FROM THEN TO NOW : THE EVOLUTION OF THIRD THEATRE

The trend of

(August 11, 1933 - January 14, 1999)

experimentation in theatrical world in the post colonial era came through hands of Jerzy Grotowski,a theatrical personality of Poland. Grotowski introduced The Poor Theatre: a new avenue where emphasis was given on actors control over their bodies, breathing and spiritual self. Also tried to create bonding between actor and audience.

MAIDEN STEP
Badal Sircar, the high priest of

modern indian theatre came into contact with Grotowski in Poland.

Sircar got highly influenced

by the Grotowskian motif and principles of The Poor Theatre.

During naxalite movement
BADAL SARKAR (1925-2011)

sircar in 1970s started antiestablishment of play and brought theatre out of proscenium to open arena.

THIRD THEATRE
This new form of drama began to

achieve popularity among both the upper class and the common folk.
Portable, flexible, inexpensive
It has been named THIRD THEATRE

following the title of one of sircars book THIRD THEATRE.

WHY THIRD THEATRE?

Before the introduction of Third Theatre

there were two kinds of theatre in Indiai)Proscenium theatre(imported from Britain popular mainly in town).

ii)Folk theatre (popular in village).

Badal sircar observed a great conflict between this two form of drama and paved path for the emergence of this new dramatic vogue.

Sircar coalescing the

elements of these two sorts of theatre evolves this dramatic tradition and thus rightly named Third Theatre.

SIRCARS AGENDA
To bring connection between body and soul of the actors. To create bonding between actor and audience by making both of them active. To bring theatre within the reach of every strata of society. To simplify the theatrical

techniques so that it becomes perceivable to A SCENE FROM BADAL SIRCARS SPARTACUS man in general.

Features
Following the above mentioned principles Sircar fixed some criterias for Third Theatrei)Move theatre from proscenium to street or under the tree or open space. Thus it is also known as street play. ii)Third theatre is intended for man in general and thus the dialogues of such plays are very lucid, comprehensible to all.

A glimpse from Hotto Malar Opare

iii)In order to create a direct bonding with the audience "Third Theatre is performed in an plain surface where the actors are encircled by audience in three sides. Even the audience can directly take part in the main action.
iv)The plot of play is devoid of any complexity. Sometime it contains some moral messages, such as in sircars Hotto Malar Opare. There is a message of mutual cooperation.

v) Deduction of props and theatrical instruments . Essential props and setting are created by utilization of body.

vi) Music is introduced to serve moral advice as Sircar thinks that it has a power to create charming effect.

Role of music and song

Music plays an integral role in this sort of drama . Actually Sircar thinks that music and song can easily attach audience to the play as well as to the actors, which is one of the main principles. But in terms of music there is also individuality. Here the songs are mainly of folk culture ,namely panchali ,kobigan ,vatiali song which help the rural folk to feel connected with the play.

 The musical instruments are also essentially traditionaldhol , harmonium , kartal , pakhowaaj are some among them.

RELEVANCE OF WORKSHOP Sircar in order to create bonding between body and soul introduces theatrical workshops.
In those workshops the theatrical techniques are taught through many games, like energy passing, trust game, follow the leader, mirroring etc.

 But the sole aim of

such games are to enhance the connection of soul and body, on which third theatre is based.
Open and free

thinking of mind is emphasized.

HUMAN SCUILPTURE,A WORKSHOP GAME

POLITICS IN THIRD THEATRE

Badal

sircar was a staunch political personality who took active part in naxalite movement. Sircar thinks that society needs reform first rather than human being. His plays have emblematic reference to contemporary political field.

Baki Itihas, Trinshsatabdi, Evam Indrajit, Sarkas, Sesh Nei exhibit Sircars refusal to accept society as it is and his frantic search for the right path to follow.

CONTEMPORARY PRACTITIONER
Along with Badal Sircar Habib Tanveer from Chattisgarh, Safader Hasmi from Deihi also help to establish this new theatrical dimension with their works like Agra Bazar (1954), Shatranj Ke Mohrey (1954),Lala Shoharat Rai (1954),Mitti ki Gaadi (1958) [ by tanveer ] ; Machine, Aurat, Gaon Se Shahar Tak, Raja Ka Baja and Hatyare.[by hasmi] .

HABIB TANVEER

SAFADAR HASMI

A SCENE FROM TANVIRS CHANDRADAS

PERFORMANCE OF SAFADER HASHMIS JANAM

` slowly but surely the Third Theatre is taking roots in the soils of India` - Badal Sircar Evidence shows that Third Theatre poses a challenge to the proscenium. In many educational institutes including WBSU it has already acquired a significant prominence . Thus with Sircar`s ideas and exemplary effort, it is a fascinating phenomenon in contemporary Indian