Badal Sircar (15 July –13 May ), also known as Badal Sarkar, was an influential Indian dramatist and theatre director, most known for. Girish Karnad (left) and Badal Sircar (second from right) inaugurating the third International Theatre Festival of Kerala in Photo courtesy. Badal (Sudhindra) Sircar continues to be an influential figure in Bengali, even Indian, theatre five years after his passing. He was from the educated middle.

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Bengali theatre, or theatre in Bangla, wherein Bangla or Bengali can be understood as two different sets of intertwined meanings, geographic location and also linguistic location, is enmeshed in the troubled history of India and Bangladesh. This move away from the city stage was participatory in more ways than one.

In the cities we live on the blood of Bhomas Or is Bhoma an instinctive call badaal rebel? We were free to do whatever we wanted.

In Search of the Sacred Lunatic: Why Badal Sircar? – Kindle MagazineKindle Magazine

The paper discusses Indian poilitical theater with emphasis on Badal Sircar’s Third Theater in relation to the Westrern political theater. I remember meeting him in From Wikipedia, the free encyclopedia. Besides total and partial intertextuality, there is another kind of: Also the formal bindings of the proscenium theatre was given up. Free would also mean un-sponsored and non-ticketed, purely surviving on personal donations and resource-sharing.

His Ebong Indrajit seemed to capture an existential angst, a quest for meaning, that spoke for an entire generation. These plays still read well in Bengali and prove what a fine writer he was in his mother tongue.

By then his movements were restricted, and he was almost completely confined to his room in his house in north Kolkata.

Was Badal Sircar India’s most influential playwright?

The misunderstood genius of Badal Sircar Last updated on: The message was overtly political, to baeal the abject economic, and the political condition of an overwhelming majority of have-nots. But how was he as a person?


Badal Sarkar in NewsApp Free Read news as it happens Available on. Kittappa Pillai Vijay Tendulkar Local ingredients and sustainability are at the top of my list Instead of making New Year resolutions, dream The year of tinkering with genes The year the tigress died. Even today I can remember every scene. I am browsing through the past. A new book looks on a legend of Indian theatre, a man who eventually shunned the stage for the theatre of the street, the best place for the political in his art.

His plays not only restored their confidence to a degree but instilled in them a sense of self-worth. Baba is no more.

The legacy of Badal Sircar

His Third Theatre was based on the centrality of the actor, and on the human connection both between actors and between them and the audience. Starting with Sagina Mahatowhich marked his advent into arena stagehis subsequent plays, Michhil JuloosBhomaBasi KhoborSpartacus based on Howard Fast ‘s historical novel by the same namewere performed in parks, street corners and remote villages with the audience sitting all around.

It was done with the idea that the spectators would recognise or identify themselves with the characters on the stage and get involved with their problems and emotions. A cursory search on the internet will yield some Badal Sircar play being performed somewhere in the country.

Rather, I wanted to have a career of my own. Bhoma the almost mute Sunderban tribal who chops off wood endlessly and one day takes on the tiger keeps on haunting me, scooping out large chunks of my consciousness. Views Read Edit View history. He took Shatabdi to as far as the interiors of Manipur. He went on to write four interesting plays that reflected the existential dilemmas of the thinking primarily male Bengali—in itself a distinctly minor category.

There were however, others, who felt Sircar was fulfilling a vital function of an artiste, making his audience aware of the human sicar and the myriad inequities that are a part of it. Notes on Badall Sircar’s Evam Indrajith. I started off as a secretary, a job that Baba never approved of. A tall, well built, charismatic personality, he had a glorious speaking voice. He and his troupe moved away quietly from professional theatre and went into the streets, of course, with an interregnum, doing political theatre on an intimate scale at various small venues available; perhaps to test the waters.


World Encyclopedia of Contemporary Theatre: Two regions in India led this socially relevant theatre movement, namely Maharashtra and Bengal, which was then taken up by the entire country during the last century. Furthermore, it brings in diverse. The dialectics of that choice, the commitment behind the choice and a life dedicated to make that choice sharper, more people-centric and more participatory.

Retrieved from ” https: They were just made for each other. The experience set him thinking about the failure of Bengali theatre, commercial theatre, group theatre, and Yatra. Theatre also served as the platform where major ideological debates were played out to create and sustain a country which believes in social justice and equity.

That is their participation. These open-air and free performances led to his troupe travelling to nearby villages on other weekends, where it employed minimal props and improvised dialogues to involve audience further into the performance. Related Stories Essay Language The one tongue for tea It is a language that grew out of necessity but Sadri is an indispensable link between the linguistic groups that live and work in the tea gardens of the northeast.

This paper discusses a seminal aspect of alternative theatre movement in India which is to lend voice to the marginal people who are exploited by the Establishment. What began as a pleasurable pastime seeped into his consciousness by the time he took a job with the Damodar Valley Corporation inafter graduating in Civil Engineering from the reputed Bengal Engineering College, Shibpur, Howrah, off Calcutta now Kolkata.

His career as a bilingual actor—English and Bengali—was short-lived, though he did work with great success in Hindi films later, an exercise that helped to a large degree to carry on with his activities in the Bengali theatre.