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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Was Badal Sircar India’s most influential playwright?

His impact on the alternative, activist theatre circuit in neighbouring Pakistan and Bangladesh is also significant. Unable to vadal their haul of gold, they retired to rest in a garden, underneath a canopy of trees formed by the other actors.

Third theatre involved street plays, with actors being attired no differently than the audience.

The feel of intimate theatre can never sircae replicated in a cinema complex or through an idiot box or even through a city-centric proscenium approach. Vyas Ashutosh Bhattacharya E. 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. He never practised Christianity, nor did he impose any strictures on any of us.

I guess the interview reveals that the Badal Sircar method is all about self-discovery. Also the formal bindings of the proscenium theatre was given up. In keeping with his acerbic, and perhaps, snobbish nadal, he cold-shouldered the sympathisers of the Congress Party at the Centre.

Social problems were posed as extensions of the problems of the individual characters in the play. Even today I can remember every scene. I was not too close to my father, neither was I detached from him. Gopeshwar Banerjee D.

Badal Sircar Research Papers –

From Manipur to Kerala, Kashmir to Tamil Nadu, from Maharashtra to Pakistan and his native Bengal, there is scarcely a corner of theatre bbadal that has not been influenced by Badal-da one way or another. Satabdi members during a rehearsal session at Sircaar, Taltala, in central Kolkata. But I always felt a little uncomfortable being identified as ‘Badal Sircar’s daughter’. Film director Mira Nair in an interview mentioned, “For me, Kolkata was a formative city while growing up It has poignant passages from the lives of actors, their day to day struggle to get into theatre, including Binodini Dasi, Golap Sundori to our contemporaries like Saoli Mitra, Sampa Ghosh.


The theatre of Badal Sircar | Fountain Ink

The Times of India. It was not easy in his times to break free of the proscenium style of theatre. Skip to main content. Naturally, therefore, he became alienated from his contemporaries. This paper charts the evolution of Badal Sircar as a playwright as well as a theorist and a practitioner of an alternative theater movement in India.

The book focuses on various essentials which are a blend of earlier autochthonous modes of theatrical expression and the colonial European consciousness, which heightened the Bengali and Indian consciousness about ‘nation’, that brought about the national movement.

His plays not only restored their confidence to a degree but instilled in them gadal sense of self-worth. His work was now focused on serving a political and social purpose.

Through his writings and public statements, Sircar was often critical of proscenium theatre. The Bomb with all its destructive capabilities became an integral part of his artistic vision, The early s found Sircar as the only contemporary Bengali playwright concerned with the existentialist problems mainly of the urban middle-class in Bengal. The process of migration is ongoing, and we will notify you once it is complete. He was a man of grit and integrity and had nerves of steel.

With his unique concept of Third Theatre, he revolutionsed street theatre in all its forms, experimented with various genres and helped the age-old norms of Bengali stage stand on their head. I felt it would affect my individuality. 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.


Amidst the Badal da books that have flooded the market in recent years, this is easily one of the best publications. University of Iowa Press. The legacy Badal-da has passed on, but his legacy lives on. Performance, necessarily as means of co-creation, constant evolution of the text to reveal the skeleton lurking behind the body of words and not the royalty-driven, license-driven, rights-driven approach. Similarly, in the context of colonial and post-colonial India, it is considered to be an important player in bringing about a sense of cohesive national India is a sham democracy: The two exceptional books being reviewed try to fill that gap in the history of India.

By the time Sircar arrived on the Calcutta theatre scene Shambhu Mitra and Utpal Dutt were already names to reckon with, and Ajitesh Bandopadhyay was about to take the city by storm with his dynamic productions. I started off as a secretary, a job that Baba never approved of. Kunju Kurup Shambhu Maharaj V. Bend it like Modi to the beat of a s Bollywood number Data check: Till ill-health caught up and restricted his mobility he toured the West Bengal countryside explaining to people through the performances that they lived in a patently unjust world and were ruthlessly exploited by a callous elite.

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.

Why should we deny them the chance to participate? Jawaharlal Nehru Memorial Fund. He died on 13 May at Kolkata at the age of