Theatre of India

1.1 Sanskrit theatre

Main article: Sanskrit drama
See also: Koodiyattam
The earliest-surviving fragments of Sanskrit drama date
from the 1st century AD.[6] The wealth of archeological
evidence from earlier periods oers no indication of the
existence of a tradition of theatre.[7] The ancient Vedas
(hymns from between 1500 and 1000 BC that are among
the earliest examples of literature in the world) contain
no hint of it (although a small number are composed
in a form of dialogue) and the rituals of the Vedic period do not appear to have developed into theatre.[7] The
Mahbhya by Patajali contains the earliest reference
to what may have been the seeds of Sanskrit drama.[8]
This treatise on grammar from 140 BC provides a feasible date for the beginnings of theatre in India.[8]

Kathakali one of classical theatre forms of India.

The earliest form of the theatre of India was the Sanskrit

theatre.[1] It began after the development of Greek and
Roman theatre and before the development of theatre in
other parts of Asia.[1] It emerged sometime between the
2nd century BC and the 1st century AD and ourished
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.[2] With the Islamic
conquests that began in the 10th and 11th centuries, theatre was discouraged or forbidden entirely.[3] 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.[4] Modern Indian theatre developed
during the period of colonial rule under the British Empire, from the mid-19th century until the mid-20th.[5]
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 trend. In contemporary India, the major
competition with its theatre is that represented by growing television industry and the spread of lms produced in
the Indian lm industry based in Mumbai (formerly Bombay), known as "Bollywood". Lack of nance is another
major obstacle.

The major source of evidence for Sanskrit theatre is

A Treatise on Theatre (Ntyastra), 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, dramatic construction,
architecture, costuming, make-up, props, the organisation of companies, the audience, competitions, and offers a mythological account of the origin of theatre.[8] 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.
Under the patronage of royal courts, performers belonged to professional companies that were directed by a
stage manager (sutradhara), who may also have acted.[9]
This task was thought of as being analogous to that
of a puppeteerthe literal meaning of "sutradhara" is
holder of the strings or threads.[8] The performers were
trained rigorously in vocal and physical technique.[10]
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 dierent from their own
(whether younger or older). Of all the elements of theatre, the Treatise gives most attention to acting (abhi-

History of Indian theatre

1

HISTORY OF INDIAN THEATRE

1910), The Post Oce (Dakghar, 1913), and Red Oleander (Raktakarabi, 1924).[13]
Kalyanam Raghuramaiah, a recipient of the Sangeet
Natak Akademi Award, and the Padmashri, was known
for the roles of Krishna or Dushyantha, Bhavanisankar,
Narada etc. in Telugu theatre. He performed those
roles for about 60 years. He indulged in elaborate
raga alapana, based on dierent ragas while rendering
padyams.[14][15][16] One of the nest method actors, He
had the ability to sing padyams and songs through whistle, by putting his nger in mouth and producing the
whistle or ute sound (meaning Eela in Telugu). He has
acted in various dramas and gave more than 20,000 stage
performances.[17] He was called the Nightingale of the
Stage by Rabindranath Tagore [14]
Performer playing Sugriva in the Koodiyattam form of Sanskrit
theatre.

1.4 Indian theatre after Independence

(1947-1992)
naya), which consists of two styles: realistic (lokadharmi)
and conventional (natyadharmi), though the major focus
1.4.1 Contemporary (post-1992) Indian theatre
is on the latter.[11]
Its drama is regarded as the highest achievement of
Sanskrit literature.[12] It utilised stock characters, such as
the hero (nayaka), heroine (nayika), or clown (vidusaka).
Actors may have specialised in a particular type. Klidsa
is arguably considered to be India's greatest Sanskrit
dramatist, writing in the ca. 4th century CE-ca. 5th
century CE. Three famous romantic plays written by
Klidsa are the Mlavikgnimitram (Mlavik and Agnimitra), Vikramuurvashiiya (Pertaining to Vikrama and
Urvashi), and Abhijnakuntala (The Recognition of
Shakuntala). The last was inspired by a story in the
Mahabharata and is the most famous. It was the rst
to be translated into English and German. akuntal
(in English translation) inuenced Goethes Faust (1808
1832).[12]
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.

1.2

Theatre in medieval India

1.3

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.[13]
His plays are written in Bengali and include Chitra (Chitrangada, 1892), The King of the Dark Chamber (Raja,

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 signicant theatre activist in rst
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 gures of Indian Drama and Theatre world
through dierent 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 organiser 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 dierent 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 Prabhakars
originally written Play 'Sadho Dekho Jag Baudana' was

3
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 dierent groups and directors in various theatre centres of the country. He has adopted famous Keniyan playwright Ngugi Wa Thiongs play 'The
Black Hermit' as 'Jayen To Jayen Kahan'. The adoptation
was rst 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.

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 1960s Badal Sircar introduced a new form of political theatre called the Third Theatre. Badal Sarkars
anti-establishment experimental theatre created a new
genre of social enlightenment.He formed his rst Third
Theatre Group satabdi,in the year 1967. They used to
perform Drama written by Badal Sircar in Anganmancha
(theatre in the courtyard) 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

SEHAR
Saurabh Srivastava is another versatile theatre worker
who has been active in dierent parts of country
since 1980, acting and directing in plays in Allahabad, Improvisational Theatre forms practiced in India:
Varanasi, Lucknow, Kanpur, Delhi, Vadodara, Hyderabad, Jodhpur and Jaipur.[18] Working with Campus The Playback theatre
atre, Creative Arts, Apurva Society etc., Saurabh Srivastava has directed more than two dozen Hindi plays and
Theatre of the Oppressed
presented hundreds of shows in dierent cities. Literary interpretation, mature insight, penetrating vision and
Forum theatre
an ability to successfully communicate the essence to the
audience are some of the strengths of Saurabhs style and
vision of theatrical presentation. He is currently active in 1.4.3 Notable theatres in India in dierent Indian
Jaipur.
languages and regions
Kannada Theatre
1.4.2

Improvisation

Improvisational (also known as improv or impro) is a

form of theatre in which the actors use improvisational
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, condence, and performing instinctively and spontaneously
are considered important skills for actors to develop.

Malayalam Theatre
Marathi theatre
Bengali Theatre
Hindi theatre
Telugu drama
Bhojpuri

Improvisational Theatre in India is largely used for edu- 2 Notable people

cational, interventional and entertainment purposes. The
traces of Improvisational theatre in India dates back to 2.1 Ancient Indian playwrights
the 1990s with the advent of Forum theatre with Janasanskriti under the leadership of Sanjoy Ganguly. After that
Bharata Muni
in 1999, a team from the US with Bev Hoskins and Mary
Good introduced Playback theatre to India. Thus Play Kalidasa
back theatre and Forum theatre began to take its shape in
the remotest parts of India, such as Karur, Chennai, West
Bhsa
Bengal, as well as Bangalore too. Yours Truly Theatre, a
Bangalore-based group, developed complete the story,
bhavabhuti

2.2

Medieval age

2.3

Playwrights working under British

rule

NOTABLE PEOPLE

Ramesh Mehta
Shaoli Mitra
Sombhu Mitra

Bankim Chandra Chatterjee

Shankar Nag

Dinabandhu Mitra

Kavalam Narayana Panicker

Jaishankar Bhojak 'Sundari'

Mrityunjay Prabhakar

Jaishankar Prasad

Prasanna
Rathna Shekar Reddy

2.4

Post-Independence theatre-makers

Notable theatre directors:

S. M. Azhar Alam
Ebrahim Alkazi
K.V. Akshara
Nadira Babbar
Ram Gopal Bajaj
Suresh Bhardwaj
Bijon Bhattacharya
Raj Bisaria
Manish Joshi Bismil
Chandradasan
Neelam Mansingh Chowdhry
Satyadev Dubey

Rudraprasad Sengupta
B.M. Shah
Naseeruddin Shah
Gursharan Singh
Badal Sircar
Deepan Sivaraman
Anjan Srivastav
Niloy Roy
K.V. Subbanna
Habib Tanvir
Ratan Thiyam
Kumara Varma
Sankar Venkateswaran

2.5 Notable playwrights

Utpal Dutta

Abhimanyu (Malayalam)

Arvind Gaur

Satish Alekar (Marathi)

Sachin Gupta

Rambriksh Benipuri (Hindi)

Safdar Hashmi

Datta Bhagat (Marathi)

Rohini Hattangadi

Dharamvir Bharati (Hindi)

Sha Inamdar

Asif Currimbhoy (English)

Prithviraj Kapoor

Gurucharan Das (English)

Shashi Kapoor

Mahesh Dattani (English)

B.V. Karanth

Swadesh Deepak (Hindi)

Bansi Kaul

Govind Purushottam Deshpande (Marathi)

Kader Khan

Utpal Dutta (Bangla)

Surya Mohan Kulshreshtha

Mahesh Elkunchwar (Marathi)

Mohan Maharishi

Sachin Gupta (Hindi)

3 Forms of Indian theatre

Rajesh Joshi (Hindi)

Sharad Joshi (Hindi)

3.1 Traditional Indian theatre

Chandrashekhara Kambara (Kannada)

Prithviraj Kapoor (Hindi),
(Bangla)

(Urdu),

Girish Karnad (Kannada)

Kader Khan (Urdu)
Deepak Kumar (Dogri)
Ramesh Mehta (Urdu)
Danish Iqbal (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)
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)
Dr. Harcharan Singh (Punjabi)

Main article: List of traditional Indian theatre

(Pashto),
Kutiyattam is the only surviving specimen of the ancient
Sanskrit theatre, thought to have originated around the
beginning of the Common Era, and is ocially 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
Nats have been practicing in Assam since early 16th century which were created and initiated by Mahapurusha
Srimanta Sankardeva. 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, 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 dierent 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 avour. 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.

4 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
inuenced modern Indian theatre. Among all the languages Urdu(which was called Hindi by early writers),
along with Gujrati,Marathi and Bengali theatres have
kept ourishing and demand for its writers and artists has
not subsided by the drama acionados. For Urdu drama,
no place is better than Bombay Film industry otherwise
known as Hindi lm industry. All the early gems of Urdu
Theatre (performed by Parsi Companies) were made into
lms. Urdu Dramatic tradition has been a spectators delight since 100 years and counting.

NOTABLE AWARDS AND FESTIVALS

Drama as a theme is made up of several elements. It

focuses on life and dierent 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 inuenced 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, Ra 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 Han, Jameel Shaidayi etc. belong to the
old generation, contemporary writers like Mujeeb Khan, A street play (nukkad natak) in Dharavi slums in Mumbai.
Javed Siddiqui, [Sayeed Alam], Danish Iqbal, Anis Azmi,
Iqbal Niyazi and Zaheer Anwar are few post modern Play 5 Mobile Theatre
wrights actively contributing in the eld of Urdu Drama.
Danish Iqbals '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
Faizs 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 Faizs 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 ag of Urdu Theatre ying 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 BaughU??" 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.

4.1

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.

4.2

Mobile theatres are a kind of popular theatre form that

exist only in Assam. For staging their plays, theatre
groups travel dierent 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 rst staged on 2 October 1963 in Pathshala,
Assam. Achyut Lahkar is known as the father of mobile
theatre.[19]
Mobile theatre in Salempur Deoria Eastern Uttar
Pradesh is over 500 years played on stage within eight
years. sanskritiksangam.com is a leading cultural organisation 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[20]
in Bhojpuri an adaptation of Kalidasas 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 organisations 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.

Indian street theatre

Jan Natya Manch (JANAM)

6 Notable awards and festivals

6.1

Awards

Samahaara

Sangeet Natak Akademi Award

Theatre Arts Workshop (TAW)

Theatre Pasta Theatre Awards

Theatre Formation Paribartak

Kalidas Samman

Lokranjan Theatre

Karmaveer Puraskaar Noble Laureates,Artistes for

Change

Rangshala, Bhopal

6.2

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, NSD, New Delhi
Nandikars National Theatre Festival
The Hindu Metro Plus Theatre Fest, Chennai

Youngs Theatre, Bhopal

GATHA Theatre Delhi

8 Notable theatres
Academy of Fine Arts, Calcutta (Ranu Mukherjee
Mancha)
Girish Mancha
Rabindra Sadan
Star Theatre

Purple Umbrella Theater Festival, New Delhi

Akshara Theatres Festival of Four Languages, New
Delhi

Notable groups and companies

9 Notable practitioners who have

moved from theatre to lms
Shabana Azmi
Raj Babbar

Act One

Manoj Bajpai

WeMove Theatre

Suresh Bhardwaj

Chilsag Chillies Theatre Company

Seema Biswas

Dramanon

Deepak Dobriyal

Indian Peoples Theatre Association

Neena Gupta

Jagriti Theatre

Sha Inamdar

JOSH Theatre Group

Pankaj Kapoor

Kerala Peoples Arts Club

Shahid Kapoor

Mandap

Prithviraj Kapoor

Manch Theatre

Raj Kapoor

Madras Players

Shammi Kapoor

Nandikar

Shashi Kapoor

Ninasam

Girish Karnad

Platform for Action in Creative Theater

Kader Khan

Prithvi Theatre

Shahrukh Khan

Rangayana

Kulbhushan Kharbanda

Ranga Shankara

Satish Kaushik

12 SOURCES
Anupam Kher

[8] Richmond (1998, 517).

Swanand Kirkire

[9] Brandon (1981, xvii) and Richmond (1998, 517).

Sohrab Modi

[10] Richmond (1998, 518).

Ananth Nag

[11] Richmond (1998, 518). The literal meaning of abhinaya

is to carry forwards.

Shankar Nag

[12] Brandon (1981, xvii).

Alok Nath

[13] Banham (1998, 1051).

Rajkumar
Kangana Ranaut
Paresh Rawal
Rathna Shekar Reddy
Naseeruddin Shah
Ratna Pathak Shah

[14] Article in Eenadu http://beta.eenadu.net/Cinema/

Cinemainner.aspx?qry=gnapaka
[15] He was ahead of his times - Tirupati. The Hindu. 201305-10. Retrieved 2016-05-30.
[16] pranaism:
(
Pranaism.blogspot.in. Retrieved 2016-05-30.

)".

[17]

Om Shivpuri

[18] Sharma, Shrikrishna, ed. 1996. Rangkarmi. Cultural Societies of Rajasthan. (1996, 139)

Sudha Shivpuri

[19] Screen salute to mobile theatre pioneer.

Shilpa Shukla

[20] https://www.youtube.com/playlist?list=
PLnfpS117nLitk6bgGQZHc_6-S9yayqSyj

Ashish Vidyarthi
Rajpal Yadav
Rangaraj Bhatracharya

10

Training

Bhartendu Academy of Dramatic Arts

National School of Drama
JOSH Theatre, Lucknow
Theatre Arts Workshop (TAW)
MP Drama school Bhopal

11

References

[1] Richmond, Swann, and Zarrilli (1993, 12).

[2] Brandon (1997, 70) and Richmond (1998, 516).
[3] Brandon (1997, 72) and Richmond (1998, 516).
[4] Brandon (1997, 72), Richmond (1998, 516), and Richmond, Swann, and Zarrilli (1993, 12).
[5] Richmond (1998, 516) and Richmond, Swann, and
Zarrilli (1993, 13).
[6] Brandon (1981, xvii) and (1998, 516-517).
[7] Richmond (1998, 516).

12 Sources
Banham, Martin, ed. 1998. The Cambridge Guide
to Theatre. Cambridge: Cambridge UP. ISBN 0521-43437-8.
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 0-20541050-2.
Baumer, Rachel Van M., and James R. Brandon,
eds. 1981. Sanskrit Theatre in Performance. Delhi:
Motilal Banarsidass, 1993. ISBN 978-81-2080772-3.
Richmond, Farley.
(1998, 516-525).

1998.

India. In Banham

Richmond, Farley P., Darius L. Swann, and Phillip

B. Zarrilli, eds. 1993. Indian Theatre: Traditions
of Performance. U of Hawaii P. ISBN 978-0-82481322-2.
Sharma, Shrikrishna, ed. 1996. Rangkarmi. Cultural Societies of Rajasthan. (1996, 139)

13

Further reading

Wilson, Horace Hayman (tr. from the Original Sanskrit) (1827). Select Specimens of the Theatre of the
Hindus. V.Holcroft at The Asiatic Press, Calcutta.
., Dhanamjaya; Haas, George C.O.(tr. from Sanskrit by) (1912). The Dasarupa or Treatise on Ten
Forms of Drama - A Treatise on Hindu Dramaturgy.
Columbia University.
., Nandikevara; Coomaraswamy, Ananda Kentish
(tr by); Duggirala, Gopala Kristnayya (tr by) (1917).
The Mirror of Gesture - Being the Abhinaya Darpana
of Nandikevara. Harvard University Press.
The Indian theatre, by Mulk Raj bansal, Published
by D. Dobson, 1950.
Theatre in India, by Balwant Gargi. Published by
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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 81208-0981-5.
Indian theatre: theatre of origin, theatre of freedom,
by Ralph Yarrow. Routledge, 2001. ISBN 0-70071412-X.
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jagrancityplus
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People by Arjun Ghosh; Published by SAGE Publications India, New Delhi; 2012

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14.1

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

Text

Theatre of India Source: https://en.wikipedia.org/wiki/Theatre_of_India?oldid=727495825 Contributors: Paul Barlow, Ronz, Hectorthebat, Topbanana, Utcursch, BozMo, MistToys, Mukerjee, RayBirks, Rich Farmbrough, Bender235, Josh Parris, Vegaswikian, Crazycomputers, Bgwhite, TexasAndroid, Vedranf, Rsrikanth05, Welsh, Perry Middlemiss, Caballero1967, Garion96, Riyazusman, SmackBot, Jagged 85, Kkthedoc, VarunGiri, Bluebot, Amarrg, Zvar, Amajit Basu, WoodElf, Khazar, Disavian, Sreekanthv, Accurizer, RomanSpa, Prabhujee, Dl2000, LessHeard vanU, Neelix, Arun athmanathan, Nick Number, Ekabhishek, Geniac, Magioladitis, VoABot
II, Meredyth, Rich257, Daarznieks, JaGa, Hbent, Yavoh, Thinkopotamus, Gnanapiti, Abecedare, Ipigott, Belovedfreak, KylieTastic,
Shaq.ad, Rajasekhar1961, A Ramachandran, Krishnanvarma, Mooooon, Ranjidavid, Jaganhair, Enviroboy, Theatreraw, Edofedinburgh,
Pranshughosh, Malcolmxl5, Rrsagar, France3470, Techman224, Aravind V R, Cyfal, F2003143, JL-Bot, Mustafaparvez, Explicit, ImageRemovalBot, Anilkgoel, Kolkata1972, Rodhullandemu, DionysosProteus, Emishi, Drmies, Niceguyedc, Neverquick, Excirial, Sngouri,
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