Origins

Origins of Indian theatre not very well known
Drawings on caves show that dance, music and drama were an intrinsic part of the life of the people
Sitabengona and Jogimara (Ramgarh, MP) have structures that are possibly the oldest theatres of the world
IVC: a seal shows a person beating drum while other disguised as a tiger
A few hymns of the Rig Veda are in the monologue and dialogue form
Natyashastra evolved some guidelines for drama

Folk Theatre vs Classical Sanskrit Theatre

Table 1

	Classical Sanskrit	Folk	Modern
Place of performance	Normally performed privately or semi-privately – in palaces or rich homes, or in temple courts	Performed in open grounds or in pandals	Auditoriums
Auditorium	Design of auditorium described in Natyashastra.
Stage	Use features like back-stage, front-stage, wings and curtains
Themes	Plays written by dramatists – well structured. Themes of love, grief, myths etc	Folk legends and myths. Later themes focusing on social conditions became important	Dramas began to take up social themes, voice political unrest, express resentment against alien rule
Acting	Actors use rich gesture language and facial expressions to effectively atmosphere and situation	Spontaneous, simple and sometimes crude. Combines music, dance and acting
Other characteristics	Standard form	More regional in form

Prominent folk theatre forms

Kerala
- Mudiyettu
  - Ritualistic dance drama
  - Performed annually in Kali temples
  - Signifies triumph of good over evil as Kali vanquishes the demon Darika
  - Included in UNESCO list of Oral and Intangible Heritage of Humanity (2010)
- Krishnattam
- Kudiyattam (Sanskrit theatre)
- Theyyam
Assam
- Anika Nat (one act play)
Rajasthan
- Bhavai
- Khyal (dance drama)
Haryana
- Saang
Kashmir
- Jashin
Himachal Pradesh
- Karyala
Maharashtra
- Tamasha
TN: Therukkothu
Bengal, Orissa:
Goa: Zatra
UP: Nautanki
MP: Macha
North India in general
- Rasleela
- Ramleela

Important Dramatists

Classical

Asvaghosa – Buddhacharita
Kalidasa – Abhijnanasakuntalam, Meghduta, Kumarsambhava
Bhasa – Madhyamavyayoga
Shudrak – Mricchkatika
Vishakahdatta – Madrarakshasa
Bhavabhuti – Mahaveercharita

Modern

Dinbandhu Mitra – Neeldarpan
Aga Hashra Kashmiri (aka Indian Shakespeare?)
Bhartendu Harishchandra
Jaishankar Prasad
Habib Tanveer – Mitti ki Gadi, Charandas Chor
Mohan Rakesh – Ashadha ka ek din
Dharamveer Bharti – Andha Yug
Vijay Tendulkar – Shantata Court Chalu Ahe, Ghasiram Kotwal
Girish Karnad – Tughlaq, Yayati

Puppet Theatre

Rajasthani Kathaputli
- Legend of Amarsingh Rathore is very popular
Orissa: Sakhi Kundhei
Assam: Putla Nach
Maharashtra: Malasutri Bahuly
Karnataka: Gombeyatta
TN: Bommalattam
Kerala: Tolpavakoothy
AP: Tholu Bomalata

Modern Drama

New theatre movement was initiated in Bengal and Maharashtra
Influence of Europeans
European plays translated and staged
Themes: Dramas began to take up social themes, voice political unrest, express resentment against alien rule
- Deenbandhu Mitra’s Neeldarpan took the theme of the plight of the indigo plantation workers
- Krishnaji Prabhakar Khadilkar’s Kichaka Vadha relected nationalist sentiments
Indian People’s Theatre Association (IPTA) became a part of the mass struggle of peasants, youth and workers
- It was the cultural wing of the CPI
Parsi theatre aimed at entertainment
Maharashtra
- Indian National Theatre
- Prithvi Theatre

Government Initiatives

National School of Drama, 1959

Meghalaya PSC Notes brings Prelims and Mains programs for Meghalaya PSC Prelims and Meghalaya PSC Mains Exam preparation. Various Programs initiated by Meghalaya PSC Notes are as follows:-

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