Changes between Version 2 and Version 3 of Indian Peoples’ Theatre Association

Jul 3, 2013, 5:57:03 AM (11 years ago)



  • Indian Peoples’ Theatre Association

    v2 v3  
    5454Pradhan, 1979). The IPTA’s impact on cinema 
    5555includes the collective effort of [[Dharti Ke Lal]] 
    56 (1946) mobilising actors [[Balraj Sahni]] and 
     56(1946) mobilising actors [[BALRAJ SAHNI|Balraj Sahni]] and 
    5757Sombhu Mitra, musician Ravi Shankar and 
    58 writer-scenarist [[Krishan Chander]]; [[Neecha 
     58writer-scenarist [[|Krishan Chander]]; [[Neecha 
    5959Nagar]] (1946: cf. [[Chetan Anand]]); the plays of 
    6060[[Inder Raj Anand]] staged by [[Prithviraj 
    6161Kapoor]] 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 
    6868[[Tathapi]] and [[Nemai Ghosh]]’s [[Chinnamul]] 
    69 (both 1950), which represent [[Ghatak]]’s and 
     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]]/ 
     72include [[Bimal Roy]]’s [[|Udayer Pathey]]/ 
    7373Hamrahi (1944); [[Satyen Bose]]’s Bhor Hoye 
    7474Elo (1953) and Rickshawalla (1955) and Sushil 
    7676the key event for the IPTA style’s transition to 
    7777film was [[Neelakuyil]] (1954) by [[Ramu Kariat]] 
    78 and [[P. Bhaskaran]] though the KPAC tradition 
     78and [[|P. Bhaskaran]] though the KPAC tradition 
    7979itself was best exemplified by Thoppil Bhasi’s 
    8080films and scripts.