Changes between Version 1 and Version 2 of Indian Peoples’ Theatre Association

Jul 3, 2013, 5:52:39 AM (11 years ago)



  • Indian Peoples’ Theatre Association

    v1 v2  
    77of culture against Imperialism and Fascism’. 
    88While its immediate antecedents were in the 
    9 PWA (1936) and thus in the European anti- 
     9[[PWA]] (1936) and thus in the European anti- 
    1010Fascist movements of the 30s, the front found 
    11 its identity with Sombhu Mitra’s staging of 
    12 Bijon Bhattacharya’s play Nabanna (1943) 
     11its identity with [[Sombhu Mitra]]’s staging of 
     12[[Bijon Bhattacharya]]’s play Nabanna (1943) 
    1313and with Jyotindra Moitra’s song series 
    1414Nabajibaner Gaan (1944). Both works were 
    2121cultural avant-garde in contemporary Indian 
    2222history. It was active also in Punjab, Assam (see 
    23 Jyotiprasad Agarwala and Bhupen 
    24 Hazarika), Orissa (see K. Pattanayak) and AP 
     23[[Jyotiprasad Agarwala]] and [[Bhupen 
     24Hazarika]], Orissa (see [[K. Pattanayak]]) and AP 
    2525(the Praja Natya Mandali, which also made one 
    26 film, Raja Rao’s Puttillu, 1953), despite a nearprogrammatic 
     26film, Raja Rao’s [[Puttillu]], 1953), despite a nearprogrammatic 
    2727emphasis on reclaiming the 
    2828popular vernacular by using local folk and 
    3737against the erstwhile Travancore State (1946- 
    383850). Radical theatre movements around e.g. 
    39 Thoppil Bhasi’s plays also traced an ancestry 
     39[[Thoppil Bhasi]]’s plays also traced an ancestry 
    4040via the Young Namboodiri movements of the 
    414130s (with V.T. Bhattathirippad) to the 
    4444activist but equally influential aspect of the 
    4545front was in the major urban centres with e.g. 
    46 the work of playwright-film-maker K.A. Abbas 
     46the work of playwright-film-maker [[K.A. Abbas]] 
    4747and dancer Uday Shankar. For a brief period 
    4848following WW2 and in the early years of 
    5353engaged in serious creative activity’ (Sudhi 
    5454Pradhan, 1979). The IPTA’s impact on cinema 
    55 includes the collective effort of Dharti Ke Lal 
    56 (1946) mobilising actors Balraj Sahni and 
     55includes the collective effort of [[Dharti Ke Lal]] 
     56(1946) mobilising actors [[Balraj Sahni]] and 
    5757Sombhu Mitra, musician Ravi Shankar and 
    58 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 
     58writer-scenarist [[Krishan Chander]]; [[Neecha 
     59Nagar]] (1946: cf. [[Chetan Anand]]); the plays of 
     60[[Inder Raj Anand]] staged by [[Prithviraj 
     61Kapoor]] which led to [[Raj Kapoor]]’s film team 
    6262with e.g. scenarist Abbas and music directors 
    63 Shankar-Jaikishen. The IPTA also supported 
     63[[Shankar-Jaikishen]]. The IPTA also supported 
    6464some independently made films: e.g. 
    65 Shantaram’s Dr Kotnis Ki Amar Kahani 
     65[[Shantaram]]’s [[Dr Kotnis Ki Amar Kahani]] 
    6666(1946). In Bengal, its influence on film was 
    6767mediated through Manoj Bhattacharya’s 
    68 Tathapi and Nemai Ghosh’s Chinnamul 
    69 (both 1950), which represent Ghatak’s and 
     68[[Tathapi]] and [[Nemai Ghosh]]’s [[Chinnamul]] 
     69(both 1950), which represent [[Ghatak]]’s and 
    7070Bijon Bhattacharya’s first encounters with film. 
    7171Other Bengali films connected with the IPTA 
    72 include Bimal Roy’s Udayer Pathey/ 
    73 Hamrahi (1944); Satyen Bose’s Bhor Hoye 
     72include [[Bimal Roy]]’s [[Udayer Pathey]]/ 
     73Hamrahi (1944); [[Satyen Bose]]’s Bhor Hoye 
    7474Elo (1953) and Rickshawalla (1955) and Sushil 
    7575Majumdar’s Dukhir Iman (1954). In Kerala, 
    7676the key event for the IPTA style’s transition to 
    77 film was Neelakuyil (1954) by Ramu Kariat 
    78 and P. Bhaskaran though the KPAC tradition 
     77film was [[Neelakuyil]] (1954) by [[Ramu Kariat]] 
     78and [[P. Bhaskaran]] though the KPAC tradition 
    7979itself was best exemplified by Thoppil Bhasi’s 
    8080films and scripts.