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Group theatre of Kolkata


The group theatre of Kolkata refers to a tradition in theatres in the Indian city Kolkata, which developed in the 1940s as an alternative to entertainment-oriented theatres. As opposed to commercial theatres, group theatre is "a theatre that is not professional or commercial", characterized by its tendency for experimentation in theme, content and production, and its aim of using the proscenium stage to highlight social messages, rather than having primarily making-money objectives.Bikramgarh Maru Behag group theatre director Smt.Jolly Guha Roy

The play Nabanna in 1944 is said to be the birth of group theatres in Kolkata.Nabanna was written by Bijon Bhattacharya, who also co-directed it with Sambhu Mitra. They were both active members of the Indian People's Theatre Association (IPTA), the association of leftist theatre-artists. In the commercial theatres at that time, entertainment was the sole purpose. However, the time was tumultuous—the Indian independence movement was strengthening on the backdrop of the World War 2, and the plight of Bengal province was further worsened by the Bengal famine of 1943. Activists and thinkers attempted to use the media of theatre to highlight the plight of the people, and to stage a form of artistic protest.

In this backdrop, the drama Nabanna portrayed a group of peasants as victim of the famine. The peasants had to leave their village due to famine, and they traveled to Kolkata with the hope for survival in the big city. However, they faced a series of crises and eventually got "...reduced to the most abject acknowledge poverty in Kolkata, where they develop a political awareness of their suffering". Another production of IPTA was Jobanbondi.

Prior to the start of group theatre movement, the commercial theatre of Kolkata strived to attract audiences based on star-power. Popular actors such as Sisir Bhaduri, Ahindra Chowdhury and others were considered consistent crowd-pullers. The group theatre tried to depart from this paradigm. Instead of superstars, the emphasis in group theatre was on the group—which was commonly an amalgamation of non-professional participants who identified themselves with the social motives of the movement and participated in the production out of passion for the art. The attempt was to make gononatyo (people's theatre).


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