Changes between Version 1 and Version 2 of Indian Peoples’ Theatre Association
- Timestamp:
- Jul 3, 2013, 5:52:39 AM (11 years ago)
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Indian Peoples’ Theatre Association
v1 v2 7 7 of culture against Imperialism and Fascism’. 8 8 While its immediate antecedents were in the 9 PWA(1936) and thus in the European anti-9 [[PWA]] (1936) and thus in the European anti- 10 10 Fascist movements of the 30s, the front found 11 its identity with Sombhu Mitra’s staging of12 Bijon Bhattacharya’s play Nabanna (1943)11 its identity with [[Sombhu Mitra]]’s staging of 12 [[Bijon Bhattacharya]]’s play Nabanna (1943) 13 13 and with Jyotindra Moitra’s song series 14 14 Nabajibaner Gaan (1944). Both works were … … 21 21 cultural avant-garde in contemporary Indian 22 22 history. It was active also in Punjab, Assam (see 23 Jyotiprasad Agarwala andBhupen24 Hazarika ), Orissa (see K. Pattanayak) and AP23 [[Jyotiprasad Agarwala]] and [[Bhupen 24 Hazarika]], Orissa (see [[K. Pattanayak]]) and AP 25 25 (the Praja Natya Mandali, which also made one 26 film, Raja Rao’s Puttillu, 1953), despite a nearprogrammatic26 film, Raja Rao’s [[Puttillu]], 1953), despite a nearprogrammatic 27 27 emphasis on reclaiming the 28 28 popular vernacular by using local folk and … … 37 37 against the erstwhile Travancore State (1946- 38 38 50). Radical theatre movements around e.g. 39 Thoppil Bhasi’s plays also traced an ancestry39 [[Thoppil Bhasi]]’s plays also traced an ancestry 40 40 via the Young Namboodiri movements of the 41 41 30s (with V.T. Bhattathirippad) to the … … 44 44 activist but equally influential aspect of the 45 45 front was in the major urban centres with e.g. 46 the work of playwright-film-maker K.A. Abbas46 the work of playwright-film-maker [[K.A. Abbas]] 47 47 and dancer Uday Shankar. For a brief period 48 48 following WW2 and in the early years of … … 53 53 engaged in serious creative activity’ (Sudhi 54 54 Pradhan, 1979). The IPTA’s impact on cinema 55 includes the collective effort of Dharti Ke Lal56 (1946) mobilising actors Balraj Sahniand55 includes the collective effort of [[Dharti Ke Lal]] 56 (1946) mobilising actors [[Balraj Sahni]] and 57 57 Sombhu Mitra, musician Ravi Shankar and 58 writer-scenarist Krishan Chander;Neecha59 Nagar (1946: cf. Chetan Anand); the plays of60 Inder Raj Anand staged byPrithviraj61 Kapoor which led to Raj Kapoor’s film team58 writer-scenarist [[Krishan Chander]]; [[Neecha 59 Nagar]] (1946: cf. [[Chetan Anand]]); the plays of 60 [[Inder Raj Anand]] staged by [[Prithviraj 61 Kapoor]] which led to [[Raj Kapoor]]’s film team 62 62 with e.g. scenarist Abbas and music directors 63 Shankar-Jaikishen. The IPTA also supported63 [[Shankar-Jaikishen]]. The IPTA also supported 64 64 some independently made films: e.g. 65 Shantaram’s Dr Kotnis Ki Amar Kahani 65 [[Shantaram]]’s [[Dr Kotnis Ki Amar Kahani]] 66 66 (1946). In Bengal, its influence on film was 67 67 mediated through Manoj Bhattacharya’s 68 Tathapi and Nemai Ghosh’s Chinnamul 69 (both 1950), which represent Ghatak’s and68 [[Tathapi]] and [[Nemai Ghosh]]’s [[Chinnamul]] 69 (both 1950), which represent [[Ghatak]]’s and 70 70 Bijon Bhattacharya’s first encounters with film. 71 71 Other Bengali films connected with the IPTA 72 include Bimal Roy’s Udayer Pathey/73 Hamrahi (1944); Satyen Bose’s Bhor Hoye72 include [[Bimal Roy]]’s [[Udayer Pathey]]/ 73 Hamrahi (1944); [[Satyen Bose]]’s Bhor Hoye 74 74 Elo (1953) and Rickshawalla (1955) and Sushil 75 75 Majumdar’s Dukhir Iman (1954). In Kerala, 76 76 the key event for the IPTA style’s transition to 77 film was Neelakuyil (1954) by Ramu Kariat78 and P. Bhaskaranthough the KPAC tradition77 film was [[Neelakuyil]] (1954) by [[Ramu Kariat]] 78 and [[P. Bhaskaran]] though the KPAC tradition 79 79 itself was best exemplified by Thoppil Bhasi’s 80 80 films and scripts.