Notable work Ebong Indrajit (And Indrajit) (1963) Pagla Ghoda (Mad Horse) (1967) Awards 1966 1972 1997 Badal Sircar (15 July 1925 – 13 May 2011), also known as Badal Sarkar, was an influential Indian dramatist and theatre director, most known for his anti-establishment plays during the in the 1970s and taking theatre out of the and into public arena, when he founded his own theatre company, Shatabdi in 1976. He wrote more than fifty plays of which Evam Indrajit, Basi Khabar, and Saari Raat are well known literary pieces. A pioneering figure in as well as in and contemporary with his 'Third Theatre', he prolifically wrote scripts for his Aanganmanch (courtyard stage) performances, and remains one of the most translated Indian playwrights. Though his early comedies were popular, it was his angst-ridden Evam Indrajit (And Indrajit) that became a landmark play in. Today, his rise as a prominent playwright in 1960s is seen as the coming of age of Modern Indian playwriting in, just as did it in Marathi, in Hindi, and in Kannada. He was awarded the in 1972, in 1968 and the, the highest honour in the performing arts by, in 1997. Contents.
Early life and education Badal Sircar, whose real name was 'Sudhindra Sarkar', was born in, India. He was initially schooled at the. After transferring from the, where his father was a history professor, he studied civil engineering at the (now IIEST), Howrah then affiliated with the. In 1992, he finished his Master of Arts degree in comparative literature from the in Calcutta. Career While working as a town planner in India, England and Nigeria, he entered theatre as an actor, moved to direction, but soon started writing plays, starting with comedies.
Badal Sirkar did experiments with theatrical environments such as stage, costumes and presentation and established a new generation of theatre called 'Third Theatre'. In Third Theatre approach, he created a direct communication with audience and emphasised on expressionist acting along with realism. He started his acting career in 1951, when he acted in his own play, Bara Trishna, performed by Chakra, a theatre group.
Eventually still employed in Nigeria, he wrote his landmark play Ebong Indrajit (And Indrajit) in 1963, which was first published and performed in 1965 and catapulted him into instant fame, as it captured 'the loneliness of post-Independence urban youth with dismaying accuracy'. He followed them with plays like Baaki Itihaash (Remaining History) (1965), Pralap (Delirium) (1966), Tringsha Shatabdi (Thirtieth Century) (1966), Pagla Ghoda (Mad Horse) (1967), Shesh Naai (There's No End) (1969), all performed by 's group. In 1967, he formed the 'Shatabdi' theatre group, and the first production he directed was Ebang Indrajit in 1967, a play about three people – Amal, Bimal, Kamal and a loner Indrajit. In the next five years of its existence the troupe performed several of his plays and had a profound impact on contemporary theatre, especially after 1969 when it started performing plays both indoors and outside amidst people, and evolved the angan manch (courtyard stage) and inspired by the direct communication techniques of rural theatre form, to eventually become his 'Third Theatre', a protest against prevalent commercial theatre establishment. Often performed in 'found' spaces rather than rented theatre halls, without elaborate lighting, costumes or make-up, where audience was no longer a passive, rather became participatory, it added a new realism to contemporary, retaining thematic sophistication of social committed theatre all the while, and thus started a new wave of in. In 1976, his group 'Satabdi', started performing at Surendranath Park (then Curzon Park) Kolkata on weekends. 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.
Though he continued to hold his job till 1975, as a playwright he rose to prominence in the 1970s and was one of the leading figures in the revival of street theatre in Bengal. He revolutionised with his wrath-ridden, anti-establishment plays during the movement. His plays reflected the atrocities that prevailed in the society, the decayed hierarchical system and were socially enlightening. He is a proponent of the 'Third theatre' movement that stood ideologically against the state. Third theatre involved street plays, with actors being attired no differently than the audience.
Also the formal bindings of the was given up. Sarkar's 'Bhoma' is an example of a third theatre play, set as always, in an urban background. Starting with Sagina Mahato, which marked his advent into, his subsequent plays, Michhil (Juloos), Bhoma, Basi Khobor, Spartacus based on 's historical novel, were performed in parks, street corners and remote villages with the audience sitting all around.
Sircar directed his last play in 2003, and after that his movements were restricted after a road accident, but even many years later till 2011 he continued performing at play readings and writing new works like adapting William Shakespeare's, two stories by and a novel, History of Love. Kerala Sangeetha Nataka Akademi awarded the prestigious 'Ammannur Puraskaram' in 2010 for his lifetime achievements in Indian Theatre.The award was presented to him by Girish Karnad during the inaugural function of 3rd edition of Death Sarkar was diagnosed with in April 2011.
Evam Indrajit Play Analysis Essay
He died on 13 May at Kolkata at the age of 85. Awards and recognition Sarkar was awarded the prestigious in 1971, the by the in 1972, in 1968 and the - Ratna Sadsya, the highest honour in the performing arts by, in 1997, given by, India's National Academy for Music, Dance and Drama.
The 'Tendulkar Mahotsav' held at the (NFAI), Pune in October 2005, organised by director to honour playwright, was inaugurated with the release of a DVD and a book on the life of Badal Sircar. In July 2009, to mark his 85th birthday, a five-day-long festival titled Badal Utsava as tribute to him was organised by several noted theatre directors.
He was offered the by the in 2010, which he declined, stating that he is already a Sahitya Akademi Fellow, which is the biggest recognition for a writer. In media Sarkar is the subject of two documentaries, one directed by filmmaker and critic, Amshan Kumar, and another A Face in the Procession by Sudeb Sinha, which was shot over two years. Legacy Badal Sircar influenced a number of film directors, theatre directors as well as writers of his time.
Film director in an interview mentioned, 'For me, Kolkata was a formative city while growing up. I learned to play cricket in Kolkata, but more than anything, I learned to read Badal Sircar and watch plays written by him for street theatre.
' To Kannada director and playwright, Sircar's play Ebong Indrajit taught him fluidity between scenes, while as per theare director-playwright, 'In every play I've written and in every situation created, Indrajit dominates.' To Actor-director, 'Badalda opened up new ways of expression.' Recently (2013), a newly established cultural group, Maniktala Kolpokatha has started their theatrical career paying homage to the great play writer, staging 'Ballavpurer Roopkatha'. To the group, it is one of the plays that is not often staged in the Kolkata Theatre Circuit, and has all the spices of love, laughter and fear. 3 February 2010. 30 August 2004. 19 July 2009.
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New Delhi: Niyogi Books, 2016, 460 pages,. Katyal, Anjum. Badal Sircar: Towards a Theatre of Conscience (A Series on Contemporary Indian Playwrights).
New Delhi: SAGE Publications, 2015, 308 pages,. Kundu, Manujendra. So Near, Yet So Far: Badal Sircar's Third Theatre. New Delhi: Oxford University Press, 2016, 324 pages,.
Roy, Pinaki. ' The First Man of the Third Theatre: Badal Sircar'. Insights into Indian English Fiction and Drama. New Delhi: Access-Authors Press, 2012 ( ), pp. 164–81.
Roy, Pinaki. “ Crusader against Hegemonies: A Brief Study of Badal Sircar”. Contemporary Indian Drama in English: Trends and Issues. New Delhi: Delta Book World, 2013 ( ).
Dasgupta Anjan, Badal Sircar’s Evam Indrajit: Issues of Writing, Reading and Narrativity. An Absurdist Celebration of plotlessness, edited by Jaydeep Sarkar, New Delhi: Delta Publication, 2013,. External links. (1962).
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