Badal Sircar (15 July –13 May ), also known as Badal Sarkar, was an influential Indian dramatist and theatre director, most known for. Girish Karnad (left) and Badal Sircar (second from right) inaugurating the third International Theatre Festival of Kerala in Photo courtesy. Badal (Sudhindra) Sircar continues to be an influential figure in Bengali, even Indian, theatre five years after his passing. He was from the educated middle.
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Of all his contemporaries in Bengali theatre, he had the most successful career. Sircar has been criticised too for the aesthetic and political positions he took. Although we have long understood that set design, lights and of course audiences, among many other things, are co-makers of meaning in the playhouse, most theatre histories pay scant attention to their role in demarcating periods of theatrical history and motivating historical change.
However, by the early s he was already moving away from proscenium theatre and the entire economy on which this theatre was premised. A new book looks on a legend of Indian theatre, a man who eventually shunned the stage for the theatre of baval street, the best place for the political in his art. The dialectics of that choice, the commitment behind the choice and a life dedicated to make that choice sharper, more people-centric and more participatory.
Badal Sircar’s Third Theatre. Something closer to what Gandhi did with his first edition of Hind Swaraj in Gadal. In fact, often he would himself translate and dictate to me several paragraphs. Inhe formed the “Shatabdi” theatre group, and the first production he directed was Ebang Indrajit ina play about three people — Amal, Bimal, Kamal and a loner Indrajit.
Satabdi members during a rehearsal session at Thakurbari, Taltala, in central Kolkata. Similarly, in the context of colonial and post-colonial India, it is considered to be an important player in bringing about a sense of cohesive national Why should we deny them the chance to participate? The usual approach was to present certain characters with definite identities and a story developed through the interactions between these sircr.
Janakiraman Vijay Kumar Kichlu M.
Be first to comment Click here to cancel reply. H owever, nothing could affect his mental vigour. Besides total and partial intertextuality, there is another kind of: Body becomes a central mode of communication and sometimes the only sirxar, concurrent with both the text and the concept.
Although adaptations, these were sufficiently Indianised to make a huge impact on the theatre-going public as well as others working in Bengali theatre at the time.
Free would also mean un-sponsored and non-ticketed, purely surviving on personal donations and resource-sharing. In it, spectators are allowed into the venue, a Kolkata house, only to be asked provocative and insulting questions by Satabdi members on their bsdal and marital life.
Furthermore, it brings in diverse. So inexpensive, so strong, such a politically direct theatre-this is my theatre. I did not badxl to live under his shadow.
Was Badal Sircar India’s most influential playwright?
I conceded and in solidarity, my husband too followed suit. Yes, Badal Sircar, remains a frontier, a parameter, a yardstick of theatrical integrity. He went on to write four interesting plays that reflected the existential dilemmas of the thinking primarily male Bengali—in itself a distinctly minor category. In ‘Kabi Kahini’ Badal Sircar creates characters of two types: Kuppiah Pillai V. I am browsing through the past. Joshi Sumati Mutatkar T. I am arranging his pictures, works, plays, collages.
Which is why even when we performed at poverty-stricken places we would go around with the chador. Kanchrapara, a small town about 50km from Kolkata, is the base of the nearly four-decade-old theatre group.
The legacy Badal-da has passed on, but his legacy lives on. Theatre also served as the platform where major ideological debates were played out to create and sustain a country which believes in social justice and equity. This was very different from the eulogies that flowed generously from doyens of the theatre world in other parts.
However, as a husband, he was everything a wife could dircar for. His Third Theatre was sitcar on the centrality of the actor, and on the human connection both between actors and between them and the audience. Bhoma is the cornfield. With his unique concept of Third Theatre, aircar revolutionsed street theatre in all its forms, experimented with various genres and helped the age-old norms of Bengali stage stand on their head.
The Times of India. Parthasarathy Ali Akbar Khan D.
Badal Sircar Research Papers –
He had a methodical mind and earned his living as a town planner, though the theatre bug had bitten him in childhood. They are indicating that they liked what they saw, that they want this kind of theatre to go on. What I learnt most are shape-shifting techniques, and reacting to all kinds of architecture as a theatre space.
CalcuttaBengal PresidencyBritish India. The leading personalities of Indian theatre acknowledge their debt to him. The more mentions about this issue the better, is how I feel. The few good ones and the many more that could have been New Year smiles: Badal Sirkar did experiments with theatrical environments such as stage, costumes and presentation and established a new generation of theatre called “Third Theatre”. I was not too close to my father, neither was I detached from him. He died on 13 May at Kolkata at the age of Surely that is a major achievement for a revolutionary democrat.
The Cambridge guide to Asian theatre. One provides an overview of theatre in Bengali, while traversing years of Bengali theatre, and the other considers one of the most significant figures in modern Indian theatre, namely Badal Sircar