| 1 | |
| 2 | == Utpal Dutt == |
| 3 | |
| 4 | Prolific Bengali and Hindi actor born in |
| 5 | Shillong, Assam; also director and a major |
| 6 | Marxist theatre personality in Bengal. After |
| 7 | 1977 associated with the CPI(M). Started career |
| 8 | in the 40s with Geoffrey Kendall’s theatre |
| 9 | group performing Shakespeare, later directing |
| 10 | Shakespeare for the Little Theatre Group. |
| 11 | Formed his own group in 1949, then joined the |
| 12 | Bengal unit of IPTA (1950-1) doing agitational |
| 13 | plays staged on street corners and occasionally |
| 14 | during political rallies to massive audiences, |
| 15 | such as Chargesheet (1950), written overnight |
| 16 | following the arrest of CP members and |
| 17 | performed next day at Hazra Park. The Special |
| 18 | Train was performed on behalf of striking |
| 19 | workers of the Hindustan Automobile Factory, |
| 20 | Uttarpara (1961). Also did theatrical |
| 21 | spectaculars: Angar (1959), Kallol (1965; a play |
| 22 | about the Royal Indian Navy mutiny of 1946, |
| 23 | sparking off political rallies), Din Badaler Pala |
| 24 | (1967, written for the CPI(M)’s electoral |
| 25 | campaign) and Tiner Talwar (1970). Barricade |
| 26 | (1972) and Dushwapner Nagari (1975) were |
| 27 | staged in the context of the Emergency. Also |
| 28 | made major interventions in the Jatra form (e.g. |
| 29 | Rifle, Sanyasir Tarabari). Claims influence of |
| 30 | Erwin Piscator to ‘create proletarian myths of |
| 31 | revolution’ (cf. Dutt, 1984). His work, |
| 32 | comprising mostly historical reconstructions, |
| 33 | was criticised by the Left for its determinism |
| 34 | and the recourse to the ‘ great man’ theory of |
| 35 | history. Prolific film actor with a spectacular |
| 36 | début as Michael Madhusudhan, a |
| 37 | legendary 19th C. Bengali poet, repeating the |
| 38 | role several times on the stage. After Mrinal |
| 39 | Sen’s Bhuvan Shome, shifted to Hindi films, |
| 40 | often playing retired soldiers or bluff comedian |
| 41 | fathers (Guddi) in melodramas. Also important |
| 42 | comedy roles in Bengali, e.g. Mohan Baganer |
| 43 | Meye, Shriman Prithviraj et al. Claimed to act |
| 44 | in films mainly to finance his theatrical work. |
| 45 | Played key roles in recent Satyajit Ray films, |
| 46 | e.g. the king in Hirak Rajar Deshe and the |
| 47 | stranger in Agantuk. Directorial work extends |
| 48 | his theatrical work. Autobiography, including |
| 49 | his views on theatre, published in 1982. |
| 50 | Stridently populist essays on film, often |
| 51 | targeting the New Indian Cinema were |
| 52 | published after his death as Towards A Heroic |
| 53 | Cinema (1994). |
| 54 | |
| 55 | [[Actor]] |