![]() The development of the stage during the last century incorporating features from the provincial theatres, from the primitive Tamil theatre to the most artistic one of Bengal reveals a great diversity of culture. But a fundamental unity is found in the midst of this great diversity. Mythological heroes have commanded reverence throughout the country. Love of the emotional, the imaginative and the idealistic rather than of the intellectual and the purely realistic is a national trend. Sanskrit plays are performed now mostly in universities, colleges and in the temples of the South. Sanskrit plays are also staged today but not regularly. In recent years, outstanding attempts have been made to revive an interest in Sanskrit dramas to meet educational objectives. In theatre structures in South, portions of Sanskrit plays are still performed. Plays like Malavikagnimitra, Urubhanga have been staged by eminent dramatists recently. These productions which contain elements, conventions, techniques and devices relating to more than one traditional theatre, are bound to serve as landmarks on the contemporary theatre. The folk theatre of India has flourished along with the classical theatre. Folk art forms and stage performances, which are equally important as classical ones are spontaneous not following a fixed course or a very rigid conventional mode and were performed for the masses mostly in temples and village squares. Through the folk theatre, the thread of our cultural heritage and the identity of the Indian art have been preserved as they symbolise the habits, traditions and the culture prevalent in the villages. Even in the field of aesthetics a special stress is laid on the study of folk art as a significant element of society. ![]() The modern Indian stage in its process of evolution has absorbed the cultural richness of the classical drama, the folk traditions of the medieval times and above all the influence of the West. The Madras theatre in fact includes the Tamil, Telugu and Kanarese theatres. The Tamil theatre still indulges in medieval practices; plaintive songs and acrobatic feats to arouse interest. The Telugu stage is, on the other hand is developing more speedily, while going through the mythological, bookish, historical and social types of productions. The Kanarese theatre is making remarkable progress in Bengaluru and some noteworthy companies are coming into existence in Mysore. Bengal has a regional theatre which has gone far ahead in realising the ideal of a true synthesis of old and new forms, without of course, actually reviving the old folk theatre. The Bengali stage is highly artistic. Its distinguishing feature is that all feminine roles are played by women. The novel use of song and dance is another special feature of the theater in Kolkata. ![]() There is no lack of motivation in the bits and pieces of the broken tradition of our theatre. Though India cannot gain much by reviving the formalism of the ancient theatre, it is likely that it will gain a lot by questioning into its old craft of comedy, tragedy, farce and the morality plays. A regular return to folk feeling, which is rooted in the real life of the people, can bring an authentic sense of reality to the Indian stage today. The Rasa, the Nautanki, the Ramlila, the Krishna Lila, the enactment of the victory of the Pandavas over the Kauravas, the Muharram, the Holi as well as the several harvest dance dramas are the apotheosis of the old drama survivals which are an important reservoir of energy, from which a new living art of the theatre can be enhanced. ![]() Theatres in modern India must be a place, where solely Indian dramas whose object is to produce rasa in the minds of the spectators are performed, where a well developed colour scheme is employed, where the hair, dress and other equipment follow the pattern of Indian life, where classical music, dance and histrionics are encouraged, in short, where the ideals of Indian society are maintained. To achieve the above ideal the Government of India should encourage dramatists, dancers and musicians of worth and reputation. They should also help in the institution of a truly Indian theatre where all kinds of plays, whether in Sanskrit or any modern Indian language, may be performed according to the requirements of the day. A happy combination of ancient techniques and modern requirements will surely offer a very strong foundation to the National Theatre. |