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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.
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 ...
Aug 18, 2023 · A legacy rekindled, Badal Sircar's spirit continues to thrive within juloos. His vision of Third Theatre, a theatre that pulsates with the heartbeat of the masses, finds its embodiment in this production.
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. The notion of the Third Theatre was out in the form of an essay within a few years and Sircar emerged as a 'guru' of alternative theatres in India.
- Manujendra Kundu
In So Near, Yet So Far: Badal Sircar’s Third Theatre, Manujendra Kundu navigates Badal Sircar’s expansive range of canonical works. Tracing the birth, evolution, and eventual dissolution of Sircar’...
Communal violence and conflicts arising out of caste, religious, and gender identities have found a unique resonance and representation in post-Independence Indian theatre. Theatre reveals many salient aspects of urban violence by the staging or enactment of violence.
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Did Sircar's third theatre go far from the people?
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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?
