Ebong Indrajit (And Indrajit) () Pagla Ghoda (Mad Horse) (). Awards, Sangeet Natak Akademi Award Padma Shri Sangeet Natak Akademi Fellowship. Badal Sircar (15 July – 13 May ), also known as Badal Sarkar, was an influential. Evam indrajit pdfEvam indrajit pdf Evam indrajit pdf. Evam Indrajit has 74 ratings and 6 reviews: Published January 9th by Oxford University Press, 70 pages, Paperback.
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Badal Sircar 15 July — 13 Mayalso known as Badal Sarkarwas an influential Indian dramatist and theatre director, most known for his anti-establishment plays during the Indraijt movement in the s and taking theatre out of the proscenium and into public arena, when he founded his own theatre company, Shatabdi in 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.
He was initially schooled at the Scottish Church Collegiate School. While working as a town planner in India, England and Nigeria, he entered theatre as an actor, moved to direction, but soon started writing plays, starting with comedies. Badal Sirkar did experiments with egong environments such as stage, costumes and presentation and established a new generation of theatre called “Third Theatre”. He started his acting career inwhen he acted in his own play, Bara Trishnaperformed by Indraajita theatre group.
Eventually still employed in Nigeria, he wrote his landmark play Ebong Indrajit And Indrajit inwhich was first published and performed in and catapulted him into instant fame, as it captured “the loneliness indrakit post-Independence urban youth with dismaying accuracy”.
Ebong Indrajit – some thoughts | Sulekha Creative
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. In the next five years of its existence the troupe performed several of his plays and had a profound impact on contemporary theatre, especially after when it started performing plays both indoors and outside amidst people, and evolved the angan manch courtyard stage and inspired by the direct communication techniques of Jatra rural theatre form, to eventually become his “Third Theatre”, a inrajit against prevalent commercial theatre establishment.
Often performed in “found” spaces rather than rented theatre halls, without elaborate lighting, costumes or make-up, where audience was no longer a passive, rather became participatory, it added a new realism to contemporary dramaturgyretaining thematic sophistication of social committed theatre all the while, and thus started a new wave of experimental theatre in Indian theatre. These open-air and enong performances led to his troupe travelling to nearby villages on other weekends, where it employed minimal props and improvised dialogues to involve audience further into the performance.
Though he continued to hold his job tillas a playwright he rose to prominence in the s and was one of the leading figures in the revival of street theatre in Bengal. He revolutionised Bengali theatre with his wrath-ridden, anti-establishment plays during the Naxalite movement. His plays reflected the atrocities that prevailed in the society, the decayed hierarchical system and were socially enlightening.
He is a proponent of the “Third theatre” movement that stood ideologically against the state. Third theatre involved street plays, with actors being attired no differently than the audience.
Also the formal bindings of the proscenium theatre was given up.
Sarkar’s “Bhoma” is an example of a third theatre play, set as always, in an urban background. Starting with Sagina Mahatowhich marked his advent into arena stagehis subsequent plays, Michhil JuloosBhomaBasi KhoborSpartacus based on Howard Fast ‘s historical novel by the same namewere performed in parks, indrauit corners and remote villages with the audience sitting all around.
Sircar directed his last play inand indrqjit that his movements were restricted after a road accident, but even many years later till he continued performing at play readings and writing new works like adapting William Shakespeare’s Macbethtwo stories by Graham Greene and a novel, History of Love.
Sarkar was diagnosed with colon cancer in April He died on 13 May at Kolkata at the age of In Julyto mark his 85th birthday, a five-day-long festival titled Badal Utsava as tribute to him was organised by several noted theatre directors. Sarkar is the subject of two documentaries, one directed by filmmaker and critic, Amshan Kumar,  and another A Face in the Procession by Sudeb Sinha, which was shot over two years.
Badal Sircar influenced a number of film directors, theatre directors as well as writers of his time. Film director Mira Nair in an interview mentioned, “For me, Kolkata was a formative city while growing up I learned to play cricket in Kolkata, but more than anything, I learned to read Badal Sircar and watch plays written by him for street theatre. To the group, it is one of the plays that is not often staged in the Kolkata Theatre Circuit, and has all the spices of love, laughter and fear.
From Wikipedia, the free encyclopedia.
CalcuttaBengal PresidencyBritish India. KolkataWest BengalIndia. The Times of India. Sangeet Natak Akademi website. University of Iowa Press. The Cambridge guide to Asian theatre. World Encyclopedia of Contemporary Theatre: Perspectives and challenges indrajkt Indian-English drama. The Theatre of Badal Sircar”. Jawaharlal Nehru Memorial Fund. Guide House auditorium Mahila Samity auditorium. Paschim Banga Natya Akademi. Sangeet Natak Akademi fellows. Gopeshwar Banerjee D.
Badal Sarkar – Wikipedia
Venkatarama Aiyar C. Vyas Ashutosh Bhattacharya E. Kunju Kurup Shambhu Maharaj V.
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