Theatre of India

Overview of theatrical culture in the Indian subcontinent

Theatre of India

Theatre of India is one of the most ancient forms of theatre and it features a detailed textual, sculptural, and dramatic effects which emerged in mid first millennium BC. Like in the areas of music and dance, the Indian theatre is also defined by the dramatic performance based on the concept of Nritya, which is a Sanskrit word for drama but encompasses dramatic narrative, virtuosic dance, and music. Later, in an attempt to re assert indigenous values and ideas, village theatre was encouraged across the subcontinent, developing in a large number of regional languages from the 15th to the 19th centuries. Modern Indian theatre developed during the period of colonial rule under the British Empire, from the mid 19th century until the mid 20th. 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. As a diverse, multi cultural nation, the theatre of India cannot be reduced to a single, homogenous trend. In contemporary India, the major competition with its theatre is that represented by growing television industries 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 obstacle.

Kutiyattam is the only surviving specimen of the ancient Sanskrit theatre, thought to have originated around the beginning of the Common Era, and is officially recognised by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. In addition, many forms of Indian folk theatre abound. Bhavai (strolling players) is a popular folk theatre form of Gujarat, said to have arisen in the 14th century AD. Bhaona and Ankiya Nats have been practicing in Assam since the early 16th century which were created and initiated by Mahapurusha Srimanta Sankardeva. Jatra has been popular in Bengal and its origin is traced to the Bhakti movement in the 16th century. Another folk theatre form popular in Haryana, Uttar Pradesh and Malwa region of Madhya Pradesh is Swang, which is dialogue oriented rather than movement oriented and is considered to have arisen in its present form in the late 18th – early 19th centuries. Yakshagana is a very popular theatre art in Karnataka and has existed under different names at least since the 16th century. It is semi classical in nature and involves music and songs based on carnatic music, rich costumes, storylines based on the Mahabharata and Ramayana. It also employs spoken dialogue in between its songs that gives it a folk art flavour. Kathakali is a form of dance drama, characteristic of Kerala, that arose in the 17th century, developing from the temple art plays Krishnanattam and Ramanattam.

Urdu Drama evolved from the prevailing dramatic traditions of North India shaping Rahas or Raas as practiced by exponents like Wajid Ali Shah, Nawab of Awadh. His dramatic experiments led to the famous Inder Sabha of Agha Hasan Amanat and later this tradition took the shape of Parsi theatre. Yahudi Ki Ladki (The Jew's Daughter) by Agha Hashar Kashmiri is culmination of this tradition. Among all the languages Urdu (which was called Hindi by early writers), along with Gujrati, Marathi and Bengali theatres have kept flourishing and demand for its writers and artists has not subsided by the drama aficionados. All the early gems of Urdu Theatre (performed by Parsi Companies) were made into films. Great works like those by Shakespeare have influenced Modern Urdu tradition to a large extent when Indian, Iranian, Turkish stories and folk was adapted for stage with heavy doses of Urdu Poetry. In modern times writers like Imtiaz Ali Taj, Rafi Peer, Krishan Chander, Manto, Upender Nath Ashk, Ghulam Rabbani, Prof. Mujeeb and many others shaped this tradition. While Prof Hasan, Ghulam Jeelani, J. N. Kaushal, Shameem Hanfi, Jameel Shaidayi etc. belong to the old generation, contemporary writers like Mujeeb Khan, Javed Siddiqui, Sayeed Alam, Danish Iqbal, Anis Azmi, Aftab Hasnain, Aslam Parvez, Anis Javed, Iqbal Niyazi, Syed Sahil Agha and Zaheer Anwar are few post modern playwrights actively contributing in the field of Urdu Drama. Zaheer Anwar has kept the flag of Urdu Theatre flying in Kolkata. Unlike the writers of previous generation, Danish iqbal and Zaheer do not write bookish Plays but their work is a product of vigorous performing tradition. Iqbal Niyazi of Mumbai has written several plays in Urdu. His play, "Aur Kitne Jalyanwala BaughU??" won National award other awards. Hence this is the only generation after Amanat and Agha Hashr who actually write for stage and not for libraries. An upcoming group Aatrangi Pitaara Foundation is actively performing and saving Hindustani Theatre. Their presentation of Anti National Ghalib written by Danish Iqbal has been well received by the Delhi Theatre enthusiasts. Leading the group, Keshav Raina is developing more Hindustani shows showcasing the rich history and heritage of India.

Yakshagana is a popular semi classical theatre art from coastal Karnataka. It uses rich costumes, music, dance, and dialogue. Puppet shows in parts of
Karnataka uses all these elements of yakshagana to depict stories from the Ramayana and Mahabharata.

Mobile theatres are a kind of popular theatre form that exist mainly in Assam. For staging their plays, theatre groups travel different places with their casts, singers, musicians, dancers and entire crew. Even the tent and chairs for the audience are carried with them. Mobile theatre was first staged on 2 October 1963 in Pathsala, Assam. Achyut Lahkar is known as the father of mobile theatre. Mobile theatre in Salempur Deoria Eastern Uttar Pradesh is over 900 times played on stage within fifteen years. sanskritiksangam. com is a leading cultural organisation that has been promoting rich Indian culture through regional artists based in Eastern Uttar Pradesh. Since its establishment in 2005, One of its most popular classical Musical Dance Drama creation Sanskritik Sangam Salempur, Meghdoot Ki Puravanchal Yatra in Bhojpuri an adaptation of Kalidasa's Meghdootam has done a record 96 shows in cities like Mumbai, Delhi, Rishikesh, Agra, Varanasi, Patna, Sonpur Mela Gorakhpur, near by areas in eastern UP among others. The creations has won many awards and recognitions for its team through leading organisations Its creations revolve around famous mythological and historical personalities and stories like, Ramayana (7 to 9 days play) 56 places, and 9 days in Surinaam,Guyana, Trinidad &Tobago iof caribbion countries Bhagwata (7 days play) two places, Kabir (32 places), Harishchandra Taramati, (32 Places), Utho Ahilya (36 places) and Sri Krishna (Three places). And also perform popular plays from Hindi literature including Kaptan Sahab (31), Court Marshall (1), Saiyyan Bhaye Kotwal (22), Muvaavaje (2), Bakari (2), Bade Bhai Saheb (63), Kafan(12), Bholaram ka jeev (17), Satgati (2), Boodhi kaaki (3), kakha ga kaa chakkar (7), Jago grahak jaago (3) etc. among other presentations based on famous literary geniuses like Munshi Premchand, Bhikaari Thakur, etc. Manvendra Tripathi as a Director of this team handling the institution .