Examine individual changes

'{{Use dmy dates|date=September 2013}} {{Use Indian English|date=September 2013}} {{multiple issues| {{Refimprove|date=January 2007}} {{Cleanup|date=March 2011}} }} [[File:Marathi theatrical group, Mumbai, 1870.jpg|240px|thumb|A [[Marathi theatre]] group, Mumbai, 1870.]] {{Culture of India}} The earliest form of the '''theatre of India''' was the [[Sanskrit drama|Sanskrit theatre]].<ref name="RSZ12" >Richmond, Swann, and Zarrilli (1993, 12).</ref> It began after the development of [[Theatre of ancient Greece|Greek]] and [[Theatre of ancient Rome|Roman theatre]] and before the development of theatre in other parts of Asia.<ref name="RSZ12" /> It emerged sometime between the 2nd century BC and the 1st century AD and flourished between the 1st century AD and the 10th, which was a period of relative peace in the [[history of India]] during which hundreds of plays were written.<ref>Brandon (1997, 70) and Richmond (1998, 516).</ref> With the [[Muslim conquest in the Indian subcontinent|Islamic conquests]] that began in the 10th and 11th centuries, theatre was discouraged or forbidden entirely.<ref>Brandon (1997, 72) and Richmond (1998, 516).</ref> 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.<ref>Brandon (1997, 72), Richmond (1998, 516), and Richmond, Swann, and Zarrilli (1993, 12).</ref> Modern Indian theatre developed during the [[British Raj|period of colonial rule]] under the [[British Empire]], from the mid-19th century until the mid-20th.<ref>Richmond (1998, 516) and Richmond, Swann, and Zarrilli (1993, 13).</ref> In order to resist its use by Indians as an instrument of protest against colonial rule, the British Government imposed the [[Dramatic Performances Act]] in 1876. 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 [[Fads and trends|trend]]. In contemporary India, the major competition with its theatre is that represented by growing [[television]] industry and the spread of [[film]]s produced in the [[Cinema of India|Indian film industry]] based in [[Mumbai]] (formerly Bombay), known as "[[Bollywood]]". Lack of [[finance]] is another major obstacle. ==History of Indian theatre== ===Sanskrit theatre=== {{Main|Sanskrit drama}} {{See also|Koodiyattam}} The earliest-surviving fragments of [[Sanskrit drama]] date from the 1st century AD.<ref>Brandon (1981, xvii) and (1998, 516-517).</ref> The wealth of archeological evidence from earlier periods offers no indication of the existence of a tradition of theatre.<ref name="Richmond516" >Richmond (1998, 516).</ref> The ancient ''[[Vedas]]'' ([[hymn]]s from between 1500 to 1000 BC that are among the earliest examples of [[History of literature#India|literature]] in the world) contain no hint of it (although a small number are composed in a form of [[dialogue]]) and the [[ritual]]s of the [[Vedic period]] do not appear to have developed into theatre.<ref name="Richmond516" /> The ''[[Mahābhāṣya]]'' by [[Patañjali]] contains the earliest reference to what may have been the seeds of Sanskrit drama.<ref name="Richmond517" >Richmond (1998, 517).</ref> This treatise on [[grammar]] from 140 BC provides a feasible date for the beginnings of [[theatre in India]].<ref name="Richmond517" /> The major source of evidence for Sanskrit theatre is ''[[Natyashastra|A Treatise on Theatre]]'' (''Nātyaśāstra''), a compendium whose date of composition is uncertain (estimates range from 200 BC to 200 AD) and whose authorship is attributed to [[Bharata Muni]]. The ''Treatise'' is the most complete work of dramaturgy in the ancient world. It addresses [[acting]], [[dance]], [[music]], [[Dramaturgy|dramatic construction]], [[Theatre architecture|architecture]], [[Costume design|costuming]], [[Theatrical makeup|make-up]], [[Theatrical properties|props]], the organisation of companies, the audience, competitions, and offers a [[Hindu mythology|mythological]] account of the origin of theatre.<ref name="Richmond517" /> In doing so, it provides indications about the nature of actual theatrical practices. Sanskrit theatre was performed on sacred ground by priests who had been trained in the necessary skills (dance, music, and recitation) in a [hereditary process]. Its aim was both to educate and to entertain. [[File:കൂടിയാട്ടത്തിലെസുഗ്രീവൻ.jpg|thumb|right|200px|Performer playing [[Sugriva]] in the [[Koodiyattam]] form of [[Sanskrit drama|Sanskrit theatre]].]] Under the patronage of royal courts, performers belonged to professional companies that were directed by a stage manager (''sutradhara''), who may also have acted.<ref>Brandon (1981, xvii) and Richmond (1998, 517).</ref> This task was thought of as being analogous to that of a [[Puppetry|puppeteer]]—the literal meaning of "''sutradhara''" is "holder of the strings or threads".<ref name="Richmond517" /> The performers were trained rigorously in vocal and physical technique.<ref>Richmond (1998, 518).</ref> There were no prohibitions against female performers; companies were all-male, all-female, and of mixed gender. Certain sentiments were considered inappropriate for men to enact, however, and were thought better suited to women. Some performers played characters their own age, while others played ages different from their own (whether younger or older). Of all the elements of theatre, the ''Treatise'' gives most attention to acting (''abhinaya''), which consists of two styles: realistic (''lokadharmi'') and conventional (''natyadharmi''), though the major focus is on the latter.<ref>Richmond (1998, 518). The literal meaning of ''abhinaya'' is "to carry forwards".</ref> Its drama is regarded as the highest achievement of [[Sanskrit literature]].<ref name="Brandonxvii" >Brandon (1981, xvii).</ref> It utilised [[stock character]]s, such as the hero (''nayaka''), heroine (''nayika''), or clown (''vidusaka''). Actors may have specialised in a particular type. [[Kālidāsa]] in the 1st century BCE, is arguably considered to be ancient [[India]]'s greatest Sanskrit dramatist. Three famous romantic plays written by Kālidāsa are the ''[[Mālavikāgnimitram]]'' (''Mālavikā and Agnimitra''), ''[[Vikramuurvashiiya]]'' (''Pertaining to Vikrama and Urvashi''), and ''[[The Recognition of Sakuntala|Abhijñānaśākuntala]]'' (''The Recognition of Shakuntala''). The last was inspired by a story in the ''Mahabharata'' and is the most famous. It was the first to be translated into [[English language|English]] and [[German language|German]]. ''[[Abhijñānaśākuntalam|Śakuntalā]]'' (in English translation) influenced [[Johann Wolfgang von Goethe|Goethe's]] ''[[Goethe's Faust|Faust]]'' (1808–1832).<ref name="Brandonxvii" /> The next great Indian dramatist was [[Bhavabhuti]] (c. 7th century AD). He is said to have written the following three plays: ''Malati-Madhava'', ''Mahaviracharita'' and ''Uttar Ramacharita''. Among these three, the last two cover between them the entire epic of ''Ramayana''. The powerful Indian emperor [[Harsha]] (606-648) is credited with having written three plays: the comedy ''[[Ratnavali]]'', ''[[Priyadarsika]]'', and the [[Buddhist]] drama ''[[Nagananda]]''. ===Theatre in medieval India=== {{Expand section|date=May 2011}} ===Theatre in India under British=== Under British colonial rule, modern Indian theatre began when a theatre was started in [[Belgachia]]. Rabindranath Tagore was a pioneering modern playwright who wrote plays noted for their exploration and questioning of nationalism, identity, spiritualism and material greed.<ref name="Banham1051" >Banham (1998, 1051).</ref> His plays are written in [[Bengali language|Bengali]] and include ''Chitra'' (''Chitrangada'', 1892), ''The King of the Dark Chamber'' (''Raja'', 1910), ''[[The Post Office (play)|The Post Office]]'' (''Dakghar'', 1913), and ''Red Oleander'' (''Raktakarabi'', 1924).<ref name="Banham1051" /> ===Indian theatre after Independence (1947-1992)=== ====Contemporary (post-1992) Indian theatre==== [[Mrityunjay Prabhakar]] is one of the major young Hindi theatre director and playwright who emerged on Indian Theatre Scene in the last decade of 20th century and established himself as a significant theatre activist in first decade of the 21st century. He started his theatre career from Patna during his graduation days. He has worked with several theatre groups like Abhiyan, Prerna, Mach Art group and Prangan in Patna. Later, he co-founded the group Abhiyan along with his friends. When he arrived Delhi for his further studies in Jawaharlal Nehru University, New Delhi. Here he worked with famous groups like Rang Saptak, Bahroop and Dastak. Later he founded his own group named SEHAR in 2005 and started working rigorously. He has got trained under leading figures of Indian Drama and Theatre world through different workshops he attended like [[Habib Tanvir]], [[B.V. Karanth]], Prasanna, [[Ratan Thiyam]], D. R. Ankur and many more. He has worked with directors like D.R. Ankur, Lokendra Arambam, H.S. Shiva Prakash, Surendra Sharma, Parvez Akhtar, Vijay Kumar, Javed Akhtar Khan, Suman Kumar and others. He has worked as an actor, director, set designer, light designer and organizer in theatre. Presently, Mrityunjay Prabhakar works primarily as a Theatre Director and Playwright with his group SEHAR. He is the founder-director of theatre troupe, SEHAR (Society of Education, Harmony, Art, Culture and Media Reproduction) (Registered under Society Act) in 2007. He has directed more than two dozens plays among them 'Sabse Udas Kavita', 'Khwahishen', 'Jee Humen To Natak Karna Hai', 'Dhruvswamini', 'Vithalala' and 'Suicide' have got special attention from the larger section of the society. His plays has been performed in different cities and theatre centres of the country apart from Delhi. His plays were part of some of the important theatre festivals of the country. Mrityunjay Prabhakar's originally written Play 'Sadho Dekho Jag Baudana' was published by InkLit Publication. He has also written famous plays like 'Aao Natak Natak Khelen', 'Khwahishen', 'Jee Humen To Natak Karna Hai', 'Suicide', 'Hey Ram', 'Teri Meri Kahani Hai', 'Karnav' and others, which has been performed by different groups and directors in various theatre centres of the country. He has adopted famous Keniyan playwright Ngugi Wa Thiong's play 'The Black Hermit' as 'Jayen To Jayen Kahan'. The adoptation was first performed by NSD Graduate Randhir Kumar in 2005 in Patna. Later he reproduced the play in 2010 with SEHAR in Delhi. He has adopted H.S. Shivaprakash famous Kannad play 'Mochi Madaiah' in Hindi which was directed by Lokendra Arambam and published by Yash Publication, Delhi. An anthology on Contemporary Indian Theatre titled 'Samkaleen Rangkarm' is also credited on his name published by InkLit Publication. His Hindi Poetry Collection 'Jo Mere Bheetar Hain' was published by Akademi of Letters (Sahitya Akademi), India. [[Saurabh Srivastava]] is another versatile theatre worker who has been active in different parts of country since 1980, acting and directing in plays in Allahabad, Varanasi, Lucknow, Kanpur, Delhi, Vadodara, Hyderabad, Jodhpur and Jaipur<ref></ref>. Working with Campus Theatre, Creative Arts, Apurva Society etc., Saurabh Srivastava has directed more than two dozen Hindi plays and presented hundreds of shows in different cities. Literary interpretation, mature insight, penetrating vision and an ability to successfully communicate the essence to the audience are some of the strengths of Saurabh's style and vision of theatrical presentation. He is currently active in Jaipur. ====Improvisation==== [[Improvisational ]] (also known as improv or impro) is a form of theatre in which the actors use [[improvisation]]al acting techniques to perform spontaneously. Improvisers typically use audience suggestions to guide the performance as they create dialogue, setting, and plot extemporaneously. Many improvisational actors also work as scripted actors and "improv" techniques are often taught in standard acting classes. The basic skills of listening, clarity, confidence, and performing instinctively and spontaneously are considered important skills for actors to develop. Improvisational Theatre in India is largely used for educational, interventional and entertainment purposes. The traces of Improvisational theatre in India dates back to the 1990s with the advent of [[Forum theatre]] with Janasanskriti under the leadership of Sanjoy Ganguly. After that in 1999, a team from the US with Bev Hoskins and Mary Good introduced [[Playback theatre]] to India. Thus Playback theatre and Forum theatre began to take its shape in the remotest parts of India, such as Karur, Chennai, West Bengal, as well as Bangalore too. [[Yours Truly Theatre, Bangalore|Yours Truly Theatre]], a Bangalore-based group, developed "complete the story", an indigenous format of improvisational theatre developed under the leadership of Ranji David and Nandini Rao in 2006. In 2009, they also developed another form of improvisational theatre called "mushyara theatre". In late 1960's Badal Sircar introduced a new form of political theatre called the Third Theatre. Badal Sarkar's anti-establishment experimental theatre created a new genre of social enlightenment.He formed his first Third Theatre Group satabdi,in the year 1967.They used to perform Drama written by Badal Sircar in Anganmancha(Theatre in the Couryard)in the Third Theatre form that break away from the tradition of One point view of the Procesnium and urged on the taking theatre to the people. Improvisational Theatre groups in India: * [[Yours Truly Theatre, Bangalore|Yours Truly Theatre]] * [[SEHAR, New Delhi|SEHAR]] Improvisational Theatre forms practiced in India: * [[Playback theatre]] * [[Theatre of the Oppressed]] * [[Forum theatre]] ====Notable theatres in India in different Indian languages and regions==== * Kannada theatre *[[Malayalam Theatre]] * [[Marathi theatre]] * [[Bengali Theatre]] * [[Hindi theatre]] * [[Telugu drama]] * [[Bhojpuri]] ==Notable people== ===Ancient Indian playwrights=== * [[Bharata Muni]] * [[Kalidasa]] * [[Bhāsa]] * [[bhavabhuti]] ===Medieval age=== {{Expand section|date=May 2011}} ===Playwrights working under British rule=== * [[Bankim Chandra Chatterjee]] * [[Dinabandhu Mitra]] * [[Jaishankar Bhojak]] 'Sundari' * [[Jaishankar Prasad]] ===Post-Independence theatre-makers=== Notable theatre directors: {{Div col|cols=3}} * [[S. M. Azhar Alam]] <!-- * [[Tanveer Alam]] --> * [[Ebrahim Alkazi]] * [[K.V. Akshara]] * [[Nadira Babbar]] * [[Ram Gopal Bajaj]] * [[Suresh Bhardwaj]] * [[Bijon Bhattacharya]] * [[Raj Bisaria]] * [[Manish Joshi Bismil]] * [[Chandradasan]] <!-- * [[Abhijeet Choudhary]] --> * [[Neelam Mansingh Chowdhry]] * [[Satyadev Dubey]] * [[Utpal Dutta]] * [[Arvind Gaur]] * [[Sachin Gupta]] * [[Safdar Hashmi]] * [[Rohini Hattangadi]] * [[Shafi Inamdar]] * [[Prithviraj Kapoor]] * [[Shashi Kapoor]] * [[B.V. Karanth]] * [[Bansi Kaul]] * [[Kader Khan]] * [[Surya Mohan Kulshreshtha]] * [[Mohan Maharishi]] * [[Ramesh Mehta]] * [[Shaoli Mitra]] * [[Sombhu Mitra]] * [[Shankar Nag]] * [[Kavalam Narayana Panicker]] * [[Mrityunjay Prabhakar]] * [[Prasanna]] <!-- [[Sreejith Ramanan]] --> * [[Rathna Shekar Reddy]] * [[Rudraprasad Sengupta]] * [[B.M. Shah]] * [[Naseeruddin Shah]] <!-- * [[Gopal Sharman]] --> <!-- * [[Ishwar Shunya]] --> * [[Gursharan Singh]] * [[Badal Sircar]] * [[Deepan Sivaraman]] * [[Anjan Srivastav]] * [[K.V. Subbanna]] * [[Habib Tanvir]] * [[Ratan Thiyam]] <!-- * [[Manvendra Tripathi]] --> <!-- [[Jalabala Vaidya]] --> * [[Kumara Varma]] * [[Sankar Venkateswaran]] {{Div col end}} ===Notable playwrights=== {{Div col|cols=3}} * [[Abhimanyu]] (Malayalam) * [[Satish Alekar]] (Marathi) * [[Rambriksh Benipuri]] (Hindi) * [[Datta Bhagat]] (Marathi) * [[Dharamvir Bharati]] (Hindi) * [[Asif Currimbhoy]] (English) * [[Gurucharan Das]] (English) * [[Mahesh Dattani]] (English) * [[Swadesh Deepak]] (Hindi) * [[Govind Purushottam Deshpande]] (Marathi) * [[Utpal Dutta]] (Bangla) * [[Mahesh Elkunchwar]] (Marathi) * [[Sachin Gupta]] (Hindi) * [[Rajesh Joshi]] (Hindi) * [[Sharad Joshi]] (Hindi) * [[Chandrashekhara Kambara]] (Kannada) * [[Prithviraj Kapoor]] (Hindi), (Urdu), (Pashto), (Bangla) * [[Girish Karnad]] (Kannada) * [[Kader Khan]] (Urdu) * [[Deepak Kumar]] (Dogri) * [[Ramesh Mehta]] (Urdu) * [[Piyush Mishra]] (Hindi) * [[Torit Mitra]] (Bengali) * [[Narendra Mohan]] (Hindi) * [[Arun Mukherjee]] (Bangla) * [[Manjula Padmanabhan]] (English) * [[Mrityunjay Prabhakar]] (Hindi) * [[Mohan Rakesh]] (Hindi) * [[Bhisham Sahni]] (Hindi) * [[B.M. Shah]] (Urdu) * [[Partap Sharma]] (English) <!-- * [[Gopal Sharman]] (English) --> * [[Javed Siddiqui]] (Urdu) * [[Hrishikesh Sulabh]] * [[Rajesh Talwar]] (English) * [[Habib Tanveer]] ( Hindi ) * [[Habib Tanvir]] (Urdu) * [[Vijay Tendulkar]] (Marathi) * [[Naren Weiss]] (English) * [[Shreekumar Varma]] (English) * [[Surendra Verma]] (Hindi) * [[Asghar Wajahat]] (Urdu) * [[T. P. Kailasam]] (Kannada, English) {{Div col end}} ==Forms of Indian theatre== ===Traditional Indian theatre=== {{main|List of traditional Indian theatre}} [[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 Nat]]s have been practicing in [[Assam]] since early 16th century which were created and initiated by [[Mahapurusha Srimanta Sankardeva]]. [[Jatra (Bengal)|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 (dance drama)|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]]. <gallery> File:Kondadakuli.jpg File:Devendra Shivashankara.jpg </gallery> ==Urdu/Hindustani Theatre== Urdu Drama evolved from the prevailing dramatic traditions of North India shaping Rahas or Raas as practiced by exponents like Nawab Wajid Ali Shah of Awadh. His dramatic experiments led to the famous Inder Sabha of Amanat and later this tradition took the shape of Parsi Theatre. Agha Hashr Kashmiri is culmination of this tradition. In some way or other, Urdu theatre tradition has greatly influenced modern Indian theatre. 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. For Urdu drama, no place is better than Bombay Film industry otherwise known as Hindi film industry. All the early gems of Urdu Theatre (performed by Parsi Companies) were made into films. Urdu Dramatic tradition has been a spectator’s delight since 100 years and counting. Drama as a theme is made up of several elements. It focuses on life and different aspects of it. The thing to be noticed here is that drama on stage imitates drama in life. It has been said that, there has always been a mutual relationship between theatre and real life. Great historical personalities like 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, Iqbal Niyazi and Zaheer Anwar are few post modern Play wrights actively contributing in the field of Urdu Drama. Danish Iqbal's 'Dara Shikoh' directed by M S Sathyu is considered a modern classic for the use of newer theatre techniques and contemporary perspective. His other Plays are 'Sahir' on the famous lyricist and revolutionary poet. 'Kuchh Ishq kiya Kuchh Kaam' is another Play written by Danish which is basically a Celebration of the Faiz's Poetry, featuring events from the early part of his life, particularly the events and incidents of pre-partition days which shaped his life and ideals. 'Chand Roz Aur Meri Jaan' - another Play inspired from Faiz's letters written from various jails during the Rawalpindi Conspiracy days. He has written 14 other Plays including 'Dilli Jo Ek Shehr Thaa' and 'Main Gaya Waqt Nahin hoon'. 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 BAUGH??" won National award other awards. Hence this is the only generartion after Amanat and Agha Hashr who actually write for stage and not for libraries. ===Indian puppet theatre=== [[Yakshagana]] is a popular semi-classical theatre art from costal 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]].'' ===Indian street theatre=== [[File:PSI India street play.jpg|thumb|A street play (''[[nukkad natak]]'') in [[Dharavi]] slums in Mumbai.]] * [[Jan Natya Manch]] (JANAM) ==Mobile Theatre== Mobile theatres are a kind of popular theatre form that exist only 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 [[Pathshala]], [[Assam]].<ref>[[:as:ভ্ৰাম্যমাণ থিয়েটাৰ]]</ref> [[Achyut Lahkar]] is known as the father of mobile theatre.<ref>en.wikipedia.org/wiki/Achyut_Lahkar</ref> '''Mobile theatre''' in Salempur Deoria Eastern Uttar Pradesh is over 500 years played on stage within eight years. sanskritiksangam.com is a leading cultural organization 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<ref>https://www.youtube.com/playlist?list=PLnfpS117nLitk6bgGQZHc_6-S9yayqSyj</ref> 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 organizations Its creations revolve around famous mythological and historical personalities and stories like, Ramayana (7 to 9 days play) 26 places, Bhagwata (7 days play) two places, Kabir (23 places), Harishchandra Taramati, (27 Places), Utho Ahilya (26 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. ==Notable awards and festivals== ===Awards=== * [[Sangeet Natak Akademi Award]] * [[Theatre Pasta Theatre Awards]] * [[Kalidas Samman]] * [[Karmaveer Puraskaar]] Noble Laureates,Artistes for Change ===Festivals of theatre in India=== * [[Prithvi Theatre]] Festival (Prithvi Festival), held every year since its inception on 3 November, the birth anniversary of its legendary founder [[Prithviraj Kapoor]] * [[Bharat Rang Mahotsav]], [[National School of Drama|NSD]], [[New Delhi]] * [[Nandikar's National Theatre Festival]] * [[The Hindu Metro Plus Theatre Fest, Chennai]] * [[Platform for Action in Creative Theater#Purple Umbrella Theater Festival|Purple Umbrella Theater Festival]], New Delhi Akshara Theatre's Festival of Four Languages, New Delhi ==Notable groups and companies== * Act One * [[Chilsag Chillies Theatre Company]] * [[Dramanon]] * [[Indian People's Theatre Association]] * [[Jagriti Theatre]] <!-- * [[JOSH Theatre]] --> *[[Kerala People's Arts Club]] * [[Mandap]] * [[Manch Theatre]] * [[Madras Players]] * [[Nandikar]] * [[Ninasam]] * [[Platform for Action in Creative Theater]] * [[Prithvi Theatre]] * [[Rangayana]] * [[Ranga Shankara]] <!-- *[[Saanjha Sapnaa]] --> <!-- * [[Swatantra Theatre]] --> * [[Samahaara]] * [[Theatre Arts Workshop (TAW)]] * [[Theatre Formation Paribartak]] * Lokranjan Theatre <!-- * [[Prayog]], Bhopal --> <!-- * [[Sanskritik Sangam]] --> <!-- * [[Stage Tamasha]] --> * Rangshala, Bhopal * GATHA Theatre Delhi ==Notable theatres== * [[Academy of Fine Arts, Calcutta]] (Ranu Mukherjee Mancha) * [[Girish Mancha]] * [[Rabindra Sadan]] * [[Star Theatre, Kolkata|Star Theatre]] <!-- * [[Dinabandhu Mancha]] --> <!-- * [[Madhusudan mancha]] --> ==Notable practitioners who have moved from theatre to films== {{Div col|cols=3}} * [[Shabana Azmi]] * [[Raj Babbar]] * [[Manoj Bajpai]] * [[Suresh Bhardwaj]] * [[Seema Biswas]] * [[Deepak Dobriyal]] * [[Neena Gupta]] * [[Shafi Inamdar]] * [[Pankaj Kapoor]] * [[Shahid Kapoor]] * [[Prithviraj Kapoor]] * [[Raj Kapoor]] * [[Shammi Kapoor]] * [[Shashi Kapoor]] * [[Girish Karnad]] * [[Kader Khan]] * [[Shahrukh Khan]] * [[Kulbhushan Kharbanda]] <!-- * [[Parandeep Kainth]] --> * [[Satish Kaushik]] * [[Anupam Kher]] * [[Swanand Kirkire]] * [[Sohrab Modi]] * [[Ananth Nag]] * [[Shankar Nag]] * [[Alok Nath]] * [[Rajkumar (actor)|Rajkumar]] * [[Kangana Ranaut]] * [[Paresh Rawal]] * [[Rathna Shekar Reddy]] * [[Naseeruddin Shah]] * [[Ratna Pathak Shah]] * [[Om Shivpuri]] * [[Sudha Shivpuri]] * [[Shilpa Shukla]] <!-- * [[Manvendra Tripathi]] --> * [[Ashish Vidyarthi]] * [[Rajpal Yadav]] {{Div col end}} ==Training== * [[Bhartendu Academy of Dramatic Arts]] * [[National School of Drama]] <!-- * [[Stage Tamasha]], Patiala --> * [[Theatre Arts Workshop (TAW)]] ==References== {{reflist|30em}} ==Sources== {{refbegin}} * Banham, Martin, ed. 1998. ''The Cambridge Guide to Theatre.'' Cambridge: Cambridge UP. ISBN 0-521-43437-8. * Brandon, James R. 1981. Introduction. In Baumer and Brandon (1981, xvii-xx). * ---, ed. 1997. ''The Cambridge Guide to Asian Theatre.''' 2nd, rev. ed. Cambridge: Cambridge UP. ISBN 978-0-521-58822-5. * Brockett, Oscar G. and Franklin J. Hildy. 2003. ''History of the Theatre''. Ninth edition, International edition. Boston: Allyn and Bacon. ISBN 0-205-41050-2. * Baumer, Rachel Van M., and James R. Brandon, eds. 1981. ''Sanskrit Theatre in Performance.'' Delhi: Motilal Banarsidass, 1993. ISBN 978-81-208-0772-3. * Richmond, Farley. 1998. "India." In Banham (1998, 516-525). * Richmond, Farley P., Darius L. Swann, and Phillip B. Zarrilli, eds. 1993. ''Indian Theatre: Traditions of Performance.'' U of Hawaii P. ISBN 978-0-8248-1322-2. * Sharma, Shrikrishna. 1996. ''Rangkarmi.'' Cultural Societies of Rajasthan. (1996, 139) {{refend}} ==Further reading== {{commons category|Theater of India}} *{{cite book|last=Wilson |first=Horace Hayman (tr. from the Original Sanskrit)|authorlink=Horace Hayman Wilson|title=Select Specimens of the Theatre of the Hindus|url=http://www.archive.org/stream/selectspecimenso01wils#page/n5/mode/2up|year=1827|publisher= V.Holcroft at The Asiatic Press, Calcutta}} *{{cite book|last=.|first=Dhanamjaya |coauthors=(tr. from Sanskrit by George C.O. Haas)|title=The Dasarupa or Treatise on Ten Forms of Drama - A Treatise on Hindu Dramaturgy|url=http://www.archive.org/stream/dasarupatreatise00dhanrich#page/n5/mode/2up|year=1912|publisher=Columbia University}} *{{cite book|last=.|first=Nandikeśvara|authorlink=Nandikeshvara|coauthors=(tr. by [[Ananda Kentish Coomaraswamy]] and Gopala Kristnayya Duggirala|title=The Mirror of Gesture - Being the Abhinaya Darpana of Nandikeśvara. |url=http://www.archive.org/stream/cu31924012568535#page/n5/mode/2up|year=1917|publisher=Harvard University Press }} * ''The Indian theatre'', by [[Mulk Raj bansal]], Published by D. Dobson, 1950. * ''Theatre in India'', by [[Balwant Gargi]]. Published by Theatre Arts Books, 1962. * ''A panorama of theatre in India'', by Som Benegal. Published by Popular Prakashan [for] [[Indian Council for Cultural Relations]] (ICCR), 1968. * ''Indian Theatre: Traditions of Performance'', by Farley P. Richmond, Darius L. Swann, Phillip B. Zarrilli. Motilal Banarsidass Publ., 1993. ISBN 81-208-0981-5. * ''Indian theatre: theatre of origin, theatre of freedom'', by Ralph Yarrow. Routledge, 2001. ISBN 0-7007-1412-X. * ''The Oxford companion to Indian theatre'', by Ananda Lal. Oxford University Press, 2004. ISBN 0-19-564446-8. * ''[http://www.jagrancityplus.com/storydetail.aspx?cityid=22...155 jagrancityplus]'' * ''A History of the Jana Natya Manch: Plays for the People" by Arjun Ghosh; Published by SAGE Publications India, New Delhi; 2012 {{Theatre}} {{Bengali Theatre}} {{Marathi Theatre}} {{DEFAULTSORT:Theatre Of India}} [[Category:Theatre in India|*]] [[Category:Asian drama]]'