SONAI BIBI
Celebrating its golden anniversary this year, Rangroop has grown from strength to strength, a different trajectory from many Bengali groups who have reached that milestone. Starting off as a small […]
EAST SIDE STORIES | TRANSPORTER
The trauma experienced by refugees, local and worldwide, forms the theme of two solo productions. East Side Stories, about both Bengals post-partition, inaugurated the newest performance venue in our city
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16 PATA | TARAMANDAL | THE PINK SPIDER
Youth theatre in this city – though some of these troupes may justifiably claim they are no longer young and qualify for treatment on par with regular groups – encounters
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BHANGA BHANGA CHHABI | POLLENS | ANUBHAV
Solo performances constitute the nucleus of several new Bengali productions, in which technical inputs, stage properties or voices off add extra dimensions to the acting. In Broken Images, Girish Karnad
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CHHUMANTAR | CHARLIE
A little bit of magic – some may call it pure fantasy, others simply luck – connects two new Bengali plays in both of which a commoner becomes a celebrity
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A-PABITRA | PLAYHOUSE KHELBEN?
Bengali groups seem keen on reviving foreign works that made a name in the mid-20th century. Two of these date to virtually the same year, 1955-56: the American play Inherit
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ABHINETRI | BIPANNA BISHWAS
The Kolkata International Film Festival offers occasion to muse on the fraught relationship between theatre and cinema, artists of the former perennially blaming the latter for cornering all the publicity.
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PUNARUTTHAN
Keeping pace with progressive Bengali fiction is a positive sign for group theatre, which needs to consciously disprove the popular perception that it lives retrospectively. Sayak have consistently cultivated contemporary
RAJRAKTA | CAPTAIN HURRAH | SINGHASANER KSHAYROG
Mohit Chattopadhyaya, the quiet, self-effacing teacher, would have smiled enigmatically. Six years after his death, Bengali theatre has launched a rediscovery of his dramatic works with three new productions of
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BHANIKA
The more I see the work of Piyal Bhattacharya with his young disciples, the more I am astonished by the ease with which he unites scholarship of the Nātyashāstra and
CHIRIYAKHANAR GALPA | KIRITIR NOTEBOOK
Ganakrishti is in the vanguard of a rethinking among Bengali groups, a few of whom have taken the first steps to diversify out of their familiar proscenium surroundings into the
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PULAKITA BISHAD | KALPANIK BASTAB
Loknath Bandyopadhyay’s fascination with the functioning of the human mind has led him to adapt intriguing recent American stage and screen works for Bengali theatre. For the sake of information
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