Site-specific performances have not caught on in the conservative domain of Bengali theatre, though unconventional English groups in the city like The Creative Arts have experimented with this postmodern form
32 ASWINI DUTTA ROAD Read More »
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
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
EAST SIDE STORIES | TRANSPORTER Read More »
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
16 PATA | TARAMANDAL | THE PINK SPIDER Read More »
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
BHANGA BHANGA CHHABI | POLLENS | ANUBHAV Read More »
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
CHHUMANTAR | CHARLIE Read More »
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
A-PABITRA | PLAYHOUSE KHELBEN? Read More »
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.
ABHINETRI | BIPANNA BISHWAS Read More »
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
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
RAJRAKTA | CAPTAIN HURRAH | SINGHASANER KSHAYROG Read More »
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
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
CHIRIYAKHANAR GALPA | KIRITIR NOTEBOOK Read More »
