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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.[2] It emerged sometime between the 2nd century BCE and the 1st century CE and flourished between the 1st century CE and the 10th, which was a period of relative peace in the history of India during which hundreds of plays were written.[3] With the Islamic conquests that began in the 10th and 11th centuries, theatre was discouraged or forbidden entirely.[4] Later, in an attempt to re-a 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 films produced in the Indian film industry based in Mumbai (formerly Bombay), known as "Bollywood". Lack of finance is another major obstacle.
The earliest-surviving fragments of Sanskrit drama date from the 1st century CE.[5] The wealth of archeological evidence from earlier periods offers no indication of the existence of a tradition of theatre.[6] The ancient Vedas (hymns from between 1500 to 1000 BCE 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 Mahābhāṣya by Patañjali contains the earliest reference to what may have been the seeds of Sanskrit drama.[8] This treatise on grammar from 140 BCE provides a feasible date for the beginnings of theatre in India.[9]
The major source of evidence for Sanskrit theatre is A Treatise on Theatre (Nātyaśāstra), a compendium whose date of composition is uncertain (estimates range from 200 BCE to 200 CE) 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.[10] 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.[11] This task was thought of as being analagous to that of a puppeteer--the literal meaning of "sutradhara" is "holder of the strings or threads".[12] The performers were trained rigorously in vocal and physical technique.[13] 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 character their own age, while others played those different to 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.[14]
Its drama is regarded as the highest achievement of Sanskrit literature.[15] It utilised stock characters, 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 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 and German. Śakuntalā (in English translation) influenced Goethe's Faust (1808-1832).[16]
The next great Indian dramatist was Bhavabhuti (c. 7th century CE). 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.
Under British colonial rule, modern Indian theatre began when a theatre was started in Belgachia. Rabindranath Tagore, who was awarded the Nobel Prize for Literature in 1913, is probably India's best-known modern playwright.[17] His plays are written in Bengali and include Chitra (Chitrangada, 1892), The King of the Dark Chamber (Raja, 1910), The Post Office (Dakghar, 1913), and Red Oleander (Raktakarabi, 1924).[18]
Improvisational theatre (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, 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, 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".
Improvisational Theatre groups in India:
Improvisational Theatre forms practiced in India:
Notable theatre directors:
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 CE. 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 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.
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 Danish Iqbal, Sayeed Alam, Shahid Anwar,Iqbal Niyazi and Anwar are few post modern Play wrights actively contributing in the field of Urdu Drama.
Sayeed Alam is known for his wit and humour and more particularly for Plays like 'Ghalib in New Delhi' 'Big B'and many other gems which are regularly staged for massive turn out of theatre lovers. Maulana Azad is his magnum opus both for its content and style.
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'.
Shahid's 'Three B' is also a significant Play. He has been associated with amny groups like 'Natwa'and others. Zaheer Anwar has kept the flag of Urdu Theatre flying in Kolkata. Unlike the writers of previous generartion Sayeed, Shahid, 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.
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.
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