Ninasam satish biography of albert
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Criticism, critique, and translation
APARNA DHARWADKER
THIS ‘not a seminar paper’ for ‘Not the Drama Seminar’ is a sequence of thoughts, propositions and observations intended to generate discussion about the subject of criticism in general, and the state of contemporary Indian theatre criticism in particular. Both issues have acquired urgency because of the unprecedented scale of cultural production in the post-independence period, and the ever-widening gap between the creative and critical efforts in theatre. Practitioners as well as critics have to arrive at a better understanding of the forms and functions of criticism if we are to make a genuine collective difference to the contemporary theatre culture in which we are all so deeply invested. I will approach my arguments about criticism by way of three general issues.
First, a necessary caveat about language: my comments apply to contemporary discourse about Indian theatre in the medium of English, and the apparent lack of agreement therein about the nature, purpose, and value of criticism. I do not have an intimate knowledge of theatre criticism in the other Indian languages, and want to avoid uninformed speculation about the situation in languages that I do not read myself. I do have enough familiarity with Hind
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22 Theatre Styles and Group Theatre Movement, Mitra, Alkazi, Panikkar Subbanna, Alekar, Elkunchwar, Padamsee
Mr. Surajit Maity
INTRODUCTION
“Art is not a mirror held up to reality
But a hammer with which to shape”
…Berlolt Brecht
The need for a kind of theatre that was not just to serve the commercial gains of the Jamaindars, Babus or Bourgeon owners of theatre, but the shape the society, was at its zenith. Several initiatives were taken by various keen theatre personalities, theatre group and other organizations in different pockets of India between 1930s-1950s and so on. An urge to take theatre to wider audience and to address the issues and problems of the then society was being seen in every cultural hubs of the country. The theatre started coming out of the opportunist theatre owners and started spreading to reflect their own ideas, view and comments on the society in a more open and liberal approach. Subjects and themes of the play started changing rapidly from their mere historical and mythological theme to themes like contemporary, realistic, abstract, absurd, and many others. Theatre remained not just a medium of aesthetic satisfaction of elite class. It turned more and more political in its tone and stared to become propaganda to add
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