B adal Sircar was one of the leading and most influential playwrights and directors in modern Indian theatre movement. With the advent of industrialisation leading to modernity, the working class became an essential element of metropolis populace. With rising popularity of Marxist aesthetics, artistes soon started to see themselves as labourers and their work as labour. The conventional notions were broken, including rejection of institutions set up by status quo. New social, economic and cultural relations were approached which moved beyond boundaries set by the State; not only in terms of ideas but also in relation to form. Badal Sircar emerged as a theatre director and writer who tried to emancipate himself and his work by crossing boundaries.
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Log In Sign Up. Papers People. Alternative Theatre of Badal Sircar. This paper charts the evolution of Badal Sircar as a playwright as well as a theorist and a practitioner of an alternative theater movement in India.
Save to Library. Notes on Badal Sircar's Evam Indrajith. Divided into seven chapters, they are supported by a pithy summary of the historical context that Badal Sircar: A Tribute. On the contrary, apart from my technical-cognitive interest in epistemology and methodology of linguistics, I have no practical interest in writing grammar for school-going children or adolescents either. I have tried to locate the problem of Grammar in the sphere of Bangla school-grammar written under the colonial era.
I tried to show the appropriation of mother-tongues through the tool 'grammar' by means of which the imposition of dominant standard language is possible. Grammar is a 'tool' used to manipulate 'other' languages for the sake of the Standard Language. In this paper, an attempt was made to show the art of resistance made by some of the Third World Countries on the basis of decolonization of education through deschooling by which the dominant institutionalized control over language could be combated.
If there is no behavioral manipulation in the ideological state apparatuses, the question of deschooling never arises for the "betterment of interaction". It was also attempted here to propose the activist method of overcoming the crippling of linguistic creativity, mainly in the realm of 'education', specifically in the language education in a multilingual country like India following the 'Deschooling' of Ivan lllich and the concept of fourth theatre as proposed by Paulo Freire.
The Ekalavya-experiment on mother-tongue education, as it is practiced in Hosengabad, India was also mentioned here. As it is an activist method of overthrowing institutionalized oppression, it is a praxis, not a theory towards the construction of Anti-Grammar, which is a by-product of sub-altern non-collaborative attitude towards hegemonic role of standard language and its grammar by breaking their, as Frire mentioned, 'culture of silence'.
All these alternatives developed by the people by maintaining their "own" language trigger the birth of Anti-grammar or GrammEr. This new grammEr of tolerant rationality opposed to violent technical rationality is in opposition with the model of prescriptive grammar and hence it is an Anti-grammar, which is within the body of speaking subjects.
As Cricket-bowlers like Kapil Dev or Walsh do not need to know the rules of Aerodynamics to swing the ball, so also language-learners do not need to know the fragmented rules of grammar to distort the Gestalt effect of language as a whole.
Related Topics. Mary Lamb. Follow Following. Literary Criticism. Literary Theory. Bengali Theatre. Rabindranath Tagore's method. Perceptual Phonetics. Ads help cover our server costs.
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Badal Sarkar's Third Theatre
Badal Sircar 15 July — 13 May , also known as Badal Sarkar , was an influential Indian dramatist and theatre director, most known for his anti-establishment plays during the Naxalite movement in the s and taking theatre out of the proscenium and into public arena, when he transformed his own theatre company, Shatabdi established in for proscenium theatre as a third theatre group. A pioneering figure in street theatre as well as in experimental and contemporary Bengali theatre with his egalitarian "Third Theatre", he prolifically wrote scripts for his Aanganmanch courtyard stage performances, and remains one of the most translated Indian playwrights. He was initially schooled at the Scottish Church Collegiate School. While working as a town planner in India, England and Nigeria, he entered theatre as an actor, moved to direction, but soon started writing plays, starting with comedies.