatya, Third/Root/Alternate Theatre), street & applied theatre, major playwrights/directors (Girish Karnad, Vijay Tendulkar, Badal Sircar, Habib Tanvir, Mohan Rakesh, Ratan Thiyam, Kavalam Panicker, Ebrahim Alkazi, etc.), representative plays, and institutions.

1. IPTA stands for:
   a) Indian People’s Theatre Association
   b) Indian Professional Theatre Association
   c) International People’s Theatre Alliance
   d) Indian Popular Theatre Academy
   Answer: a

2. The IPTA movement began primarily in which decade?
   a) 1910s
   b) 1930s–1940s
   c) 1960s
   d) 1980s
   Answer: b

3. Which of the following was a primary aim of IPTA?
   a) Commercial theatre production
   b) Cultural mobilisation and social awareness
   c) Purely aesthetic experimentation
   d) Importing Western plays only
   Answer: b

4. The “Third Theatre” concept in India is most closely associated with:
   a) Prithvi Theatre
   b) Badal Sircar
   c) Girish Karnad
   d) Ebrahim Alkazi
   Answer: b

5. Badal Sircar pioneered which performance space model?
   a) Proscenium-only theatre
   b) Anganmanch (courtyard stage)/found spaces
   c) Black-box with elaborate sets
   d) Radio theatre
   Answer: b

6. Habib Tanvir is best known for fusing modern drama with:
   a) European opera
   b) Chhattisgarhi folk performance traditions
   c) Chinese opera
   d) Kabuki theatre
   Answer: b

7. Girish Karnad wrote which of the following plays?
   a) Tughlaq
   b) Ghashiram Kotwal
   c) Evam Indrajit
   d) Charandas Chor
   Answer: a

8. Vijay Tendulkar is a prominent playwright in which language tradition?
   a) Bengali
   b) Marathi
   c) Kannada
   d) Malayalam
   Answer: b

9. Which playwright is associated with Evam Indrajit?
   a) Mohan Rakesh
   b) Badal Sircar
   c) Girish Karnad
   d) Vijay Tendulkar
   Answer: b

10. Ghashiram Kotwal is a landmark play by:
    a) Girish Karnad
    b) Vijay Tendulkar
    c) Mohan Rakesh
    d) Badal Sircar
    Answer: b

11. The National School of Drama (NSD) was established in:
    a) 1920s
    b) 1959 (as independent institute in 1959)
    c) 1980s
    d) 2000s
    Answer: b

12. Ebrahim Alkazi is noted for his role as:
    a) Founder of IPTA
    b) Director and Principal of NSD who professionalised theatre training
    c) Pioneer of Third Theatre
    d) Founder of Prithvi Theatre
    Answer: b

13. Prithvi Theatre was founded by:
    a) Habib Tanvir
    b) Prithviraj Kapoor and Sunil Kapoor family (Prithvi Trust)
    c) Badal Sircar
    d) Girish Karnad
    Answer: b

14. Which movement emphasised returning to indigenous forms and folk roots?
    a) Naturalism
    b) Root Theatre / Theatre of Roots
    c) Epic Theatre
    d) Melodrama
    Answer: b

15. “Third Theatre” typically rejects:
    a) Audience participation
    b) Proscenium, commercial trappings, and passive audience configuration
    c) Political themes
    d) Folk idioms
    Answer: b

16. Which theatre practitioner is widely credited with popularising folk-based theatre like Charandas Chor?
    a) Girish Karnad
    b) Habib Tanvir
    c) Vijay Tendulkar
    d) Ebrahim Alkazi
    Answer: b

17. Mohan Rakesh is best known for which play?
    a) Adhe Adhure
    b) Tughlaq
    c) Charandas Chor
    d) Evam Indrajit
    Answer: a

18. Which movement focused on theatre in public spaces to mobilise the masses?
    a) Proscenium revival
    b) Street theatre / Jana Natya
    c) Radio drama
    d) Puppet theatre
    Answer: b

19. Jana Natya Mandali and similar groups are known for:
    a) Opera performances
    b) Street theatre with socio-political agenda
    c) Classical Sanskrit drama only
    d) Silent mime exclusively
    Answer: b

20. Theatre of the Oppressed was developed by:
    a) Badal Sircar
    b) Augusto Boal
    c) Bertolt Brecht
    d) Ebrahim Alkazi
    Answer: b

21. Forum Theatre is a technique within:
    a) Naturalism
    b) Theatre of the Oppressed
    c) Melodrama
    d) Greek Tragedy
    Answer: b

22. Applied theatre refers to:
    a) Theatre strictly for aesthetic enjoyment
    b) Theatre used for education, social change, health and community development
    c) Only historical reconstructions
    d) Opera and ballet fusion
    Answer: b

23. Site-specific theatre is characterised by:
    a) Stage set in neutral studios only
    b) Performance tailored to and integrated with a particular location or site
    c) Radio broadcasts only
    d) Universal scripts unchanged by context
    Answer: b

24. Badal Sircar’s “Aanganmanch” primarily emphasised:
    a) Elaborate sets and costumes
    b) Minimalism and direct exchange between actors and audience in courtyards
    c) Musical opera format
    d) Screen adaptations only
    Answer: b

25. Which playwright dramatized the solitude and alienation of post-Independence urban youth (notably in Evam Indrajit)?
    a) Vijay Tendulkar
    b) Badal Sircar
    c) Girish Karnad
    d) Mohan Rakesh
    Answer: b

26. Ratan Thiyam is associated with which regional theatre tradition?
    a) Bengali theatre
    b) Manipuri theatre and Chorus Repertory Theatre
    c) Marathi theatre
    d) Punjabi theatre
    Answer: b

27. Kavalam Narayana Panicker is known for integrating:
    a) Kathakali and Kerala folk elements into modern theatre
    b) Kabuki form into Indian theatre
    c) Peking opera techniques
    d) European realism only
    Answer: a

28. Which institution gives national recognition and awards to theatre artists in India?
    a) Film and Television Institute of India
    b) Sangeet Natak Akademi
    c) All India Radio
    d) National Museum
    Answer: b

29. The Navanatya movement is best described as:
    a) A classical Sanskrit revival only
    b) A modernist movement experimenting with form and content in Indian theatre
    c) A film movement
    d) A musical tradition
    Answer: b

30. Which theatre form did Habib Tanvir famously employ in his productions?
    a) Mime only
    b) Folk chorus and non-professional performers from rural backgrounds
    c) Western choir groups
    d) Pantomime exclusively
    Answer: b

31. Who is known for the play Hayavadana?
    a) Mohan Rakesh
    b) Girish Karnad
    c) Vijay Tendulkar
    d) Badal Sircar
    Answer: b

32. Vijay Tendulkar’s Sakharam Binder deals mainly with:
    a) Mythological romance
    b) Gender, power and social hypocrisy
    c) War epic
    d) Children’s folklore
    Answer: b

33. Which of these movements is an outcome of political and social activism of artists during the freedom struggle and post-colonial period?
    a) IPTA
    b) Kabuki revival
    c) Noh theatre
    d) Greek chorus
    Answer: a

34. The term “Alternative Theatre” in India generally means:
    a) Mainstream commercial Bollywood theatre
    b) Experimental and non-commercial forms outside established proscenium conventions
    c) Opera houses in India
    d) Exclusive classical repertory only
    Answer: b

35. Who directed and staged many productions that institutionalised modern Indian theatre pedagogy at NSD?
    a) Habib Tanvir
    b) Ebrahim Alkazi
    c) Badal Sircar
    d) Girish Karnad
    Answer: b

36. Which play is referred to as a landmark of modern Kannada theatre?
    a) Tughlaq
    b) Hayavadana
    c) Ghashiram Kotwal
    d) Evam Indrajit
    Answer: b

37. Rangakarmee is a prominent theatre group from which region?
    a) Maharashtra
    b) Bengal (Kolkata)
    c) Kerala
    d) Punjab
    Answer: b

38. Which movement emphasised minimal props, close actor-audience contact, and actor-centred creation?
    a) Third Theatre
    b) Melodrama
    c) Epic Theatre (strictly proscenium)
    d) Kabuki tradition
    Answer: a

39. The “Theatre of Roots” initiative aimed to:
    a) Eliminate folk idioms from modern plays
    b) Rediscover indigenous forms and adapt them to contemporary theatre practice
    c) Import exclusively Western forms
    d) Convert theatre into radio plays
    Answer: b

40. Which playhouse became a cultural hub in Mumbai founded by the Kapoor family?
    a) NSD Auditorium
    b) Prithvi Theatre
    c) Rangashankara
    d) Bharat Bhavan
    Answer: b

41. Which dramatist’s work often revisits myth to explore contemporary identity (e.g., Nagamandala)?
    a) Vijay Tendulkar
    b) Girish Karnad
    c) Badal Sircar
    d) Mohan Rakesh
    Answer: b

42. Which theatre practitioner is linked to the formation of Naya Theatre?
    a) Habib Tanvir
    b) Ebrahim Alkazi
    c) Girish Karnad
    d) Badal Sircar
    Answer: a

43. Which of these is a characteristic of Street Theatre in India?
    a) Performed only in theatre halls
    b) Performed in public spaces, often free and issue-based
    c) Always uses elaborate sets and lighting
    d) Restricted to classical repertoire
    Answer: b

44. Which Indian dramatist is most closely associated with modern Hindi theatre and the play Adhe Adhure?
    a) Mohan Rakesh
    b) Vijay Tendulkar
    c) Girish Karnad
    d) Badal Sircar
    Answer: a

45. Forum Theatre allows the audience to:
    a) Remain passive spectators only
    b) Intervene and suggest/act alternatives to problems depicted on stage
    c) Hear the play on radio only
    d) Vote for best actor after performance
    Answer: b

46. Which region is Girish Karnad primarily associated with?
    a) Maharashtra (Marathi)
    b) Karnataka (Kannada)
    c) Bengal (Bengali)
    d) Punjab (Punjabi)
    Answer: b

47. Which director is known for integrating mobile, site-specific and ritual aesthetics in contemporary Indian productions (e.g., works by Ratan Thiyam)?
    a) Ebrahim Alkazi
    b) Ratan Thiyam
    c) Girish Karnad
    d) Mohan Rakesh
    Answer: b

48. The term “Navanatya” literally means:
    a) Old theatre
    b) New theatre (modernist experimentation)
    c) Puppet theatre only
    d) Musical theatre exclusively
    Answer: b

49. Which playwright wrote Charandas Chor?
    a) Vijay Tendulkar
    b) Habib Tanvir
    c) Girish Karnad
    d) Badal Sircar
    Answer: b

50. In India, which organisation is primarily responsible for documenting and supporting performing arts at national level?
    a) Sangeet Natak Akademi
    b) Doordarshan
    c) Filmfare
    d) Sahitya Akademi (only literature)
    Answer: a

51. Which of these practitioners is known for the “Theatre of Roots” movement?
    a) Ebrahim Alkazi
    b) Ratan Thiyam and Kavalam Panicker
    c) Prithviraj Kapoor only
    d) Girish Karnad exclusively
    Answer: b

52. Who wrote the Hindi play Ashadh Ka Ek Din which established modern Hindi theatre?
    a) Mohan Rakesh
    b) Vijay Tendulkar
    c) Badal Sircar
    d) Girish Karnad
    Answer: a

53. “Anganmanch” performances typically take place in:
    a) Radio studios
    b) Courtyards, open grounds and neighbourhood spaces
    c) Opera houses only
    d) Cinema halls only
    Answer: b

54. Which movement is most directly associated with using theatre as a tool for education, social development and health campaigns?
    a) Applied Theatre
    b) Symbolism
    c) Classical revivalism
    d) Melodrama
    Answer: a

55. Who is the playwright of Tughlaq that comments on power and idealism?
    a) Girish Karnad
    b) Vijay Tendulkar
    c) Mohan Rakesh
    d) Badal Sircar
    Answer: a

56. Which theatre company is strongly associated with Habib Tanvir’s folk-modern experiments?
    a) Naya Theatre
    b) Bohurupee
    c) Rangakarmee
    d) Prithvi Group
    Answer: a

57. Which writer is associated with modern Marathi theatre and socially aware drama?
    a) Girish Karnad
    b) Vijay Tendulkar
    c) Badal Sircar
    d) Mohan Rakesh
    Answer: b

58. Which city is historically significant for Bengali modern theatre and group theatre movement?
    a) Mumbai
    b) Kolkata
    c) Chennai
    d) Hyderabad
    Answer: b

59. Which prominent theatre director worked extensively to popularise modern Hindi theatre in Kolkata (Padatik/Anamika)?
    a) Shyamanand Jalan
    b) Habib Tanvir
    c) Ebrahim Alkazi
    d) Girish Karnad
    Answer: a

60. Which theatrical approach encourages making the audience think rather than become emotionally absorbed (alienation)?
    a) Brechtian Epic Theatre
    b) Classical Sanskrit Rasa theatre
    c) Melodrama
    d) Farce
    Answer: a

61. Which playwright used myth and folklore to interrogate contemporary politics and identity (e.g., Nagamandala)?
    a) Badal Sircar
    b) Girish Karnad
    c) Mohan Rakesh
    d) Vijay Tendulkar
    Answer: b

62. Which of these is a feature of Third Theatre practice?
    a) Heavy reliance on proscenium lighting rigs
    b) Low budget, portability, audience proximity, and improvisation
    c) Exclusive use of professional trained actors only
    d) Strict adherence to Western stagecraft
    Answer: b

63. Ratan Thiyam’s theatre often draws on:
    a) Punjabi folk tales only
    b) Manipuri ritual, martial and mask traditions and epic narratives
    c) Southeast Asian shadow puppetry exclusively
    d) Western musical theatre forms
    Answer: b

64. Which playwright wrote Pagla Ghoda?
    a) Badal Sircar (translated/produced in Marathi widely)
    b) Girish Karnad
    c) Mohan Rakesh
    d) Vijay Tendulkar
    Answer: a

65. The term “Site-specific theatre” most closely implies:
    a) Works that are generic and location-neutral
    b) Works shaped by and inseparable from the physical site where they are performed
    c) Theatre performed only in schools
    d) Only television adaptations
    Answer: b

66. Which movement helped spawn non-proscenium experiments and community work in rural and urban areas?
    a) IPTA and Third Theatre traditions
    b) Elizabethan theatre exclusively
    c) Roman spectacle only
    d) Kabuki theatre
    Answer: a

67. The “Group Theatre” tradition in India often refers to:
    a) Single-actor classical pieces
    b) Collectively organised, ensemble based theatre groups with social/political focus
    c) Only commercial musicals
    d) Radio drama groups only
    Answer: b

68. Which playwright/director was central to the modernisation of Marathi theatre and controversial social themes?
    a) Girish Karnad
    b) Vijay Tendulkar
    c) Ratan Thiyam
    d) Kavalam Panicker
    Answer: b

69. Which institution organises the National School of Drama’s annual festivals and workshops?
    a) Film and Television Institute of India
    b) National School of Drama itself (with Ministry support)
    c) All India Radio
    d) Sangeet Natak Akademi only
    Answer: b

70. Which of the following best describes Forum Theatre?
    a) Non-interactive proscenium play
    b) Interactive, problem-solving theatre where audience proposes/acts out solutions
    c) Musical theatre style only
    d) Ancient Sanskrit play form
    Answer: b

71. Shyamanand Jalan founded which theatre group known for Hindi productions in Kolkata?
    a) Padatik (and earlier Anamika)
    b) Naya Theatre
    c) Bohurupee
    d) Rangashankara
    Answer: a

72. The practice of mixing professional actors with local non-actors for authenticity is a feature of:
    a) Commercial theatre only
    b) Folk-modern fusion and some Third Theatre practices (e.g., Habib Tanvir)
    c) Classical Sanskrit theatre only
    d) Kabuki only
    Answer: b

73. Which playwright is credited with introducing psychological modernity to Hindi plays (e.g., Adhe Adhure)?
    a) Mohan Rakesh
    b) Vijay Tendulkar
    c) Girish Karnad
    d) Badal Sircar
    Answer: a

74. Which city is associated with Rangashankara, a prominent theatre space and festival?
    a) Mumbai
    b) Bengaluru
    c) Kolkata
    d) Chennai
    Answer: b

75. Which theatre practitioner emphasised rehearsal discipline, actor-training and stagecraft at the national level in India?
    a) Badal Sircar
    b) Ebrahim Alkazi
    c) Kabir Bedi
    d) Girish Karnad
    Answer: b

76. Which movement is most associated with minimal sets, actor-audience exchange and political content in India?
    a) Third Theatre
    b) Opera
    c) Classical Sanskrit Nāṭya only
    d) Kabuki
    Answer: a

77. Which of the following plays critiques power and bureaucracy through historical allegory (Tughlaq)?
    a) Girish Karnad’s Tughlaq
    b) Vijay Tendulkar’s Ghashiram Kotwal
    c) Badal Sircar’s Evam Indrajit
    d) Mohan Rakesh’s Adhe Adhure
    Answer: a

78. Which theatre form commonly practised by IPTA incorporated song, dance, and street skits?
    a) Proscenium, high-art only
    b) Mass cultural forms combining music, drama and agitprop (Jana Natya)
    c) Ancient Sanskrit Rasa performance only
    d) Silent mime only
    Answer: b

79. Which theatre personality is associated with the Bohurupee group in Bengal?
    a) Sombhu Mitra (and Bohurupee)
    b) Ebrahim Alkazi
    c) Habib Tanvir
    d) Prithviraj Kapoor
    Answer: a

80. Which technique is central to Theatre of the Oppressed?
    a) Strictly scripted non-interactive drama
    b) Spectator as “spect-actor” who can intervene in the play
    c) Silent ritual only
    d) Use of puppets exclusively
    Answer: b

81. Which playwright wrote Hayavadana, exploring identity and completeness?
    a) Girish Karnad
    b) Vijay Tendulkar
    c) Badal Sircar
    d) Mohan Rakesh
    Answer: a

82. Which movement emphasises collaborative devising, collective authorship and anti-star culture?
    a) Commercial theatre
    b) Third/Alternative Theatre groups
    c) Opera traditions
    d) Kabuki troupe system
    Answer: b

83. Which theatre director is known for synthesising classical Indian forms with modern stagecraft (NSD alumnus often credited)?
    a) Ebrahim Alkazi (as trainer/producer)
    b) Molière
    c) Shakespeare
    d) Bertolt Brecht
    Answer: a

84. Which of the following is an example of applied theatre practice in India?
    a) Street plays for voter education
    b) Only proscenium classics
    c) Kabuki in Japan
    d) Broadway musicals only
    Answer: a

85. Which playwright wrote Ghashiram Kotwal, a political satire on power and corruption?
    a) Vijay Tendulkar
    b) Girish Karnad
    c) Badal Sircar
    d) Mohan Rakesh
    Answer: a

86. Which theatre movement emphasised return to folk forms for modern expression and identity?
    a) Root Theatre / Theatre of Roots
    b) Naturalism exclusively
    c) Greek chorus only
    d) Melodrama only
    Answer: a

87. Which institution regularly confers fellowships and awards to theatre artists in India?
    a) Sangeet Natak Akademi
    b) Film Certification Board only
    c) Only private foundations (no national body)
    d) National Library
    Answer: a

88. Which modern Indian theatre practitioner is known for blending performance with political satire using folk forms and local dialects?
    a) Habib Tanvir
    b) Ebrahim Alkazi
    c) Girish Karnad
    d) Mohan Rakesh
    Answer: a

89. Which movement’s hallmark is making theatre accessible, low-cost and participatory (avoiding commercial theatre’s elitism)?
    a) Third Theatre / Street Theatre / IPTA legacy
    b) High opera only
    c) Only film adaptations
    d) Kabuki import
    Answer: a

90. Which playwright explored existential angst and fractured families in modern Indian context?
    a) Mohan Rakesh (Adhe Adhure)
    b) Kalidasa
    c) Bhasa
    d) Bhavabhuti
    Answer: a

91. Which type of theatre commonly uses local music, chorus and dance to engage rural audiences?
    a) Folk-modern fusion used by practitioners like Habib Tanvir and others
    b) Strictly proscenium Western plays only
    c) Radio drama exclusively
    d) Television serials only
    Answer: a

92. Which movement directly influenced the proliferation of street theatre troupes in India?
    a) IPTA and subsequent activist theatre traditions
    b) Italian Opera only
    c) Kabuki entirely
    d) Ancient Greek tragedy alone
    Answer: a

93. Which theatrical practice deliberately stages plays in marketplaces, public squares and streets?
    a) Proscenium dramas exclusively
    b) Street theatre / Jana Natya practice
    c) Opera houses only
    d) Television studios only
    Answer: b

94. Who is the author of Charandas Chor?
    a) Habib Tanvir
    b) Girish Karnad
    c) Vijay Tendulkar
    d) Badal Sircar
    Answer: a

95. Which director founded Prithvi Theatre as a repertory and venue in Mumbai?
    a) Prithviraj Kapoor (Prithvi Trust/Prithvi Theatre supported by Kapoor family)
    b) Ebrahim Alkazi
    c) Habib Tanvir
    d) Badal Sircar
    Answer: a

96. Which playwright engaged themes of caste, gender and urban violence in Marathi theatre?
    a) Vijay Tendulkar
    b) Girish Karnad
    c) Bhavabhuti
    d) Kalidasa
    Answer: a

97. Which initiative is best known for institutional actor training and production in India?
    a) National School of Drama (NSD)
    b) Sangeet Natak Akademi only (not training focused)
    c) National Film Awards only
    d) Private TV channels only
    Answer: a

98. Which movement encouraged political education, activists’ theatre and leftist aesthetics?
    a) IPTA
    b) Kabuki only
    c) Noh only
    d) Naturalism only
    Answer: a

99. Which director/playwright is associated with large-scale spectacles rooted in tribal and folk performance from Northeast India?
    a) Ratan Thiyam
    b) Ebrahim Alkazi
    c) Badal Sircar
    d) Mohan Rakesh
    Answer: a

100. Which feature is NOT typical of Third Theatre?
     a) Minimal props and sets
     b) Non-proscenium staging and audience involvement
     c) Large commercial budgets and elaborate technical illusions
     d) Political/social themes and collective creation
     Answer: c

(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.

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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.

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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.

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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.

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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

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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).

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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.

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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).