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May 1, 2016 · In fact, the title of this book suggests, though tacitly, that Sircar’s Third Theatre went so near, yet remained far from the people. What the role of education, knowledge, and cognizance is, what the concept of the ‘people’ is, the difference between bhadralok and lok, etc., become important thus.
In Sircar’s case, some doubts creep in when we carefully read his well-known statement in The Third Theatre on the European and American influence. He claimed that his thinking process had been justified by the experience of Jatra, Tamasha, Bhawai, Nautanki, Kathakali, Chhou, and Manipuri dance forms, and ‘also by’ his acquaintance with ...
Badal Sircar’s Third Theatre was a movement that challenged the conventional norms of both city based theatre and folk theatre. His attempt was to bridge the city-country divide through an art form that had the potential to be transformative and subversive.
- Nirupam Hazra
Badal Sirkar did experiments with theatrical environments such as stage, costumes and presentation and established a new genre of theatre called "Third Theatre". [11] In Third Theatre approach, he created a direct communication with audience and emphasised on expressionist acting along with realism.
Sircar meant his Third Theatre to be an instrument for the presentation of their problems. But there remains a question: how far the aesthetic quest of the Third Theatre, the unique language it created for itself, was understood and appreciated by the village people?
- Suvankar Ghosh Roy Chowdhury
May 21, 2011 · The “Third Theatre”, emerged from the profound dissatisfaction with the proscenium and what it represented to Sircar; a bourgeois, dreadfully verbose, physically and thematically disconnected...
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Badal Sircar (1925-2011)—along with Girish Karnad, Vijay Tendulkar, and Mohan Rakesh—is considered one of the most prominent figures in modern Indian theatre. Among the alternative theatre forms, Sircar is a well-known name who advocated innovative theatrical practice known as the ‘Third Theatre.’
