Badal sarkar biography of donald
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Badal Sircar – Off Stage
He drew theatre out form the confines of the folk and the urban styles and into the Third Theatre – exposing us to an unconventional theatrical dimension of free theatre, courtyard productions and village theatre.
Sudhindra Sircar lives in a Dickensian house on a sinewy lane of North Kolkata’s Beadon Street. Well, that was his identity before he burst into the theatre world in the sixties as Badar Sircar, one of post-independent Bengal’s most poignant playwrights. Growing up amidst the halcyon days of Bengali professional stage, Sircar was disinclined to visit the public theatres even for a single evening.
Funnily, an insatiable thirst for play-reading marked Sircar’s childhood and college-going period. “People normally read novels and short stories and watch plays. I relished reading dramas. Studying in the Bengali medium Scottish Church Collegiate school, it was naturally Bengali compositions to begin with. But, as the family’s stock of Bengali plays ran out, I thought of teaching myself a bit of English. I was delighted to be introduced by my mother (Sarala Mona Sircar) to grandmother’s (Virgina Mary Nandy) collection of western literature. Grandma, incidentally, was amongst India’s first lady physicia
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The legacy hint Badal Sircar
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Badal Sircar
Indian playwright
Sudhindra Sircar (15 July 1925 – 13 May 2011), also known as Badal Sarkar, was an influential Indian dramatist and theatre director, most known for his anti-establishment plays during the Naxalite movement in the 1970s and taking theatre out of the proscenium and into public arena, when he transformed his own theatre company, Shatabdi (established in 1967 for proscenium theatre ) as a third theatre group . He wrote more than fifty plays of which Ebong Indrajit, Basi Khabar, and Saari Raat are well known literary pieces. A pioneering figure in street theatre as well as in experimental and contemporary Bengali theatre with his egalitarian "Third Theatre", he prolifically wrote scripts for his Aanganmanch (courtyard stage) performances, and remains one of the most translated Indian playwrights.[2][3] Though his early comedies were popular, it was his angst-ridden Evam Indrajit (And Indrajit) that became a landmark play in Indian theatre.[4] Today, his rise as a prominent playwright in 1960s is seen as the coming of age of Modern Indian playwriting in Bengali, just as Vijay Tendulkar did it in Marathi, Mohan Rakesh in Hindi, and Girish Karnad in Kannada.[5]
He was awarded the Padma Shri in