Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Evam Indrajit (or Ebong Indrajit) (And Indrajit) (1962) has been
recognized as a milestone in the history of modern Indian theatre.
About its significance, Satyadev Dubey rightly comments in 1989 that,
"it is only in relation to Indian theatre history that Evam Indrajit really
makes its presence felt; otherwise it is just a very good, sensitively
written play, like many others written in the last decade in India". It
breaks away from the well-established realistic techniques of the day to
create a more impressionistic theatre, new to the Indian stage. Its
existentialist tone creates the first anxious protagonists in modern
Indian theatre overcome by the burden of history and the emasculating
effects of middle-class urban life.
The play has only a shadow of a plot, eschews realism, and departs
from accepted norms of 'conflict' and 'denouement'. Its collage of
moments and fragments of situations is a complete departure from the
well-established, realistic nineteenth-century conventions of the
Westernized Indian urban stage. Through the illogical, incoherent and
cyclical plot of the play, Sircar aptly reflects the mechanical, humdrum
and monotonous nature of the present way of life. The humdrum
existence of the contemporary society is presented with the help of
repetitive dialogues and phrases. The whole structure of the play well
suggests the same idea. The cyclic routine of the society goes on in
which the characters change but the events remain the same. As in the
starting of the play, Auntie is seen asking Writer to stop writing and
then comes Manasi later in the play asking Writer to do the same. It is
quite strange and awkward to Auntie seeing Writer writing, by avoiding
basic biological functions. The writer has a different philosophy by
which he prefers having a purpose in life to paying attention on the
basic biological functions.
Sircar uses a dramatic trick lest his play should lapse into sequential
reflections of humdrum events. He places Writer and Indrajit sitting by
each other. At the time, when Writer is reading the letter, Indrajit is
silent and the moment Writer stops, Indrajit starts speaking. Writer’s
reading of the letter and Indrajit’s speech goes on in continuation.
Many facts are disclosed in this way, as Indrajit has returned from
London, he has been married to some other girl but not Manasi and
Manasi is continuing her job of a schoolteacher at a distant place from
her home. Through the ongoing conversation, one gets aware of the
sadistic thoughts of Indrajit which seem to arise out of an utter lack of
faith.
Such dramatic tricks and devices are unknown in realistic theatre and
are the very essence of anti-realism. Thus, through the employment of
nonlinear narrative, absurdist qualities, unconventional techniques and
myth, Badal Sircar’s Ebong Indrajit can be adjudged to be an Anti-
Realist play.