بدال سیرکار: نمایشنامه‌نویس مردم

Badal Sircar: People's Playwright throws light on Sircar's unequitable contribution to Indian theatre. He has not only given it a new dimension but also has created his own theatre, the "People's Theatre"--it has been created for people and by people to bring about a change in the thinking modes of people. Therefore, at Sircar's hand, theatre really becomes a means of social reform.The book discusses how Badal Sircar as a playwright-director, theorist, teacher and mentor challenged the established norms and concepts of writing and performance of a play. The critical study of the proscenium plays portrays the image of an angry young man, his profound sense of guilt for turning away from the responsibilities, the absurdity of the contemporary society and existence of a man in the present war-ridden scenario and the analysis of the plays in the Third Theatre shows--Sircar's successful efforts to erase the line between the performers and spectators, to make the spectators the architecture of action and to create in them the feeling of community, that is, a sense of "we". Badal Peoples Playwright throws light on Sircars unequitable contribution to Indian theatre. He has not only given it a new dimension but also has created his own theatre, the Peoples Theatreit has been created for people and by people to bring about a change in the thinking modes of people. Therefore, at Sircars hand, theatre really becomes a means of social reform. The book discusses how Badal Sircar as a playwright-director, theorist, teacher and mentor challenged the established norms and concepts of writing and performance of a play. The critical study of the proscenium plays portrays the image of an angry young man, his profound sense of guilt for turning away from the responsibilities, the absurdity of the contemporary society and existence of a man in the present war-ridden scenario, and the analysis of the plays in the Third Theatre showsSircars successful efforts to erase the line between the performers and spectators, to make the spectators the architecture of action and to create in them the feeling of community, that is, a sense of we. Preface Introduction Prologue Chapter 1 : Looking into the Past Chapter 2 : Bengali Theatre: Its Voyages The Early Phase: Proscenium Plays Chapter 3 : Evam Indrajit : The Endless, Weary Way Chapter 4 : Baki Itihas : The Voice of Conscience Chapter 5 : Shesh Nei : Looking into “Inner Self” Chapter 6 : Pagla Ghoda : Untamed Passion of Love Chapter 7 : Spartacus : A Phoenix for the Slaves The Later Phase: Non-proscenium Plays Chapter 8 : From the Proscenium Theatre to the Third Theatre Chapter 9 : Procession : Search for a Real Home Chapter 10 : Bhoma : Cutting down the Poisonous Trees Chapter 11 : Stale News : Spirit for Revolution Chapter 12 : Indian History Made Easy : India—Yesterday and Today The Last Phase: Fairy-tale-based Non-proscenium Plays Chapter 13 : Life of Bagala : Where there is Will, there is Way Chapter 14 : Scandal in Fairyland : Media—A Fairyland of Never-ending Scandals Chapter 15 : Beyond the Land of Hattamala : Sircar’s Utopia Epilogue Chapter 16 : Badal Sircar as a New Playwright Appendix Bibliography