Changes between Version 2 and Version 3 of Calcutta Theatres


Ignore:
Timestamp:
Dec 1, 2012, 6:51:55 PM (8 years ago)
Author:
Baidurya Chakrabarti
Comment:

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  • Calcutta Theatres

    v2 v3  
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    8 Also significant was the mediation of amateur theatre in Shantiniketan and Jorasanko: Rabindranath Tagore’s musical theatre (Tasher Desh, Balmiki Pratibha) and dance dramas (Chandalika, Chitrangada), e.g. by Modhu Bose’s Calcutta Amateur Players. Early 20th C. stage industry counted many very successful companies usually owned by rich financiers and run by manager-impresarios. They had a determinating impact on the early Bengali film industry (see Hiralal Sen and Madan Theatres). Conventionally, modern 20th C. Bengali theatre dates back to Star Theatres’ 1923 production of Karnarjun (starring Ahindra Choudhury, Naresh Mitra and Durgadas Bannerjee). Sisir Bhaduri’s plays at Natyamandir later provided a generic backdrop to radical ‘group’ theatre movements launched in early 40s (see Utpal Dutt). The era of the great public theatres was later often evoked in films as pre-war nostalgia or as the nascent origin of Bengal’s mass-culture industry (e.g. the New Theatres’ Abhinetri/ Haar Jeet, 1940 and Meri Bahen, 1944). Established several key genres, including the historical and mythological, for the cinema as much as for the popular Jatra theatre. 
     8Also significant was the mediation of amateur theatre in Shantiniketan and Jorasanko: Rabindranath Tagore’s musical theatre (Tasher Desh, Balmiki Pratibha) and dance dramas (Chandalika, Chitrangada), e.g. by Modhu Bose’s Calcutta Amateur Players. Early 20th C. stage industry counted many very successful companies usually owned by rich financiers and run by manager-impresarios. They had a determinating impact on the early Bengali film industry (see Hiralal Sen and [[Madan Theatres]]). Conventionally, modern 20th C. Bengali theatre dates back to Star Theatres’ 1923 production of Karnarjun (starring Ahindra Choudhury, Naresh Mitra and Durgadas Bannerjee). Sisir Bhaduri’s plays at Natyamandir later provided a generic backdrop to radical ‘group’ theatre movements launched in early 40s (see Utpal Dutt). The era of the great public theatres was later often evoked in films as pre-war nostalgia or as the nascent origin of Bengal’s mass-culture industry (e.g. the New Theatres’ Abhinetri/ Haar Jeet, 1940 and Meri Bahen, 1944). Established several key genres, including the historical and mythological, for the cinema as much as for the popular Jatra theatre. 
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