Volume-I, Issue-II, November, 2024
Volume-I, Issue-II, November, 2024 |
ভারতবর্ষের নাট্য-ঐতিহ্যে থার্ড থিয়েটার প্রশান্ত চক্রবর্ত্তী, প্রাক্তন অতিথি অধ্যাপক, বাংলা বিভাগ, নেতাজী সুভাষ মহাবিদ্যালয়, উদয়পুর, ত্রিপুরা, ভারত |
Received: 15.11.2024 | Accepted: 27.11.2024 | Published Online: 30.11.2024 | Page No: 262-266 |
DOI: 10.69655/atmadeep.vol.1.issue.02W.031 | |||
Third Theatre in the Dramatic Tradition of India Prashanta Chakraborty, Former Guest Professor, Dept. of Bengali, Netaji Subhash Mahavidyalaya, Udaipur, Tripura, India | ||
ABSTRACT | ||
The word "theatre" is an imported term, and it is one of the oldest art forms in the world. The ancient Greek drama and our country's Sanskrit theatre have evolved and continued to flow through both ends of the world. To make this important medium of communication more active, experiments are being conducted in countries around the world. Our country is not lagging behind in this new exploration. Along with the first and second theatres, Bengali theatre has also sought the third theatre. Playwright Badal Sarkar is the main leader in this movement. According to Badal Sarkar, to understand the essence of third theatre, we must first understand the concepts of the first and second theatres. The first aspect involves showing the absurdities of history and society through comic plays. The second aspect refers to traditional forms in our rural society, such as Tamasha, Nautanki, Ramleela, and Jatra. 'Third Theatre' is the theatre that exists outside of these two traditions. Those who write plays must consider both the production aspects and the social responsibility of theatre. In three sentences, Badal Sarkar’s concept of third theatre can be described: it can be done in various situations, it can be easily transported, and it is not overly dependent on money. The primary goal of third theatre is to transcend the boundaries of the middle and upper classes, and educated people, to become a means of awakening for the uneducated masses. In this form, both the actor and the audience are on the same level. | ||
Key Words : Third Theatre, Playwright, Audience, Renaissance. |