This are the books you need to followed if u can SEE this under line book.

1.History of Indian theatre by Manohar Laxman Varadpande, Volume 3 year of

publication 2005 Abhinav Publications, - Performing Arts,

From here I have given to you some notes on

Contemporary Indian Theatre
The development of modern theatre in India may be attributed to a change in the political
set up in India. Over 200 years of British rule brought Indian theatre into direct contact
with western theatre. The seeds of modern theatre were sown in the late 18th century, with
the consolidation of British power in Bengal, Maharashtra and Tamil Nadu. It was in the
thriving metropolises of Bombay, Calcutta and Madras that they first introduced their
brand of theatre, based on London models. The initial purpose of the British, while
introducing modern theatre in India was to provide entertainment for the British soldiers
and citizens trying to acclimatize themselves to a foreign country. Initially, most dramatic
works were composed in English, Bengali, Tamil and Marathi.
Contents
• 1 Radical Outbursts
• 2 Post-Independence Developments
• 3 Crisis
• 4 Current Trends
• 5 References and Useful Websites
• 6 See Also

Radical Outbursts

The Indian People’s Theater Association (IPTA) was a direct reaction against the Bengal
famine. In 1944, Bijan Bhattacharya, one of the founders of IPTA in Calcutta, wrote a
play Nabanna (New Harvest) which dramatized the exploitation of peasants by the land
owners. Bhattacharya also wrote another play Zabanbandi. Both the plays were directed
by actor-director Sombhu Mitra. Another item prepared by this Calcutta troupe was
Bhukha Hai Bengal consisting of songs and dances. As a result, some dancers like Shanti
Vardhan, Narendra Sharma and Shachin Shankar also joined the IPTA Central Troupe
along with musician Ravi Shankar.

Post-Independence Developments

Post Independence, with the new-found cultural confidence, Indian theatre and drama got
a new footing, when Sangeet Natak Akademi was started in January 1953. Later, the
National School of Drama under the directorship of Ebrahim Alkazi did much for the
growth and promotion of modern Indian theatre. In the 1960s, by suitable mixing of
various styles and techniques from Sanskrit, medieval folk and western theatre, modern
Indian theatre was given a new, versatile and broader approach at every level of
creativity. Among other pioneers of the dramatic revival are Ranchhodbhal and Nanalla
Kavi in Gujarat, Verasalingam, Guruzada Appa Rao and Ballary Raghavachari in Telugu,
Santakavi Varadachari and Kailasam in Kannada, Laxminath Bezharua in Assamese,
Kerala Varma Thampuran and C.V. Raman Pillai in Malayalam, Ramshankar Rai and
Kalicharan Patnaik in Oriya ,Habib Tanvir in north India and P. Sambandha Mudaliar in
Tamil.

The year 1972 turned out to be a landmark for the Indian vernacular theatre when Vijay
Tendulkar's Marathi play Ghashiram Kotwal made waves by its brilliant use of
traditional folk forms in modern contemporary theatre. Feroz Khan is another
accomplished playwright who has to his credit several outstanding plays like Tumhari
Amrita, Mahatma vs. Gandhi and Salesman Ramlal. The last play is a Hindi adaptation of
Arthur Miller's Death of a Salesman. In Calcutta, the Hindi theatre got a boost with the
launching of the theatre group Ranga Karmee in 1976 by Usha Ganguly and her husband
Kamal Ganguly.

Manjula Padmanabhan was the first Indian to earn international acclaim with her play
Bitter Harvest, a futuristic play that deals with the exploitation of the human body in the
21st century, which won the highest Greek honour.Swadesh Deepak was widely
recognized as one of the finest playwrights in the country after Court Martial. The play
hits hard the roots of casteism in the Indian Army. Court Martial has been staged close to
2000 times in India by well-known Indian theatre directors Ranjeet Kapoor, Mujeeb
khan, Arvind Gaur and Usha Ganguli Another talented upcoming playwright is Mahesh
Dattani who has produced 13 plays, including one play called Do The Needful for the
BBC. He touched upon the sensitive issue of communalism in his play Final Solutions,
which won him the Sahitya Akademi Award.

Crisis

Although the emergence of cinema had given an elbow jerk to the popularity of theatre as
the main medium of popular entertainment, several prominent figures have bridged the
gap between cinema and theatre. They include Arvind Deshpande, Vijaya Mehta, Jabbar
Patel, Satyadev Dube, Vaman Kendre, Dr Shriram Lagoo, Girish Karnad, Mohan Agashi,
Pearl Padamsee, Amol Palekar, Shashi Kapoor, Satish Kaushik, Farooq Shaikh,
Naseeruddin Shah, Uhasini Muley, Zohra Sehgal, Jaya Bacchan (Dr. Mukta, Ma Retire
Hoti Hai) and Shabana Azmi (Tumhari Amrita, Waiting Room).

Current Trends

Theatre continues to attract a new bread of young and talented actors, directors and
playwrights. Anahita Uberoi, who is the daughter of the legendary Marathi theatre artist
Vijaya Mehta, is one such upcoming and talented theatre personality who has acted in
several noteworthy plays like Glass Menagerie, Seascape with Sharks, Dancer and
Going Solo. Sanjana Kapoor, daughter of Shashi Kapoor, is another such artiste who
manages the Prithvi Theatre and provides a platform to several newcomers. Her
children's play The Boy Who Stopped Smiling has recently completed 100 shows
throughout India. Chetan Datar is a young and acclaimed playwright and director of
Marathi theatre. Rajat Kapoor, who is associated with Chingari, a leading theatre group
of Delhi, has translated into Hindi Waiting for Godot, The Taming of the Shrew and Jean
Genet's The Maids and Deathwatch.He has also produced a highly dramatized play C for
Clown. The play was screened recently during the Indo-American Theatre festival held in
New York.Contemporary directors- Ratan Thiyam,Prasanna,Satyadev Dubey,Mujeeb
Khan,Mohan Maharishi,Arvind Gaur,Lillete Dubey,Nadira Babbar,Rudraprasad
Sengupta,Amal Allana,Kumara Varma and M. K. Raina also known for their work in
innovative,socially and relevant theatre.

Television also provided the much-needed assistance to theatre artistes by way of tele-
serials, mega-serials and soap operas. However, today there are relatively few
commercial theatre companies in India. Some serious theatre groups like the Indian
National Theatre, the Prithvi Theatre,Chingari, Nandikar,Asmita Theatre,Ranga Shankara
,Rangayan,Indian People's Theatre Association and others are contributing greatly to
popularise theatre.

**********************************************************************
Theatre of India
From Wikipedia, the free encyclopedia

Theatre of India began with Rigvedic dialogue hymns during the Vedic period. During
the Middle Ages, the Indian subcontinent was invaded a number of times. This played a
major role in shaping of Indian culture and heritage. Medieval India experienced a grand
fusion with the invaders from the Middle East and Central Asia. British India, as a colony
of the British Empire, used theatre as one of its instruments in protest. To resist, the
British Government had to impose "Dramatic Performances Act" in 1876. From the last
half of the 19th century, theatres in India experienced a boost in numbers and practice.

After Indian independence in 1947, theatres spread throughout India as one of the means
of entertainment. India, being a multi-cultural nation, cannot be associated with a unique
trend and feature in its theatres. Presently, major threats to Indian theatre are the spread
of the television industry and the spread of films produced in the Indian film industry
based in Mumbai (formerly Bombay), known as "Bollywood". Lack of finance is another
major trouble.

Contents
1 History of Indian theatre

The history of Indian theater is therefore the saga of changing tradition and the account of
changing ritualism.
The history of Indian theatre is the saga of changing tradition and an account of changing
ritualism. Indian theatre is an effort of intensifying the social pattern in perhaps the most
aesthetic way. Whether to reflect the very "unedited realities" of the society or to
illustrate the divine edifying aspects of life, theatre in India definitely played a major role.
The rich timeline of Indian theatre has therefore gone through a number of periods. These
different periods were actually caused by the different rulers who invaded India time and
time again.

Indian tradition ascribes a rather earlier date to dancing than to painting and sculpture.
Historians believe that man must have learnt dancing much before and stepped into the
"era of theatres". The history of Indian theatre is in fact the history of origin of the
elements of drama which came together and weaved the rich fabric of Indian drama of
which dance indeed formed the major part. Dance, the primeval unit of Indian theatre is
portrayed in the prehistoric picture galleries, dotted throughout the country. Various
enchanting dance formations depicted on rock surfaces points towards the fact that in the
long gone days of the ancient times dance was the first `shrinkhala`(chain) as well as the
"gulma" (cluster) of the Indian theatre which gradually evolved from the dance form. All
the necessary ingredients of Indian theatre were present in primitive dancing hence the
history of Indian theatre starts with dance. In those days the actor used masks, costumes,
gestures, verbal sound to communicate and entertain and thus initiated the legacy of a
dramatic art form, Indian theatre.

Over the centuries, the cave dwellers static civilisation has been still preserved amidst
rich history of Indian theatre whilst giving a clue to the process of development of Indian
theatre from its sheer rudimentary form.

The history of Indian theatre which started with the cave dwellers gained a rather realistic
contour in the second century BC, with the introduction of the Sanskrit theatre.
Realistically, Sanskrit theatre has been recognized as the very first representation of
Indian theatre. Beginning in the long gone era of the second century BC, Sanskrit theatre
was then the only medium of illustrating the religious and aristocratic Indian fervor.
Theatre , as Bharata Muni says was then " the imitation of men and their doings (loka-
vritti)" Natya Shastra seems to be the first attempt to develop the technique or rather art,
of drama in a systematic manner. Sanskrit theatre remained to be a popular form of
expression till the seventeenth Century. During the Eighteenth century, Sanskrit theatre
slowly evolved as one of the eminent art form and was then popularly known as the
"Indian Classical Dance Drama". Classical Indian theatre later witnessed a number of
alterations to gain the modish shape. Based on the phases of the development of Indian
theatre, the history of Indian theatre can actually be classified into three stages: Theatre in
ancient India, Theatre in medieval India and the Modern Indian Theatre.

Theatre in ancient India of course played a major role in the over all enrichment of Indian
tradition, culture, artistry and creativity since the remote past. The origin of theatre in
ancient India has been marked as the result of the religious ritualism of the "Vedic
Aryans". According to ancient Indian tradition Indian theatre was a life size art;
practically nothing was left out of its scope. Theatre in ancient India was just not an
artform but the systematic representation of " trividho shilpam nrutyam gitam vaditam
cha" (dancing, singing an playing on musical instrument). Literature in Sanskrit started
with the Vedic era and the rich history of Indian theatre holds the fact that Sanskrit plays
were the first recognized representation of the Indian theatre. Illustrations of daily events,
rituals, tradition, dance and music laced the Sanskrit plays while making the plays as one
of the classical representation of applied art form in ancient India. Although indeed in a
much crude manner the Sanskrit theatre did originate in India somewhat about 3500 years
ago, yet its artistic glory never faded away with time.

Theatre in medieval India gradually became quite a thriving personification and of course
a refined embodiment of the realities of life through dance, music and poise. During the
middle ages the Indian subcontinent witnessed a number of invasions. And what came
out as an immediate result is the grand fusion with the invaders from the Middle East and
Central Asia, shaping Indian heritage and culture whilst offering it a whole new facet. .
The over theatrical pattern of the ancient drama gained a rather rational rhythm in the
style and pattern of theatres in the medieval India. The introduction of "Loknatya" during
the mid 16th and late 16th century again added a whole fresh enunciation to Indian
theatre during the medieval period.

The modern Indian theatre focused in portraying the change of the political set up in the
country. The Indian theatrical culture was influenced by the British rule in India. During
those 200 years of the British rule in the country, the Indian theatre came into the direct
contact with the western theatre and this influence turned a new chapter in the history of
Indian theatre while giving birth to the modern Indian theatre. It was the beginning of the
nineteenth century when music, timber, song, dance, dialogue and emotion all were for
the first time incorporated in the Indian theatre to offer it a modern facet. Not only in the
acting pattern, changes were observed even in the designing of the theatre hall during this
time. The theatres then incorporated huge orchestra pits and the seating arrangements
were also then divided by metal bars. The overdramatic aspects were rationalized; gone
are the days of witnessing the heroic deeds of the historical characters; modern Indian
drama of the late 19th and early 20th century focused mainly towards a rather naturalistic
and realistic presentation. Common man, daily life, social problem, health and
economical problem were nicely manifested in modern theatres.

The rich chronicle of Indian theatre unveils the verity that theatre in India was always an
important part of the rich Indian culture and tradition and is still the same. In the recent
era Indian theatre has acquired that tinge of contemporary attribute in order to befit the
modish requirement of the Indian society.

1.1 Theatre in ancient India

Theatre in ancient India in a systematic manner was introduced by Bharat Muni who
prefaced the term "roopaka".

The history of ancient Indian theatre dates back to the Vedic age. Theatre in its rudiment
form in ancient India was very popular with the Vedic people. It is believed that the
theatrical culture in India originated in the times of Rig Veda. Themes regarding wild
animals and hunters played the most pivotal role in the ancient Indian theatres. However,
the ingredients for theatre were there already in India steeped in folklores, myths,
tradition and legends written in umpteen languages as India is always the land of stories.
However, the main idea and storyline of the ancient Indian theatres used to be the
depiction of events of everyday life, dance and food. Ritualism made a great impact in
the presentation of ancient Indian theatre and indeed paved the way of a rather classical
presentation of Indian theatre.

Theatre in ancient India of course played a major role in the over all enrichment of Indian
tradition, culture, artistry and creativity. The origin of theatre in ancient India has been
marked as the result of the religious ritualism of the "Vedic Aryans". The copious
tradition of Indian drama unfolds the fact that theatre in ancient India in a rather
systematic form was first introduced by "Bharata Muni". It is in his "Natya Shastra
Bharata first prefaced the term "roopaka" which means portrayal of the reality in a very
subtle way. According to the "Natya Shastra"- speech , poise, dance, mudra, rhythm and
music offers an articulate dimension to action and emotion which are definitely the two
important elements of Indian drama. This however clearly illustrates the richness of
Indian theater that was even prevalent even in the long gone days of the ancient time.

Sanskrit plays were the first recognized representation of the Indian theatre. Illustrations
of daily events, rituals, tradition, dance and music laced the Sanskrit plays while making
the plays the classical representation of applied art form in ancient India. Although in
much a crude manner the Sanskrit theatre did originate in India somewhat about 3500
years ago, yet its artistic glory never faded away with time. It remained popular as an
Indian art form till the last part of the 17th Century. It is right after the maturity of Indian
classical dance form and with the development of Indian traditional Mudraas and ragas,
Sanskrit plays, slowly evolved as one of the prominent art form of "Indian classical dance
drama". "Ramayana" and the "Mahabharata" therefore can be considered as the first
recognized classical plays that initiated in India. That was of course just the beginning of
a rather contemporary approach in Indian classical drama which later influenced the
whole of Asia with its creativity and innovativeness. Ramayana and Mahabharata, the
two epics became the source of inspiration for the Indian dramatists like Bhasa in the 2nd
century BC. Theater in ancient India was an aristocratic and religious form of expression
which also received royal patronage. The great Indian emperor Harshavardhana wrote
three plays Ratnavali, Priyadarsika and Nagananda Eminent playwrights such as
"Kalidasa", "Bhasa", "Shudraka", "Vishakhadutta" contributed a lot with their artistic
splendor. Kalidasa brought about more plays in the history of ancient Indian theatres.
These were: Malavikagnimitram, Vikramuurvashiiya and Abhijnanasakuntala

Theatre in ancient India started as a narrative form of expression and gradually

incorporated dance, song and recitation as an integral part of the art form. This is perhaps
the reason why ancient Indian theatre comprehended a varied art form amidst its
presentation. Quite ideally therefore it won`t be an overstatement to say that mime,
poetry, dance, music, painting, sculpture, literature as well as architecture all found a
poetic diction into Indian natya even in the ancient days.
(Last Updated on : 2/06/2009)

2 Theatre in medieval India

Theatre in medieval India was a narration of the epic poems and introduced the concept
of "Theatrical Art" .
In the long gone days of the ancient era Indian theater originated in a rather haphazard
way. The modish approach was not there; the a la mode elegance was also missing as
theatre in ancient India was an instrument of humanizing people. The chronicle of Indian
drama uncovers the fact that theatre in medieval India, for the first time germinated the
seed of the modern drama in a significant way. It was during the gothic period in Indian
culture, theatre and drama broke the tradition of illustrating the facts from epics and
eposes and developed a rather systematic dramatic form.

Theatre in medieval India therefore not only was a narration of the epic poems but it was
during that period the very concept of "Theatrical art" was introduced. The fragrance of
the "Nine Rasas" which Bhasa introduced in his Natya Shastra started evolving around
each play for the greater objective of producing harmony. Bhavabhuti, the famous
dramatist of medieval India in his three important plays- Malati-Madhava,
Mahaviracharita and the Uttar Ramacharita he almost played with the nine rasas
distinctively.

Till the fag end of the fifteenth century, Sanskrit dramas were performed on stage.
However it is with the introduction of the Indian classical dance drama the true aura of
Indian theatre was felt for the first time. Theatre in medieval India further witnessed a
new genre of Indian drama with the introduction and later on with the popularity of
Indian classical dance drama. In this classical genre of Indian theatre, style, idea, logic,
poise and above all dramatic development all gained a typical shape amidst the artistic
expression through timber, music, songs and mudraas. Theatre in medieval India
gradually became quite a thriving personification and of course a refined embodiment of
the realities of life through dance, music and poise. The introduction of "Loknatya"
during the mid 16th and late 16th century again added a whole fresh enunciation to
Indian theater during the medieval period.

The over theatrical pattern of the ancient drama gained a rather rational rhythm in the
style and pattern of theatres in medieval India. The practice of theatre in medieval India
was mainly based on oral traditions. Songs, dance and recitation based plays like
Rasleela, Ramlila, Bhand Nautanki and Wang ruled the drama pattern in the medieval
India. Religion played a pivotal role in shaping the medieval Indian theatre as devotional
plays, mythological plays and other religious plays reverberated the aura of Bhakti
Movement in the timeline of Indian theatre. Although not in a very structured way, yet
the very aureole of the regional theatres started evolving during that era. However,
historically it was during the 15 and 16th century the folk theatre emerged forcefully in
different regions. It used different languages, the languages of the regions in which it
emerged. This indeed paved the way of the historical development of regional theatres in
India.
Theater in medieval India unveils the voyage of Indian theater from the age old eposes to
the traditional rasalilas. It is the account of an altering tradition and the legend of that
ever-changing Indian culture, art and folklore which from the remote past supported India
in standing apart with her rich heritage, mores and civilization.
(Last Updated on : 2/06/2009)

2.1 Theatre in India under British rule

Theater in India under British rule was an arm of protest against British colonialism.
The rich chronicle of Indian drama and theater unveils the verity that the very tradition of
Indian theater is atleast 5000 years old. "Natya Shastra" by Bharat Muni which happens
to be the earliest book on dramaturgy was written in India somewhat in the 4TH Century
AD. The history thus clearly indicates that India with her ethnicity, culture and tradition
has patronized drama and theater since the ancient past of the remote rime. Although
theater in India started in a narrative form or precisely in the form of song, music,
recitation and dance in the ancient age yet, it is in the British era, Indian theater attained
that colossal maturity. Theater in India under British rule was a weapon of protest against
the Bristish imperialism yet it is certainly not an exaggeration to say that the very kernel
of the modern drama in India was sown during that era. Although protest, rebel, revolt
and disapproval against British raj lined the artistry of theater in India under British rule
to a great extent yet it is during the British rule the germination of the harmonization of
east and west made its presence felt for the first time. On a superficiasl basis the
philosophy of the West and East might differ yet somewhere down the line the deep
circular unification of western and eastern philoshy just cant be denied. This is perhaps
another reason why indian culture, art, tradition and folklore gained an articulate diction
during the British colonialism. Same is true with Indian drama and theater which attained
its highest maturity in terms of expression and illustration under the British rule.

Theater in India under British rule gained a global contour. It is during this time theater in
India came into a direct contact with the western theater. It is during this 200 years of
British rule Indian drama became lot more contemporary and naturalistic. Gone are the
days of eposes, epics and "Loknatya" - theater in India under British rule for the very first
time geared up fully towards a systematic and natural presentation. India, as a colony of
the European empire used theater to illustrate the likings, dislikings of the British raj. The
stylistic approach of theater in India under British rule changed quite drastically and the
presentation started focusing mainly on the day to day life and common people. With the
colossal development of this particular style of drama theater in India under British rule
did break the barriers of language, region, class and rank and gradually spread throughout
India as a means of remonstration.

Theater in India under British rule therefore became a structured way of manifesting the
daily life. It was no more laced with the heroic deeds of the celestial fiigures; it was no
more woven around super powerful gods and mythological heroes--- rather it became the
portrayal of the life and style of common man; an illustration of sufferings of the poor
and the graphic presentation of the "unedited realities" of life.
Bengali theater, Hindi and Marathi theater made their presence felt quite largely in
altering the socio political set up of India during the British rule. Theater in India under
British rule thus slowly became a logical expression of democratic ideas, beliefs and
mores. Theater groups were formed during this time and theater was then clearly divided
into two distinct categories like the urban theater and the rural theater. Although folk
theater was also there yet the colossal demand of altering the social, economic as well as
the political set up of India was so very much that the quixotic brilliance of the folk
thaeater somewhat faded away. It again revived its lost glory during and after the Indian
independence.

Theater in India under British rule thus reverberates the history of Indian theater. Indian
theater is lot more than just being a journey from the archaic theatrical pattern to the
modish approach of contemporary theater. It is ofcourse a lot more than just being the
representation of natya" and bhava; Indian theater thus is the reflection of the rich culture,
undaunted spirit and ethnicity of India which definitely gained that desired shape during
the 200 years of British Raj.
(Last Updated on : 20/02/2009)

3 Notable theatres in India in different Indian languages and regions

4 Notable people
4.1 Ancient Age
4.2 Medieval age
4.3 Under British rule
4.4 After Independence (1947 onwards)
4.5 Notable playwrights

5 Forms of Indian theatre

5.1 Classical Indian dance

Indian classical dance is a relatively new umbrella term for various codified art forms
rooted in Natya, the sacred Hindu musical theatre styles, whose theory can be traced back
to the Natya Shastra of Bharata Muni (400 BC).

Contents
• 1 Definitions
• 2 Dance forms
• 3 Sabha
• 4 References
• 5 Further reading
• 6 External links
Definitions
Odissi is originally from Orissa

Dancer performing the chakkarwala tukra, one of the popular highlights of Kathak

A Kathakali performer in the virtuous pachcha (green) role

Prakriti Ora, one of the sixty four mati-akhora or basic Sattriya exercises.
These are:
• Dances performed inside the sanctum of the temple according to the rituals were
called Agama Nartanam. Natya Shastra classifies this type of dance form as
margi, or the soul-liberating dance, unlike the desi (purely entertaining) forms.
• Dances performed in royal courts to the accompaniment of classical music were
called Carnatakam. This was an intellectual art form. * Darbari Aattam form
For lack of any better equivalents in the European culture, the British colonial authorities
called any performing art forms found in India as "Indian dance". Even though the art of
Natya includes nritta, or dance proper, Natya has never been limited to dancing and
includes singing, abhinaya (mime acting). These features are common to all the Indian
classical styles. In the margi form Nritta is composed of karanas, while the desi nritta
consists mainly of adavus.
The term "classical" (Sanscr. "Shastriya") was introduced by Sangeet Natak Akademi to
denote the Natya Shastra-based performing art styles. A very important feature of Indian
classical dances is the use of the mudra or hand gestures by the artists as a short-hand
sign language to narrate a story and to demonstrate certain concepts such as objects,
weather, nature and emotion. Many classical dances include facial expressions as an
integral part of the dance form.

Dance forms

Sangeet Natak Akademi currently confers classical status on eight Indian dance styles,
while the Encyclopædia Britannica mentions six recognized schools[1] and other sources
state there are eight dance forms.[2][3]

Dance form State(s) of origin

Bharata Natyam Tamil Nadu
Kathak Uttarpradesh
Kathakali Kerala
Kuchipudi Andhra Pradesh
Manipuri Manipur
Mohiniyattam Kerala
Odissi Orissa
Sattriya Assam
Garba Gujarath
Dandiya Raas Gujarath
Lavni Maharashtra
Koli Maharashtra
Bhangda Punjab
Ghoomar Rajasthan
Kathputli Rajasthan
Kunitha Karnataka
Khaullam Mizoram
Phag Haryana
Chhou West Bengal

A dance style is classical to the extent it incorporates the Natya Shastra techniques. Some
of the styles such as Kathak use very few elements found in Natya Shastra. Other art
dances yet to be conferred as classical dances, whose theories and techniques can also be
traced back to the Natya Shastra[citation needed] are:

1. Gaudiya Nritya- Bengali art dance

2. Andhra Natyam - Telugu art dance
3. Vilasini Nrityam/Natyam - Telugu art dance
4. Kerala natanam - Kerala classical dance

Out of the nine recognized dance forms, the only two temple dance styles that have their
origin in Natya Shastra and are prescribed by the Agamas are Bharata Natyam and
Odissi. These two most faithfully adhere to the Natya Shastra but currently do not include
Vaachikaabhinaya (dialog acts), although some styles of Bharata Natyam, such as
Melattur style, prescribe the lip and eye movements indicating Vaachikaabhinaya.

Kuchipudi, which also prescribes the lip movements indicating Vaachikaabhinaya, and
Mohiniyattam are relatively recent Darbari Aatam forms, just as Kathakali, and two
eastern Indian styles, Manipuri and Sattriya, that are quite similar.

Kathak originated as a temple dance. Some believe it evolved from Lord Krishna's raas
lilas, forms of which have also evolved into the popular Garba-style dances popular in
North India and Gujarat. The style gradually changed during the Mughal period under the
influence of Persian dance, a major change being straight knees instead of the bent knees
used in most other Indian classical forms. Intricate footwork and spins, as well as
abhinaya, are the highlights of Kathak.

Currently, Sangeet Natak Akademi does not consider the recently reconstructed dance
styles of Andhra Pradesh such as Andhra Natyam and Vilasini Natyam as "classical".
Bharatanrithyam, despite being the one most closely following Natya Shastra's precepts,
is considered as a variety of Bharata Natyam...

5.2 Traditional Indian theatre

Traditional Indian theatre became an expression to reflect the unedited realities of life in
the most expressive way. Traditional Indian theater became the reflection of ideas,
thoughts, voices and vibes of the common people yet the conventional and classical
elements were still there.

• Folk Theatre In India

• Indian Puppet Theatre
• Indian Street Theatre
• Classical Indian Dance
• DramaTraditional Indian
• Gaura LilaTheatreDasavatar
• Desia Nata
• Bhagati
• Natika
• Vyayoga
• Voggukatha
• VithiVilasam
• Utsrishtikamka
• UparupakaTeyyam
• Sanghakali
• Group Theatre
• Harikatha
• HistoricalDrama
• Kabigan
• Tiatr
• Villuppattu
• Sattaka
• Prakarana
• Kirtaniya
• Mutiyettu
• Mukabhinaya
• Prahasana,
• Indian Theatre
• FormGalihyunMach
• Ritual in Indian
• TheatrePatayani
• Types of Traditional Theatres in India

Traditional Indian theatre became an expression to reflect the unedited realities of life in
the most expressive way. Traditional Indian theatre became the reflection of ideas,
thoughts, voices and vibes of the common people yet the conventional and classical
elements were still there. Although Indian theatre has its roots associated deeply with the
verve of the ancient Vedic ritualism yet it is in the medieval era with the introduction of
the Traditional Indian Theatre, Indian drama further gained that maturity. For the very
first time the varied mythological and eposes of the Sanskrit theatre was rather
rationalised. Gradually this established facet of Indian traditional theatre gained a
coloured contour amidst the local and folk forms of Indian theatre.

In traditional theater ancient customs, age-old traditions and classical improvisations are
ideally mingled to offer a rather contemporary tinge to Indian drama. The thematic
development of Indian "natya" amidst the artistic techniques of Swang, Raslila, Indian
drama, Jatra, Ankia Nat, Tamasha are therefore clearly reflected in the growth and
development of the traditional Indian theatre. Song happens to be an important element in
Indian society hence gradually it became the most dominant theme of the traditional
Indian theater form. Bit by bit monologue, dialogue, song, timber, music and dance all
became an integral part of the traditional Indian theatre form. Traditional music became
the means of expression and creativity therefore carved out a niche in the traditional
Indian "natya" which has its roots deeply associated with ancient Indian culture,
traditions and conventional Indian lifestyle. With the classical art form it is the very
harmonious blend of sorrow, joy, love and all the realisms of life that later made the
traditional Indian theatre a typical art form to stand apart amidst crowd.

Traditional theatre forms integrate not only the common man`s interests but there is also
a classical element in them. In traditional theatre forms there are unique styles of dance
representing the entry on to the stage or platform, narrative and descriptive roles. The
best example of descriptive acting is the Bidapat naach. In this traditional theatre form,
importance lies not only on beauty but on acting and narrative and descriptive skills.
Dance as a narrative art is the foundation of theatre form which can be seen in the
traditional theatre form of Bhavai of Gujarat. In this form, swift or slow foot movement
is a means of narration. The art of making the entry by dancing has been perfected in the
traditional Kashmiri theatre form, Bhand Jashn. In Koodiyaattam and Ankia Nat, the
entry by dancing itself is complicated and inventive. In the forms, the rhythm and basic
pose and gesture identifies the role of the character.

In traditional Indian theatre, age-old forms, customs and the aspiration to improvise are
intermingled. It is usually when the important themes are enacted, that the acting restricts
itself to traditional norms, not deviating from it. But, every time the theme inches towards
the contemporary, the actors improvise as far as dialogue delivery is concerned. In
traditional theatre forms there is no formal setup leading the entry or exit of the actors.
Depending on the circumstances or context, the actors enter into the stage and enact their
role without being officially introduced. In traditional theatre forms, there is always
stability in its theme, composition and presentation. There is also a scope for
improvisation and incorporation of new references leading to subtle extension in the
story-line. There is direct and warm communication between the actors and the audience.

Traditional theatre forms have undeniably been influenced by industrial civilisation,

industrialisation, and urbanisation. The development of traditional theatre forms is based
on such local and regional peculiarities which are not bound and restricted by social and
economic divisions, limitations, etc. In traditional theatre forms, characters keep altering
their place on the stage to be more inspiring and to give the situation a greater
implication. This technique also reduces the chance of monotony through repetition and
stillness. Dialogues delivery is usually carried out in a high pitch which helps the actors
to reach out to a larger audience.
(Last Updated on : 17/04/2010)

Classical Indian Dance Drama

Indian drama which began in the ancient days, as a form of humanizing the mass
gradually became a rational way of expressing ideas amidst the artistry of "kala",
"rupaka", "natya" and "mudraa". Theater bit by bit became an art form to reflect the
realities of life. Although Sanskrit theater remained to be popular, yet it is during the
medieval period Indian drama gained a whole new facet with the introduction of the style
of classical Indian dance drama. It is an authoritative genre of Indian theater and is
regarded as one of the most venerated artistic expression of the Hindu classical temple
culture. Music, "ragas", "mudraas" coupled with the verve of the "taala" offered a whole
new facet in Indian theater which later not only influenced the Indian theater but also
added a dimension to Indian classical dance forms. Quite ideally therefore Classical
Indian Dance Drama or the "Natya Yoga" as it has been termed, gradually became an
effort of depicting the beauties of life and exemplifying the divine celestial elements of
the universe amidst the artistry of raga and music. The elegant embodiement and the
graceful personification of the "unedited realisms of life, death, law and love" is therefore
the very crux of the classical Indian dance drama.

The vibrations of the sanskrit plays gains an articulation with the introduction of the
Classical Indian Dance drama. The verve of the different classical dance forms like the
Odissi, Kathak, Bharatnatyyam, Manipuri, Kuchipudi, Kathakali, Mohiniattam,
Yakshagna, Sattriya further structured the very contour of the Classical Indian dance
drama as an elegant way of thanking and revering the Divine. Dance forms here started
ruling the theater form. While Bharatnatyyam, Odissi and Kuchipudi prefers to maintain
the very orthodox style of the Indian classical dance form, it is the typical saltation form
of Kathak that developed as a rather contemporary style in worshipping the elysian.
Movement of the legs and the mudraas coupled with the gentle rhythm of the Sura and
Raga, aided in weaving that magic in the dance form of Kathak.

The Classical Indian dance drama further gained that overemotional aspect with the
introduction of the melodramatic form of the Kathakali dance. Quite ideally therefore
Lasya, Natya and Rasas all gained a distinct facet in the Indian classical dance drama
amidst the classic accession of the various Indian dance form.

In the recent era Classical Indian dance drama is just not the harmonization of the dance
form but is a lot more. It has become a tuneful union of dance, music, songs, dialogues,
soliloques and monologues. Although the "catharsis" of the modern dance drama is
portrayed amidst the dance forms and music, yet words, orchestra and string music
definitely plays an important role. In the modern days Classical Indian dance drama in
the larger sense is therefore an effort of communing the emotional content through song,
dance, timber, words and music.
(Last Updated on : 7/09/2009)
5.3 Indian folk theatre

Folk theatre in India has a rich legacy. In the ancient Vedic culture and even in Buddhist
literature folk theatre first made its presence felt as an art form to illustrate the unedited
realities of life. However, it is only in the medieval period folk theatre gradually became
an integral part of Indian drama. Historically folk theatre in India did emerge back in the
15th or 16th century as illustrations from puranas, eposes, historical epics, myths and
biographies of the celestial heroes. It is right after the colossal success of Indian
traditional theatre as an art form, the distinct style of Indian Natya changed and thus
developed a whole new theatre form where Indian myth, dance, history, song, culture,
mores, traditions, and beliefs all gained a matchless dimension.

Although much later this particular theatre form was named as the Indian folk theatre, yet
it is indeed not an overstatement to say that the very basic rudiments of folk theatre in
establishing itself as an artform was there in the mores, heritage and tradition of India. In
rural society which is still regarded as the base of folk theatre the activity which
displayed the first rudiment of drama are the rituals. Quite ideally therefore rituals, their
varied facets and their colossal impact on Indian culture and life formed the very base of
the folk theatre in India. Folk theatre therefore boasts the rich history of Indian folk
culture that dates back to the age-old antiquity.

Folk theatre in India is mainly narrative in its form. This indeed point towards the origin
and the age-old sagas of the sutradhara in Indian natya. The narrator or the sutradhara in
order to make his visual art lot more inventive slowly involved acting into his narrative
description which in an intimate manner later gave rise to the tradition of narratives in
Indian folk theatre. Folk theatre in India still has retained its age old narrative form while
echoing a highly dramatic narrative style. There is a long tradition of folk entertainers
who either move alone or in groups in rural India. They are the entertainers as well as the
preachers of value, philosophical tenets and indeed of religious cult. Folk theatre has
adopted their mode of expression amidst dance, music and songs. Thus the spirited,
dynamic and ingenious in forms and rich in variety, Indian folk theatre has established
itself as the powerful medium of communication in folk cultures. With its timber and
colour, dash and élan folk theatre in India is more than entertainment; rather an emotional
experience and an effort of creating "an environment of receptivity in which
communication of ideas is an effortless process".

Indian folk theatre can actually be divided into two broad categories like the religious and
the secular. While the religious folk theatres mainly evolved around the aspects and
stories from history, religion and myth; the secular folk theatre actually emerged as a
typical form of entertainment. The two forms like the religious and the secular folk
theatre therefore started working together whilst influencing each other to create a whole
fresh enunciation in Indian natya. To depict the unspoken, to portray the tradition and
certainly in featuring the ritualistic aspect of Indian drama symbolism also plays a major
role in the stylistic approach of folk theatre in India
Every state in India has its own distinctive forms of folk theatre. Variously known as the
Jatra in Orissa, Bengal and Eastern Bihar, Tamasha in Maharashtra, Nautanki in Uttar
Pradesh, Rajasthan and Punjab, Bhavai in Gujarat, Yakshagana in Karnataka, Therubuttu
in Tamil Nadu Indian folk theatre with its sheer vibrancy since the age-old days has
reached out to all. Artistically, folk theatre in India eloquently exemplified the "nine
rasas"of the Indian drama. Some of the folk theatres even depicted the true aura of the
classical theatres amidst its artistry. Chhau, Lion dance, Kuchipudi, Santhal dance all
contributed in weaving that magical sheen of Indian folk theatre which not only stood out
as an eminent theatre pattern but also as the plays in depicting the realism of life, love,
death, virtues and vice.

The typical concept of stage designing of folk theatre in India once again points towards
its simplicity. The actors of the Indian folk theatre generally perform in the make-shift
stage. This supports immensely in conversing with the audience in the course of the play
as audience participation is an essential part of Indian Folk theatre. The stage for the folk
theatres is generally a colossal empty space, which the actors dexterously control and
employ to complement with their dialogues and symbolic gestures. Elaborate make ups,
masks, chorus, loud music and folk dance are indeed the hallmark of the Indian folk
theatre.

With its sheer verve therefore Indian folk theatre is just not a theatre form but is a lot
more. It unfurls the saga of the voyage of Indian drama from the eposes to the modish
theatre pattern. It is the chronicle of Indian drama where for the very first time theatre
broke the barrier of orchestra and pits and reached the mass in a whole new way through
the quixotic brilliance of music, song and folklores.

5.4 Modern Indian theatre

The changes in the socio political set up in India gave birth to the modern Indian theatre.
Modern Indian theatre developed due to the change in the socio political set up in India.
Theatre before the independence of India was primarily a weapon to protest against the
"British Raj". However it is certainly not an overstatement to say that the two hundred
years of British colonialism brought the Indian theatre into a direct contact with the
western theatre. Curiously, the very kernel of the modish aspects of the contemporary
theatre was sown at that period. The harmonious blend of eastern and western culture
gave birth to a rather modern form of Indian theatre.

To entertain the British soldiers and the citizens for acclimatizing themselves to a foreign
country like India, Indian theatre gradually became a replication of the western plots.
Also, for the first time in India, the practice of writing and theatre was running full
fledged. Realistic approach and naturalistic presentation marked the change in the
thematic development of Indian theatre. Gone were the days of the lives of heroes, Gods,
celestial beings and myths of the ancient India; on the contrary it is the common man,
their daily chores, their fears and tears were ideally portrayed in the modern Indian
theatre. That was just the beginning of the journey of modern Indian theatre. However, it
was with the thriving development of the different "Brand Theatres" during the beginning
of the 19th century the varied contemporary aspects, in the Indian theatre made its
presence felt in quite a distinct way. Calcutta and Madras were the first two metropolises
to introduce their theatre brands. Classically based on the London models these theatre
brands are still reckoned as the pioneer of modern Indian drama and theatre.

Change was marked during this time not only in the socio political level and in the
economic condition but also in the artistic and cultural aspects of India. Indian drama and
theatre also went through a sea change, which not only altered the traditional aspects of
"roopaka" and "natya" in Indian drama, but also at the same time added a whole fresh
enunciation to the theatrical and narrative forms. The overdramatic aspects were
rationalized. The themes also witnessed a change and for the first time the ardent fervor
of the religious, historical and mythological aspects were not given that importance.

The modern Indian theatre started to grow more in the 1850s as the theatre enthusiasts
started to perform their own play on different languages which were based on western
style. It passed to Bombay and to many North as well as in South Indian states. These
new form of the Indian theatre started to grow at the cost of extinction of other traditional
form of theatre. This new hybrid form of Indian theatre turned to a ticketed theatre in the
1870s as it slipped from the hands of the riches. At the end of the 19th century, this
modern form of Indian theatre became the source of earning of bread and butter to many.
It moved to the hands of common public and turned into a commercial unit.

In the Post Independence era, many small and large units engaged in giving the theatre its
due. Few of them are Safdar Hashmi`s `Janam` (1973-89) in Delhi, Badal Sircar`s
`Satabdi` (Calcutta) and RP Prasanna`s `Samudaya` (Karnataka, 1975 to mid 1980s).

However, the modern Indian theatre got a turn at the 20th century and World War I. It
became a commodity for sale and confined into the auditorium. As the freedom
movement gained momentum, the creative side of the theatre got dimmed. In 1922, the
Communist Party of India was founded and with this enters the India People`s Theatre
Association (IPTA), which served as its cultural wing. Many talented middle class people
joined IPTA in Bengal and Bombay (now Mumbai) with a dream of a classical society.
They brought the idea of portable theatre and these were based on various political
agenda and were classified as anti-facist.

The formation of IPTA turned a new page in the history of Indian theatre and supported
modern Indian theatre in taking a leap further. The formation of IPTA was a direct
reaction of the Bengal feminine. Bijan Bhattacharya, one of the founder of IPTA in
Calcutta wrote play `Nabanna`, which was based on the exploitation of the peasants.
Subsequently, the songs and dances became a part of the modern Indian theatre and thus
dancers like Shanti Vardhan, Narendra Sharma and even musician Ravi Shankar joined
the IPTA central troupe. The modern Indian theatre then came with Marxist version of
consciousness for example, the plays of Utpal Dutt

In January 1953, `Sangeet Natak Akademi` was set up and it gave a cultural confidence
and drama got a new footing in India. Later, Ebrahim Alkazi dictated the newly found
National School of Drama and worked for the growth of modern Indian theatre. The
theatre pattern was mixed in various styles and techniques from Sanskrit and western
theatre and got a broader approach at every level of creativity. Few of the pioneers of
modern Indian theatre were, Ranchhodbhal and Nanalla Kavi in Gujarat, Verasalingam,
Guruzada Appa Rao and Ballary Raghavachari in Telugu, Santakavi Varadachari and
Kailasam in Kannada, Laxminath Bezharua in Assamese, Kerala Varma Thampuran and
C.V. Raman Pillai in Malayalam, Ramshankar Rai and Kalicharan Patnaik in Oriya and
P. Sambandha Mudaliar in Tamil.

In the year 1972, the Vernacular theatre of contemporary India got a new rise. Vijay
Tendulkar`s Marathi`s play `Ghashiram Kotwal` used traditional folk forms in modern
theatre. The Hindi theatre got its stronghold in Calcutta in 1976 when Usha Ganguly and
her husband Kamal Ganguly launched a theatre group named `Ranga Karmee`. The first
Indian to earn International recognition in the theatre was Manjula Padmanabhan with her
play, `Bitter Harvest`, which dealt with the exploitation of human body in the 21st
century. Mahesh Dattani is another promising playwright, who has done one play named,
`Do the needful` for the BBC among his 13 plays. He got the `Sahitya Akademi award`
for his play, `Final Solutions`, which was based on the issue of communalism.

Although Bengali, Marathi and Tamil were initially the medium of expression yet in the
late 20th century Gujrati, Kannada, Hindi, Oriya, Urdu and English drama added another
wing to the recent scenario of Indian drama. Furthermore it is with the introduction of the
street drama, modern Indian drama actually broke the barrier of stage, orchestra, pits and
gallery while reaching the heart of the common people

Modern Indian theatre was thus not only the amalgamation of art, dance, music and
dialogues but was a means of reaching people and addressing their issues and was of
course the main element in changing the social and political ailments of independent
India.
(Last Updated on : 15/09/2010)

5.5 Indian puppet theatre

Indian puppet theatre developed as a typical art form in conveying the significant
meanings of the Indian life.
Puppetry or the puppet theatre is one of the ancient forms of entertainment in India.
Although primarily it is used as a form of entertainment; yet its importance in conveying
significant meaning cannot be denied. For centuries, Indian puppet theatre in one form or
the other flourished in India, particularly in the villages. Since ages, it has been an
important part of folk culture depicting the folk traditions of India. Right from the ancient
days Indian puppet theatre therefore developed not only as an art form but also as an
effort of conveying a lot whilst uttering actually nothing. India, which has a rich history
of her creativity, has slowly become a name in the rich timeline of Indian natya with the
emergence of this Indian puppetry as a typical visual art form. In Indian puppet theatre
the puppets or the dolls comes alive, simulating life and reality whilst giving meaning to
the creator`s ideology.

The history of Indian puppet theatre is long, enlaced with a rich past. The origin of
puppetry somewhat dates back to the long gone era of the 5th Century BC. The chic dash
was then missing; even the modish approach was not there; yet Indian puppetry as an
enduring form of entertainment stood apart as an intense form of theatre since the historic
days of ancient times. While some says Indian Puppet Theater did originate in medieval
India, other says that it was there throughout, typically as an art form even at the time of
the Indus Valley civilization. Not only as an art form Indian puppet theatre at that epoch
was an effort of illustrating the histories of great prince, princes, and mythological heroes
and even unveiled the legendary incidents and also portrayed those eposes and stories
from the epics. Puppetry was then chiefly a media for entertainment; an effort to teach the
mass and guide the then society amidst its creativity and in the midst of its story telling
aspects. It was during this time, in Indian puppetry two distinct forms were evolved;
while one form was then chiefly evolved as the religious portrayal, the other form mainly
made satire and farce as the central theme. It is with the colossal development of the
religious puppetry, shadow puppetry evolved as a medium in epitomizing the stories of
Ramayana and Mahabharata. It was much later; in the history of Indian puppet theatre,
satire and farcical comedies became quite an important part in articulating the socio
political set up of India.

Indian puppet theatre as an artistic visual art is still vibrantly alive in a variety of style.
The major types of puppetry that are practiced in different Indian states are: rod, string,
shadow and glove puppetry. The puppetry is very popular in the states like Orissa,
Kerala, Andhra Pradesh and Karnataka. Sometimes the puppets are made with leather and
the movements controlled by stick and often they are made with wood or cloth where the
movements are duly controlled by strings. The string puppetry is prevalent in Karnataka
and Rajasthan. Correct string movement is very important to make the puppetry a
thriving entertainment. The string attached to the puppet`s head goes over the operator`s
hands and fingers which again are linked back to the puppet. The operator controls the
movement of each hand of the puppet by separate strings. In Indian puppet theatre, the
puppets which are used are generally small in dimension. The large head accompanied
with prominent eyes offers a magical charm to the puppets whilst sketching their
personality. The colour of the puppets also determines the portrayal of character in Indian
puppetry. To depict a royal character mainly a light coloured puppet with impressive
mustaches is used whereas a gawk eyed and dark coloured puppet usually paints a
negative character. The female figures hold their skirts or sarees in their hands while
dancing; thus showcase a vibrant show. The male puppets are shown as the ones who
excel in fighting; they dash against each other strike, chase, wrestle and even fall dead
whist offering life to the entire puppet show.

The themes presented in an Indian puppet theatre are usually based on the two epics
Ramayana and the Mahabharata. Often sagas from the age old Indian fables and folklores
and even stories from Indian historical events also contour the theme for the puppetry. In
the rural areas generally a puppeteer family manages the whole show. The controlling of
the strings are carried over by the male members of the troupe; while the music, singing,
dialogue and narrations are provided by the female members of the family. Mridangam
and cymbals are generally played by the youngsters. This further offers a remarkable
diction to the overall presentation.

Like any other forms of theatre, Indian puppet theatre has also progressed and the
contemporary puppet theatre in India stands as a true progression from its elemental
form. Contemporary puppet theatre does have its own idiom- the puppeteer designs the
figure and idea much in the same way like an artist or a poet. Satire, farce, fantasy, reality
and dreams all support in contouring the storyline of a contemporary puppet theatre
which remains as a vibrant artform echoing the rich past of Indian puppetry in an
eloquent way.
(Last Updated on : 6/06/2009)

5.6 Indian street theatre

Indian street theatre with its entire artistry has redefined the structure of Indian Natya.
"If street theatre has any definite tradition in India, it is the anti-imperialist tradition of
our people forged during the freedom movement. In other parts of the world it is the
peoples` struggle for a just social and economic order."-Safdar Hashmi.

Indeed, Indian street theatre developed as an art form to illustrate the feelings of common
people; hence germinated a whole new theatre form, which was then typically
categorized as "theatre by the people and theatre for the people". Common people, day-
to-day life, problems and the colors of daily life gained a dimension in Indian street
theatre whilst making this particular genre of Indian "natya" to stand apart amidst the
crowd. Although the art lovers and the exponents of the Indian theatre did mark that it is
with the independence of India, this particular theatre form became quite an impressive
art form in portraying the socio-political and the economical condition of independent
India yet the thinker says that Street theatre as an expression of common people was there
even in the ancient days of remote past and was ingrained in the age-old Indian traditions.
The presence of the sutradhar in Indian puppetry and the very existence of the narrator
in Indian folk theatre further assert this truth. Although the very kernel of the modish
aspects in the Indian theatre was sown during that era yet it is during and after the
independence of India, Indian street theatre drastically developed as an artistic expression
in illustrating the colors of daily life. Gradually Indian street theatre became an effort of
communicating the message of the mass; an attempt in illustrating the realities of daily
life.

For the very first time the verve of the Indian Natya broke all the boundaries of orchestra,
galleries, audience, music, songs, pits and stage to finally reach the common people.
Quite ideally therefore Indian street theatre became an endeavor in addressing the
burning political, social and other communal issues of independent India. Theatre then
was just not a form of entertainment but evolved as an endearing art form in creating the
social awareness. Indian street theatre therefore reached people of all strata whilst
addressing all sorts of social, political and religious ailments.
"Skits" or the street theatre are therefore a much direct, brief and concise theatrical
expression. The objective is mainly to convey a particular idea or to portray a significant
meaning amidst the direct, intimate and effective means of dramaturgy.

Chargesheet (1949) was among the earliest street plays in Calcutta. Chargesheet was
performed at Hazra Park, Kolkata to an audience of thousands of workers, and later
repeated many times across West Bengal. In terms of form, though, early street theatre
seems to have mimicked the stage, with the action often taking place in front of a wall or
some other backdrop, and actors entering from and exiting into makeshift wings; a few
plays like Utpal Dutt`s Din badaler pala (Pala of Changing Times`, 1967) were more
elaborate, stretching to three hours. Even so, further formal innovations had to wait a new
generation of artist-activists.

The broken and sporadic history of the movement in India coincided with periods of
political unrest. During the turbulent 1970s, Calcutta saw hundreds of such performances
by radical outfits. With the Emergency declared by the central government, repression
unleashed against Communists, and the revolutionary Naxalbari uprising in Bengal, street
theatre entered a new and potentially dangerous phase. Performers were attacked, often
by the police, which resulted in the death of at least two activists, Ashis Chatterjee of
Theatre Unit in 1972 and Prabir Datta of Silhouette in 1974. Many others were arrested,
beaten up, tortured. In terms of form, Badal Sircar`s work had great influence.
Abandoning mainstream drama, he took to open-air performance, communicating with
the dissatisfied and uprooted urban working class in an intensely physical style. Although
he does not see himself as part of the movement, many street theatre groups benefited
from the workshops he held all over the country. Bengal continues to have a vibrant
tradition with regular shows performed by such veterans as Probir Guha

Safdar Hashmi`s Jana Natya Manch (or Janam), formed in 1973, led the movement of
Indian street theatre. Till 2002, it had notched up about 7000 performances of fifty-eight
street plays, many of them later translated or adapted by groups across south Asia. Its
first such play, Machine (1978), is a classic; Aurat (`Woman`, 1979), Hallabol`(`Attack!`,
1988), zndArtanad (`Scream`, 1996, on sexual abuse of children) exemplify a popular
political theatre that features direct confrontation and energy as well as artistry. Theatre
Union (1983-9, in Delhi), counting among its members Anuradha Kapur, Maya Rao, and
Rati Bartholomew, did some excellent street productions, such as Toba Tek Singh based
on Saadat Hasan Manto`s short story. Another Delhi group, Nishant, is led by Shamsul
Islam and his wife Neelima. In Punjab, Gursharan Singh persevered with street theatre
advocating social change and civil rights for over two decades, through the years of
militancy (1980s), braving threats to his life, and inspiring a whole generation of young
theatre workers. In Gujarat, the groups Samvedan, Garage, Lok Kala Manch (all in
Ahmadabad), and Parivartan (in Vadodara) perform street plays.

South India has some of the best exponents, starting with Samudaya (formed 1975) and
its many units in Karnataka, while among Kannada dramatists, Chandrashekhar Patil
used the form to satirize social evils and human follies. Although Samudaya enacted
Belchi (1978), on the true story of a Dalit massacre in Bihar, around 2500 times, its
productivity decreased over the years. However, 1989 marked a turning point for street
theatre after Hashmi`s shocking murder during a show: 30,000 performances paid tribute
on his birthday, 12 April, now observed across India as National Street Theatre Day.
Among the groups that took to street theatre as a direct response to Hashmi`s death was
the revitalized Praja Natya Mandali in Andhra Pradesh. Nija Nataka Iyakkam (formed
1978 in Madurai) performs very physical and energetic Tamil street theatre, while the
Marxist Chennai Kalai Kuzhu (formed 1984 in Madras) skilfully employs a lot of colour,
delightful slapstick, as well as sheer poignancy. Kerala also has considerable street
theatre.

The movement has now spread to all states; in Orissa, for instance, Natya Chetana sets an
example. Feminists, both of the left and non-left, produced high-quality street plays from
the 1980s. The most notable among these are Om swaha (1979), originally performed for
Stree Sangharsh and then taken up by Theatre Union, and Mulgi jhali ho (A Girl Is Born,
1983) written by Jyoti Mhapsekar of Stree Mukti Sangathana, Bombay. In 1984, the
shocking death of thousands after a poison gas leak from the Union Carbide plant in
Bhopal sparked off protest theatre at street corners in many towns, some groups
mobilizing support and donations for survivors. During the 1990s, non-governmental
organizations (NGOs) used street theatre to promote ecological consciousness, AIDS
awareness, and family planning. Didactic in purpose, most of this work is of indifferent
theatrical quality. Whereas leftist street groups solicit voluntary audience donations to
cover costs after concluding their shows, NGO theatre for development is normally
financed by donor agencies, often foreign.

Anywhere or rather everywhere in modern India street theatre has become an eminent
form of expression. A journey which started long back with the dreams of Safdar Hashmi
has gained a proper shape whilst delineating Indian Natya to stand apart with pride.
(Last Updated on : 1/07/2010)

History of Indian theatre

Theatre in ancient India

Theatre in medieval India

Theatre in India under British rule
In British indian rule theatre was first launched in india. when Calcutta was the capital
then a theatre was started in belgachia.
Theatre in medieval India was a narration of the epic poems and introduced the concept
of "Theatrical Art" .
In the long gone days of the ancient era Indian theater originated in a rather haphazard
way. The modish approach was not there; the a la mode elegance was also missing as
theatre in ancient India was an instrument of humanizing people. The chronicle of Indian
drama uncovers the fact that theatre in medieval India, for the first time germinated the
seed of the modern drama in a significant way. It was during the gothic period in Indian
culture, theatre and drama broke the tradition of illustrating the facts from epics and
eposes and developed a rather systematic dramatic form.

Theatre in medieval India therefore not only was a narration of the epic poems but it was
during that period the very concept of "Theatrical art" was introduced. The fragrance of
the "Nine Rasas" which Bhasa introduced in his Natya Shastra started evolving around
each play for the greater objective of producing harmony. Bhavabhuti, the famous
dramatist of medieval India in his three important plays- Malati-Madhava,
Mahaviracharita and the Uttar Ramacharita he almost played with the nine rasas
distinctively.

Till the fag end of the fifteenth century, Sanskrit dramas were performed on stage.
However it is with the introduction of the Indian classical dance drama the true aura of
Indian theatre was felt for the first time. Theatre in medieval India further witnessed a
new genre of Indian drama with the introduction and later on with the popularity of
Indian classical dance drama. In this classical genre of Indian theatre, style, idea, logic,
poise and above all dramatic development all gained a typical shape amidst the artistic
expression through timber, music, songs and mudraas. Theatre in medieval India
gradually became quite a thriving personification and of course a refined embodiment of
the realities of life through dance, music and poise. The introduction of "Loknatya"
during the mid 16th and late 16th century again added a whole fresh enunciation to
Indian theater during the medieval period.

The over theatrical pattern of the ancient drama gained a rather rational rhythm in the
style and pattern of theatres in medieval India. The practice of theatre in medieval India
was mainly based on oral traditions. Songs, dance and recitation based plays like
Rasleela, Ramlila, Bhand Nautanki and Wang ruled the drama pattern in the medieval
India. Religion played a pivotal role in shaping the medieval Indian theatre as devotional
plays, mythological plays and other religious plays reverberated the aura of Bhakti
Movement in the timeline of Indian theatre. Although not in a very structured way, yet
the very aureole of the regional theatres started evolving during that era. However,
historically it was during the 15 and 16th century the folk theatre emerged forcefully in
different regions. It used different languages, the languages of the regions in which it
emerged. This indeed paved the way of the historical development of regional theatres in
India.

Theater in medieval India unveils the voyage of Indian theater from the age old eposes to
the traditional rasalilas. It is the account of an altering tradition and the legend of that
ever-changing Indian culture, art and folklore which from the remote past supported India
in standing apart with her rich heritage, mores and civilization.
(Last Updated on : 2/06/2009)

Indian theatre after Independence (1947-1992)

With the changes in the socio political set up, Indian theatre after independence became
lot more structured.
Theatre which was primarily used as the weapon against the British colonialism gained
somewhat a modish dimension with the independence of India. The overemotional
aspects and the theatrical exaggerations gained a rather modernized facet after the
independence of India, Theatre which was always the major element in exhibiting the
Indian art and culture became rather contemporary with the introduction of the modish
theatrical style after India`s independence.

The urban theatre which emerged in independent India became a true representation of
composition, textuality and polyglotism which ideally manifested that "unedited realities"
of daily life in quite a stylized way. The representation of sanskrit plays and classical
plays faded away and only remained in the memoirs of the timeline of Indian theatre.
Drama in India after independence became lot more regional and structured. Theatre in
India after independence had to face a situation in which tension prevailed and was
therefore largely manifested. Tensions between the cultural past and the colonial past of
India, between the western modes and thoughts and deep Indian tradition and indeed
finally between the varied political visions were somewhat reflected in the Indian theatres
after independence.

Indian theatre after independence gained a colossal maturity with the introduction of
regional theatres. Bengali theatre, Hindi and Marathi theatre made their presence felt in
quite a large way to manifest the social, political and economical condition of
Independent India.

Bengali theatre which has its glorious history deep rooted with the British rule became
somewhat a private entertainment process with the Independence of India. Bengali
theatre played a major role in illustrating the likes and dislikes of the common people
during the "British Raj"; and it is right after 1947 with the independence of India theatre
in India especially in Bengal became the main element in evidencing the different
political movement in a very coherent way. Theatre in India after independence was thus
a logical way of expressing democratic ideas in the form of dance, music, dialogue and
actions. In India, theater after independence was practiced in quite a large scale and can
be actually divided into two large streams like urban theaters and rural theaters. The
urban theater groups mainly focused on the political and social scenario of independent
India however, the rural theatre groups did concentrate only on religious and historical
plays.

Apart from these two broad categories folk theater also played a great role in elevating
the rich cultural aspects of independent India. Folk theater further contributed in
showcasing the age old tradition, ethnicity, religious fervor and ofcourse the rich heritage
of sovereign India. It was to this shared heritage of rural folk theatre, in spite of its many
linguistic and regional differences the theatre personalities in independent India defined
its "Indianness". Folk Indian theatre after independence became thus the vehicle through
which the distinctively Indian performance idiom might have developed.

A major change which came in Indian theatre after independence was with the formation
of various theatre groups and companies. It was back in the year 1950s, Indian theater
became a much professional art form. Theatre groups were formed during this time.
Theatre groups started working with the great objective of theater development and also
for promoting consciousness and awareness in regard to literacy, child abuse and usage of
latrines etc.

However, in the timeline of Indian theatre the contemporary element was first noticed
when social themes in plays made their presence felt and indeed with the introduction of
the professional troupes in Indian theatre. Indian theatre after 1960s was totally managed
by the professional troupes who actually started traveling throughout India in order to
make theater to stand out amidst the crowd. Theater continued to be in its peak till the fag
end of 1980s; and it is right after the introduction of "Street Theatre" during late 80s to
the beginning of 1990s Indian theater broke the barriers of stage performance and
approached the people directly.

Theatre in India during the late 90s and early 20s was just not the amalgamation of dance
and music and of the altruists for entertainment but had a much deeper significance.
Indian theatre after independence was an endeavor in reaching people of all strata and an
effort to change the social and political ailments.
(Last Updated on : 3/06/2009)

Contemporary (post-1992) Indian theatre

Improvisation

Improvisational theatre (also known as improv or impro) is a form of theatre in which the
improvisational actors/ improvisers use improvisational acting techniques to perform
spontaneously. Improvisers typically use audience suggestions to guide the performance
as they create dialogue, setting, and plot extemporaneously.

Many improvisational actors/ improvisers also work as scripted actors, and "improv"
techniques are often taught in standard acting classes. The basic skills of listening, clarity,
confidence, and performing instinctively and spontaneously are considered important
skills for actors to develop.

Improvisational Theatre in India is largely used for educational, interventional and

entertainment purposes. The traces of Improvisational theatre in India dates back to the
year 1990's with the advent of Forum Theatre with Janasanskriti through able leadership
of Sanjoy Ganguly. Post that in 1999, a team from US with Bev Hoskins and Mary Good
introducing Playback Theatre to India. Thus Playback Theatre and Forum Theatre began
to take its shape in the remotest part of India such as Karur, Chennai, West Bengal, apart
from Bangalore too. Yours Truly Theatre, a Bangalore based group developed "complete
the story" an indigenous format of improvisational theatre developed under the leadership
of Ranji David and Nandini Rao in 2006. In 2009 Yours Truly Theatre also developed
another format of Improv Theatre called "mushyara theatre"
ALL THIS NOTES I HAVE COLLECTED FROM INTERNET SOME ARE YET
TO FIND ESPCIALLY FOR GIVEN BELOW
3 Notable theatres in India in different Indian languages and regions
4 Notable people
4.1 Ancient Age
4.2 Medieval age
4.3 Under British rule
4.4 After Independence (1947 onwards)
4.5 Notable playwrights