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

Timestamp:

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

Author:

UshaR

Comment:

--

Indian Peoples’ Theatre Association

@@ -54 +54 @@
 Pradhan, 1979). The IPTA’s impact on cinema
 includes the collective effort of [[Dharti Ke Lal]]
-(1946) mobilising actors [[Balraj Sahni]] and
+(1946) mobilising actors [[BALRAJ SAHNI|Balraj Sahni]] and
 Sombhu Mitra, musician Ravi Shankar and
-writer-scenarist [[Krishan Chander]]; [[Neecha
+writer-scenarist [[http://en.wikipedia.org/wiki/Krishan_Chander|Krishan Chander]]; [[Neecha
 Nagar]] (1946: cf. [[Chetan Anand]]); the plays of
 [[Inder Raj Anand]] staged by [[Prithviraj
 Kapoor]] which led to [[Raj Kapoor]]’s film team
 with e.g. scenarist Abbas and music directors
-[[Shankar-Jaikishen]]. The IPTA also supported
+[[http://en.wikipedia.org/wiki/Shankar-Jaikishen|Shankar-Jaikishen]]. The IPTA also supported
 some independently made films: e.g.
-[[Shantaram]]’s [[Dr Kotnis Ki Amar Kahani]]
+[[Shantaram]]’s [[http://en.wikipedia.org/wiki/Dr._Kotnis_Ki_Amar_Kahani|Dr Kotnis Ki Amar Kahani]]
 (1946). In Bengal, its influence on film was
 mediated through Manoj Bhattacharya’s
 [[Tathapi]] and [[Nemai Ghosh]]’s [[Chinnamul]]
-(both 1950), which represent [[Ghatak]]’s and
+(both 1950), which represent [[http://en.wikipedia.org/wiki/Ghatak|Ghatak]]’s and
 Bijon Bhattacharya’s first encounters with film.
 Other Bengali films connected with the IPTA
-include [[Bimal Roy]]’s [[Udayer Pathey]]/
+include [[Bimal Roy]]’s [[http://en.wikipedia.org/wiki/Udayer_Pathey|Udayer Pathey]]/
 Hamrahi (1944); [[Satyen Bose]]’s Bhor Hoye
 Elo (1953) and Rickshawalla (1955) and Sushil
@@ -76 +76 @@
 the key event for the IPTA style’s transition to
 film was [[Neelakuyil]] (1954) by [[Ramu Kariat]]
-and [[P. Bhaskaran]] though the KPAC tradition
+and [[http://en.wikipedia.org/wiki/P._Bhaskaran|P. Bhaskaran]] though the KPAC tradition
 itself was best exemplified by Thoppil Bhasi’s
 films and scripts.