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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. It is, therefore, in a much broader ...
After discussing the Third Theatre plays, we realize that Sircar had been trying to create a dramatic discourse, which did not exist before in Bengal, though it attracted severe criticisms from mainstream theatre practitioners. 2 With a few exceptions, the proscenium stage of the 1960s was still lingering on clichéd adaptations of Western drama that were scarcely related to the actual ...
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. See Full PDF. Download PDF. South Asian Journal of Multidisciplinary Studies 4, iii.
- Nirupam Hazra
Young Sircar started borrowing political books from Kanu and discussed matters with like-minded people; in short, he entered into a different world where passion for theatre dwindled for a few years, 25 and the thought for changing his surroundings became prominent. Writing plays became an occasional matter during 1945–6; instead, something more concrete attracted him: by this time he was ...
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.’. Having contributed to commercial ...
- Subhendu Sarkar
REVISITING BADAL SIRCAR'S THIRD THEATRE. Suvankar Ghosh Roy Chowdhury. 2017, South Asian Journal of Multidisciplinary Studies 4, iii. In 1972, Badal Sircar, performing hitherto on the proscenium stage, staged his Sagina Mahato in the Anganmancha. It was the first full-fledged execution of what he conceptualized as the Third Theatre.
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In 1967, however, Sircar formed the “Shatabdi” theatre group, with the first production of Evam Indrajit. After 1969 “Shatabdi” started performing plays both indoors and outside amidst people. This evolved the conception of angan manch (courtyard stage) with direct communication techniques of Jatra, leading way to his revolutionary ...
