CHANAKYA NATIONAL LAW UNIVERSITY

NYAYA NAGAR, MITHAPUR, PATNA – 800001

TOPIC - “CONTRIBUTION OF THEATRE TO SOCIETY”

FINAL DRAFT SUBMITTED IN THE PARTIAL FULFILMENT OF THE COURSE TITLED-

SOCIOLOGY OF LAW

SUBMITTED TO:
Dr. SANGEET KUMAR
FACULTY OF SOCIOLOGY

SUBMITTED BY : ADARSH KUMAR

ROLL NO : 1907.
SEMESTER : SECOND.
SESSION : 2018-2023.
COURSE : B.A. LL.B. (Hons.)
 DECLARATION

I hereby declare that the project entitled “Contribution of Theatre to Society” submitted by me
at CHANAKYA NATIONAL LAW UNIVERSITY is a record of bona fide project work
carried out by me under the guidance of our mentor Dr Sangeet Kumar. I further declare that
the work reported in this project has not been submitted and will not be submitted, either in
part or in full, for the award of any other degree or diploma in this university or in any other
university.

__________________

(ADARSH KUMAR)

Roll no. – 1907

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 ACKNOWLEDGEMENT
It is a fact that any research work prepared, compiled or formulated in isolation is inexplicable
to an extent. This research work, although prepared by me, is a culmination of efforts of a lot
of people who remained in veil, who gave their intense support and helped me in the completion
of this project.

Firstly, I am very grateful to my subject teacher Dr Sangeet Kumar, without the kind support
and help of whom the completion of this project was a herculean task for me. He donated his
valuable time from his busy schedule to help me to complete this project. I would like to thank
him for his valuable suggestions towards the making of this project.

I am highly indebted to my parents and friends for their kind co-operation and encouragement
which helped me in completion of this project. I am also thankful to the library staff of my
college which assisted me in acquiring the sources necessary for the compilation of my project.

Last but not the least, I would like to thank the Almighty who kept me mentally strong and in
good health to concentrate on my project and to complete it in time.

I thank all of them!

_______________

ADARSH KUMAR

Roll no. – 1907

B.A.LL.B.(Hons.)

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 TABLE OF CONTENTS

DECLARATION……………………………………………………II
ACKNOWLEDGEMENT…………………………………………III
TABLE OF CONTENTS………………………………………………………IV

I. INTRODUCTION…………………………………………………. 1
 AIMS AND OBJECTIVES………………………………………..4
 HYPOTHESIS……………………………………………………..4
 RESEARCH METHODOLOGY………………………………….4
 RESEARCH QUESTION…………………………………………4
 LIMITATIONS……………………………………………………4
 METHODS OF DATA COLLECTION…………………………..5
 TOOLS OF DATA COLLECTION………………………………5
 SAMPLING METHOD…………………………………………...5

II. ORIGIN OF THEATRES AND DRAMA: GLOBAL SCENARIO…6

III. THEATRES IN INDIA: PAST TO PRESENT………………………10
IV. IMPACT OF THEATRE ON SOCIETY…………………………….17
V. INTERVIEW AND DATA ANALYSIS……………………………..21
VI. CONCLUSION AND SUGGESTIONS……………………………...25

BIBLIOGRAPHY……………………………………………………………27

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 I. INTRODUCTION

Theatre or theater is a collaborative form of fine art that uses live performers,
typically actors or actresses, to present the experience of a real or imagined event
before a live audience in a specific place, often a stage. The performers may
communicate this experience to the audience through combinations of gesture,
speech, song, music, and dance. Elements of art, such as painted scenery
and stagecraft such as lighting are used to enhance the physicality, presence and
immediacy of the experience.1 The specific place of the performance is also
named by the word "theatre" as derived from the Ancient Greek θέατρον
(théatron, "a place for viewing"), itself from θεάομαι (theáomai, "to see", "to
watch", "to observe").
Modern Western theatre comes, in large measure, from the theatre of ancient
Greece, from which it borrows technical terminology, classification into genres,
and many of its themes, stock characters, and plot elements. Theatre artist Patrice
Pavis defines theatricality, theatrical language, stage writing and
the specificity of theatre as synonymous expressions that differentiate theatre
from the other performing arts, literature and the arts in general.
Modern theatre includes performances of plays and musical theatre. The art
forms of ballet and opera are also theatre and use many conventions such as
acting, costumes and staging. They were influential to the development of
musical theatre; see those articles for more information.
There are many types of performances, which are performed on the theatre like
Drama, Musical theatre, Comedy, Tragedy, improvisation, etc.

Drama is the specific mode of fiction represented in performance.2 The term

comes from a Greek word meaning "action". The enactment of drama in theatre,
performed by actors on a stage before an audience,
presupposes collaborative modes of production and a collective form of
reception. The structure of dramatic texts, unlike other forms of literature, is
directly influenced by this collaborative production and collective reception.
The early modern tragedy Hamlet (1601) by Shakespeare and the classical

1
M. Carlson, "Psychic Polyphony", pp. 35–47 in Journal of Dramatic Theory and Criticism, Fall 1986,
p. 36. Retrieved on 04-03-2019.
2
Elam (1980, 98). Retrieved on 04-03-2019.

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Athenian tragedy Oedipus Rex (c. 429 BCE) by Sophocles are among the
masterpieces of the art of drama.3 A modern example is Long Day's Journey into
Night by Eugene O'Neill (1956).4

Music and theatre have had a close relationship since ancient times—
Athenian tragedy, for example, was a form of dance-drama that employed
a chorus whose parts were sung (to the accompaniment of an aulos—an
instrument comparable to the modern clarinet), as were some of the actors'
responses and their 'solo songs' (monodies). Modern musical theatre is a form of
theatre that also combines music, spoken dialogue, and dance. It emerged
from comic opera (especially Gilbert and Sullivan), variety, vaudeville,
and music hall genres of the late 19th and early 20th century.5

Theatre productions that use humour as a vehicle to tell a story qualify as

comedies. This may include a modern farce such as ‘Boeing Boeing’ or a
classical play such as ‘As You Like It’. Theatre expressing bleak, controversial
or taboo subject matter in a deliberately humorous way is referred to as black
comedy. Black Comedy can have several genres like slapstick humour, dark and
sarcastic comedy.

Tragedy refers to a specific tradition of drama that has played a unique and
important role historically in the self-definition of Western civilisation. That
tradition has been multiple and discontinuous, yet the term has often been used
to invoke a powerful effect of cultural identity and historical continuity—

3
Fergusson (1949, 2–3). Retrieved on 04-03-2019.
4
Burt (2008, 30–35). Retrieval on 04-03-2019.
5
Jones (2003, 4–11).Retrieved on 04-03-2019.

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"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians,
in a common activity," as Raymond Williams puts it.6

Improvisation has been a consistent feature of theatre, with the Commedia

dell'arte in the sixteenth century being recognised as the first improvisation form.
Popularized by Nobel Prize Winner Dario Fo and troupes such as the Upright
Citizens Brigade improvisational theatre continues to evolve with many different
streams and philosophies.

6
Williams (1966, 16). Retrieved on 04-03-2019.

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AIMS AND OBJECTIVES

Through this Researcher wants to find out

1. The meaning of emergence of Theatre in the society.

2. The evolution of theatre in India.
3. The impact of the theatre on society.

HYPOTHESIS

The researcher tends to presume that:

The theatres in India as well as in the world is losing its importance and it is
overshadowed by the digital platforms and movies.

RESEARCH METHODOLOGY

The researcher will be relying on doctrinal and non-doctrinal method of research to complete
the project.

RESEARCH QUESTION

1. What is a theatre?
2. To what extent theatre influence the society?
3. How much theatre changed over time?

LIMITATIONS OF THE STUDY

There various hindrances can be faced by the researcher during the formation of this
project such as scarcity of time, security of people’s privacy, out of reach places for
various research works.

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METHODS OF DATA COLLECTION:

The researcher uses the following methods of data collection for Non-Doctrinal
research:

1. Interview
2. Observation
3. Questionnaire

TOOLS OF DATA COLLECTION:

For the purpose of research various tools such as interview schedule,

observation guide, questionnaire, historical records, camera, tape recorder,
notepad and diaries etc.

SAMPLING METHOD

Sample is a collection of certain units, one respondent chosen from the Universe.
Researcher has used purposive and convenient method of sampling due to paucity of time
and various limitations while doing research.

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 II . ORIGIN OF THEATRES: GLOBAL SCENARIO
The city-state of Athens is where western theatre originated. It was part of a
broader culture of theatricality and performance in classical Greece that
included festivals, religious rituals, politics, law, athletics and gymnastics,
music, poetry, weddings, funerals, and symposia.

Participation in the city-state's many festivals—and mandatory attendance at

the City Dionysia as an audience member (or even as a participant in the
theatrical productions) in particular—was an important part of citizenship.7 Civic
participation also involved the evaluation of the rhetoric of orators evidenced in
performances in the law-court or political assembly, both of which were
understood as analogous to the theatre and increasingly came to absorb its
dramatic vocabulary.8 The Greeks also developed the concepts of dramatic
criticism and theatre architecture. Actors were either amateur or at best semi-
professional. The theatre of ancient Greece consisted of three types
of drama: tragedy, comedy, and the satyr play.

The origins of theatre in ancient Greece, according to Aristotle (384–322 BCE),

the first theoretician of theatre, are to be found in the festivals that honoured
Dionysus. The performances were given in semi-circular auditoria cut into
hillsides, capable of seating 10,000–20,000 people. The stage consisted of a
dancing floor (orchestra), dressing room and scene-building area (skene). Since
the words were the most important part, good acoustics and clear delivery were
paramount. The actors (always men) wore masks appropriate to the characters
they represented, and each might play several parts.

Athenian tragedy—the oldest surviving form of tragedy—is a type of dance-

drama that formed an important part of the theatrical culture of the city-

7
Pelling (2005, 83). Retrieved on 04-03-2019.
8
Goldhill (1999, 25) and Pelling (2005, 83–84). Retrieved on 04-03-2019.

6|Page
state. Having emerged sometime during the 6th century BCE, it flowered during
the 5th century BCE (from the end of which it began to spread throughout the
Greek world), and continued to be popular until the beginning of the Hellenistic
period.9

No tragedies from the 6th century BCE and only 32 of the more than a thousand
that were performed in during the 5th century BCE have survived. We have
complete texts extant by Aeschylus, Sophocles, and Euripides. The origins of
tragedy remain obscure, though by the 5th century BCE it was institutionalised in
competitions (agon) held as part of festivities
celebrating Dionysus (the god of wine and fertility).10 As contestants in the City
Dionysia's competition (the most prestigious of the festivals to stage drama)
playwrights were required to present a tetralogy of plays (though the individual
works were not necessarily connected by story or theme), which usually consisted
of three tragedies and one satyr play. The performance of tragedies at the City
Dionysia may have begun as early as 534 BCE; official records (didaskaliai)
begin from 501 BCE, when the satyr play was introduced.

Most Athenian tragedies dramatise events from Greek mythology, though The
Persians—which stages the Persian response to news of their military defeat at
the Battle of Salamis in 480 BCE—is the notable exception in the surviving
drama. When Aeschylus won first prize for it at the City Dionysia in 472 BCE,
he had been writing tragedies for more than 25 years, yet its tragic treatment of
recent history is the earliest example of drama to survive.11 More than 130 years
later, the philosopher Aristotle analysed 5th-century Athenian tragedy in the
oldest surviving work of dramatic theory—his Poetics (c. 335 BCE).

Athenian comedy is conventionally divided into three periods, "Old Comedy",

"Middle Comedy", and "New Comedy". Old Comedy survives today largely in

9
Brockett and Hildy (2003, 13–15) and Brown (1998, 441–447). Retrieved on 04-03-2019.
10
Ibid.
11
Brown (1998, 442) and Brockett and Hildy (2003, 15–16). Retrieved on 04-03-2019.

7|Page
the form of the eleven surviving plays of Aristophanes, while Middle Comedy is
largely lost (preserved only in relatively short fragments in authors such
as Athenaeus of Naucratis). New Comedy is known primarily from the
substantial papyrus fragments of Menander. Aristotle defined comedy as a
representation of laughable people that involves some kind of blunder or ugliness
that does not cause pain or disaster.12

In addition to the categories of comedy and tragedy at the City Dionysia, the
festival also included the Satyr Play. Finding its origins in rural, agricultural
rituals dedicated to Dionysus, the satyr play eventually found its way to Athens
in its most well-known form. Satyr's themselves were tied to the god Dionysus as
his loyal woodland companions, often engaging in drunken revelry and mischief
at his side. The satyr play itself was classified as tragicomedy, erring on the side
of the more modern burlesque traditions of the early twentieth century. The
plotlines of the plays were typically concerned with the dealings of the pantheon
of Gods and their involvement in human affairs, backed by the chorus of Satyrs.
However, according to Webster, satyr actors did not always perform typical satyr
actions and would break from the acting traditions assigned to the character type
of a mythical forest creature.13

Roman Theatre

Western theatre developed and expanded considerably under the Romans. The
Roman historian Livy wrote that the Romans first experienced theatre in the 4th
century BCE, with a performance by Etruscan actors. Beacham argues that they
had been familiar with "pre-theatrical practices" for some time before that
recorded contact. The theatre of ancient Rome was a thriving and diverse art

12
Supranote 5.
Webster, T.B.L. “Monuments Illustrating Tragedy and Satyr Play (Second Edition with Appendix).”
13

Bulletin Supplement (University of London. Institute of Classical Studies), no. 20, 1967, pp. iii–190.
Retrieved on 04-03-2019.

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form, ranging from festival performances of street theatre, nude dancing,
and acrobatics, to the staging of Plautus's broadly appealing situation comedies,
to the high-style, verbally elaborate tragedies of Seneca. Although Rome had a
native tradition of performance, the Hellenization of Roman culture in the 3rd
century BCE had a profound and energizing effect on Roman theatre and
encouraged the development of Latin literature of the highest quality for the
stage. The only surviving Roman tragedies, indeed the only plays of any kind
from the Roman Empire, are ten dramas- nine of them pallilara- attributed to
Lucuis Annaeus Seneca (4 BCE–65 CE), the Corduba-born Stoic philosopher and
tutor of Nero.14

14
John, Gassner, and Allen Ralph. Theatre and Drama in the Making. 1st ed. New York, NY:
Applause Theatre Books, 1992. 93. Retrieved on 04-03-2019.

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 III . THEATRE IN INDIA: PAST TO PRESENT

Indian theatre is one of the most ancient forms of Indo-European and Asian
theatre and it features a detailed textual, sculptural, and dramatic effects.15 Like
in the areas of music and dance, the Indian theatre is also defined by the dramatic
performance defined by the concept of Natya, which is a Sanskrit word for drama
but encompasses dramatic narrative, virtuostic dance, and music. Indian theatre
exerted influence beyond its borders, reaching ancient China and other countries
in the Far East.16

The earliest form of classical theatre of India was the Sanskrit theatre which
came into existence after the development of Greek and Roman theatres in the
west. One theory describes this development as an offshoot of Alexander the
Great's Indian conquest. The invading army staged Greek-style plays and Indians
picked up the performance art. While some scholars argue that traditional Indian
theatre predated it, there is a recognition that classical Greek theatre has helped
transformed it.17

With the Islamic conquests that began in the 10th and 11th centuries, theatre was
discouraged or forbidden entirely. Later, in an attempt to re-assert indigenous
values and ideas, village theatre was encouraged across the subcontinent,
developing in a large number of regional languages from the 15th to the 19th
centuries. Modern Indian theatre developed during the period of colonial
rule under the British Empire, from the mid-19th century until the mid-20th.18

15
Kapur, Kamlesh (2010). History Of Ancient India (portraits Of A Nation), 1/e. New Delhi: Sterling
Publishers Pvt. Ltd. p. 483. ISBN 9788120752122. Retrieved on 04-03-2019.

16
Westlake, E.J. (2017). World Theatre: The Basics. Oxon: Routledge. p. 7. ISBN 9781138838055.
Retrieved on 04-03-2019.
17
Downs, William; Wright, Lou Anne; Ramsey, Erik (2012). The Art of Theatre: Then and Now.
Boston, MA: Cengage Learning. p. 244. ISBN 9781111348304. Retrieved on 04-03-2019.
18
Richmond (1998, 516) and Richmond, Swann, and Zarrilli (1993, 13). Retrieved on 04-03-2019.

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From the last half of the 19th century, theatres in India experienced a boost in
numbers and practice. After Indian independence in 1947, theatres spread
throughout India as one of the means of entertainment. As a diverse, multi-
cultural nation, the theatre of India cannot be reduced to a single,
homogenous trend.

In contemporary India, the major competition with its theatre is that represented
by growing television industry and the spread of films produced in the Indian
film industry based in Mumbai (formerly Bombay), known as "Bollywood".
Lack of finance is another major obstacle.

Sanskrit Theatre

Sanskrit theatre emerged in the 2nd century BCE and flourished between the 1st
century CE and the 10th, which was a period of relative peace in the history of
India during which hundreds of plays were written.19 Despite its name, Sanskrit
theatre was not exclusively in Sanskrit language. Other Indic languages
collectively called as Prakrit were also used in addition to Sanskrit.20

The earliest-surviving fragments of Sanskrit drama date from the 1st century
CE. The wealth of archeological evidence from earlier periods offers no
indication of the existence of a tradition of theatre. The Vedas(the earliest Indian
literature, from between 1500 and 600 BCE) contain no hint of it; although a
small number of hymns are composed in a form of dialogue), the rituals of
the Vedic period do not appear to have developed into
theatre. The Mahābhāṣya by Patañjali contains the earliest reference to what may
have been the seeds of Sanskrit drama. This treatise on grammar from 140 BCE
provides a feasible date for the beginnings of theatre in India.

19
Brandon (1996, 70) and Richmond (1998, 516) .Retrieved on 04-03-2019.
20
Richmond, Swann, and Zarrilli (1993, 21). Retrieved on 04-03-2019.

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 The major source of evidence for Sanskrit theatre is A Treatise on Theatre
(Nātyaśāstra), a compendium whose date of composition is uncertain (estimates
range from 200 BCE to 200 CE) and whose authorship is attributed to Bharata
Muni. The Treatise is the most complete work of dramaturgy in the ancient world.
It addresses acting, dance, music, dramatic construction , architecture,
costuming make-up, props, the organisation of companies, the audience,
competitions, and offers a mythological account of the origin of theatre. In doing
so, it provides indications about the nature of actual theatrical practices. Sanskrit
theatre was performed on sacred ground by priests who had been trained in the
necessary skills (dance, music, and recitation) in a hereditary process. Its aim was
both to educate and to entertain.21

Its drama is regarded as the highest achievement of Sanskrit literature. It

utilised stock characters, such as the hero (nayaka), heroine (nayika), or clown
(vidusaka). Actors may have specialised in a particular type. Kālidāsa is arguably
considered to be India's greatest Sanskrit dramatist, writing in the ca. 4th century
CE-ca. 5th century CE. Three famous romantic plays written by Kālidāsa are
the Mālavikāgnimitram (Mālavikā and agnimitra), Vikramuurvashiiya
(Pertaining to Vikrama and Urvashi), and Abhijñānaśākuntala (The Recognition
of Shakuntala). The last was inspired by a story in the Mahabharata and is the
most famous. It was the first to be translated
into English and German. Śakuntalā (inEnglishtranslation)
influenced Goethe's Faust (1808–1832).22 The next great Indian dramatist
was Bhavabhuti (c. 7th century CE). He is said to have written the following three
plays: Malati-Madhava, Mahaviracharita and Uttar Ramacharita. Among these
three, the last two cover between them the entire epic of Ramayana. The powerful

21
Trivedi, Madhu (1999). "Tradition and Transition". The Medieval History Journal. 2. Retrieved on
04-03-2019.
22
Ibid.

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Indian emperor Harsha (606-648) is credited with having written three plays: the
comedy Ratnavali, Priyadarsika, and the Buddhist drama Nagananda.23

Theatre in medieval India

India’s artistic identity is deeply rooted within its social, economical, cultural,
and religious views. For this reason it is essential to understand Indian cultural
practices as they relate directly to performers and performances of this time.
Performances including dance, music, and text are an expression of devotion for
the Indian culture, so when looking at 'theatre' of this time a broader definition
must be ascribed to the word. 24

Based on the understanding that performing arts are audience-oriented and must
continuously adapt to the socio-cultural landscape of their patronage. Northern
India managed to retain their cultural traditions in spite of the new Turko-Persian
influences. The early thirteenth century marked this change for the Indian culture,
where Sanskrit dramas and stage craft had been previously revered by the elites,
it was now no longer relevant. This was due to the invading cultures that began
to dominate and did not appreciate or understand, and since they did not
understand the Sanskrit language it could no longer be held in such a high regard,
and as a consequence many theatre artist suffered from neglect.25

A Bharata Natyshatra also known as the śāstra was written to list costumes,
gestures, positions of the body, and make up. It also lists plots that were wieghed
unsuitable and it also the most completed document. Most of Indian theatre had
no scenery. There was usually a few props like a brass lamp.When the concept of
“Theatrical Art” was introduced medieval India was narrating
poems. Bhakti poetry became popular.During medieval India Bhavabhuti was a

23
Supranote 18.
24
Trivedi, Madhu. "Tradition and Transition: The Performing Arts in Medieval North India". The
Medieval History Journal. 2 (1): 73–110. doi:10.1177/097194589900200105. Retrieved on 04-03-2019.
25
Ibid

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famous dramatist, he had three portent plays Malati-Madhava, Magviracharita
and the Uttar Ramacharita.

Theatre in India under British

Under British colonial rule, modern Indian theatre began when a theatre was
started in Belgachia. One of the earliest plays composed and staged during this
period was Buro Shalikher Ghaare Roa (1860) by Michael Madhusudan Dutt,
both in Bengali. Around the same time, Nil Darpan (1858–59, first commercial
production in 1872, by Girish Chandra Ghosh at the national theatre in Calcutta)
a Bengali play by Dinabandhu Mitragarnered both accolades and controversy for
depicting the horror and tragedy of indigo cultivation in rural Bengal, and played
a major role in the indigo revolt. Rabindranath Tagore was a pioneering modern
playwright who wrote plays noted for their exploration and questioning of
nationalism, identity, spiritualism and material greed. His plays are written
in Bengaliand include Chitra (Chitrangada, 1892), The King of the Dark
Chamber(Raja, 1910), The Post Office (Dakghar, 1913), and Red
Oleander(Raktakarabi, 1924).26

Kalyanam Raghuramaiah, a recipient of the Sangeet Natak Akademi Award, and

the Padmashri, was known for the roles of Krishna or Dushyantha,
Bhavanisankar, Narada etc. in Telugu theatre. He performed those roles for about
60 years. He indulged in elaborate raga alapana, based on different ragas while
rendering padyams. One of the finest method actors, He had the ability to sing
padyams and songs through whistle, by putting his finger in mouth and producing
the whistle or flute sound (meaning Eela in Telugu). He has acted in various
dramas and gave more than 20,000 stage performances. He was called the
"Nightingale of the Stage" by Rabindranath Tagore27.

26
Banham (1998, 1051). Retrieved on 04-03-2019.
27
Article in Eenadu "Archived copy". Archived from the original on 11 October 2011. Retrieved on 04-
03-2019.

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 Theatre post-independence
Mrityunjay Prabhakar is one of the major young Hindi theatre director and
playwright who emerged on Indian Theatre Scene in the last decade of the 20th
century and established himself as a significant theatre activist in first decade of
the 21st century. He started his theatre career from Patna during his graduation
days. He has worked with several theatre groups like Abhiyan, Prerna, Mach Art
group and Prangan in Patna. Later, he co-founded the group Abhiyan along with
his friends. When he arrived Delhi for his further studies in Jawaharlal Nehru
University, New Delhi. Here he worked with famous groups like Rang Saptak,
Bahroop and Dastak. Later he founded his own group named SEHAR in 2005
and started working rigorously. He has got trained under leading figures of Indian
Drama and Theatre world through different workshops he attended like Habib
Tanvir, B.V. Karanth, Prasanna, Ratan Thiyam, D.R. Ankur and many more. He
has worked with directors like D.R. Ankur, Lokendra Arambam, H.S. Shiva
Prakash, Surendra Sharma, Parvez Akhtar, Vijay Kumar, Javed Akhtar Khan,
Suman Kumar and others. He has worked as an actor, director, set designer, light
designer and organiser in theatre. Presently, Mrityunjay Prabhakar works
primarily as a Theatre Director and Playwright with his group SEHAR. He is the
founder-director of theatre troupe, SEHAR (Society of Education, Harmony, Art,
Culture and Media Reproduction) (Registered under Society Act) in 2007. He has
directed more than two dozens plays among them 'Sabse Udas Kavita',
'Khwahishen', 'Jee Humen To Natak Karna Hai', 'Dhruvswamini', 'Vithalala' and
'Suicide' have got special attention from the larger section of the society. His plays
has been performed in different cities and theatre centres of the country apart
from Delhi. His plays were part of some of the important theatre festivals of the
country. Mrityunjay Prabhakar's originally written play 'Sadho Dekho Jag
Baudana' was published by InkLit Publication. He has also written famous plays
like 'Aao Natak Natak Khelen', 'Khwahishen', 'Jee Humen To Natak Karna Hai',

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'Suicide', 'Hey Ram', 'Teri Meri Kahani Hai', 'Karnav' and others, which has been
performed by different groups and directors in various theatre centres of the
country. He has adopted famous Keniyan playwright Ngugi Wa Thiong's play
'The Black Hermit' as 'Jayen To Jayen Kahan'. The adaptation was first performed
by NSD Graduate Randhir Kumar in 2005 in Patna. Later he reproduced the play
in 2010 with SEHAR in Delhi. He has adopted H.S. Shivaprakash famous Kannad
play 'Mochi Madaiah' in Hindi which was directed by Lokendra Arambam and
published by Yash Publication, Delhi. An anthology on Contemporary Indian
Theatre titled 'Samkaleen Rangkarm' is also credited on his name published by
InkLit Publication. His Hindi Poetry Collection 'Jo Mere Bheetar Hain' was
published by Akademi of Letters (Sahitya Akademi), India.

Ishwar Shunya is a Delhi based versatile theatre practitioner who has been
working as an Artistic Director at the oldest repertory company in Delhi, The
Little Theatre Group repertory company. He is the Founder of theatre group
Saanjha Sapnaa.He has directed more than 40 full length productions in English
as well as Hindi.

Saurabh Srivastava is another versatile theatre worker who has been active in
different parts of country since 1980, acting and directing in plays in Allahabad,
Varanasi, Lucknow, Kanpur, Delhi, Vadodara, Hyderabad, Jodhpur and
Jaipur.28 Working with Campus Theatre, Creative Arts, Apurva Society etc.,
Saurabh Srivastava has directed more than two dozen Hindi plays and presented
hundreds of shows in different cities. Literary interpretation, mature insight,
penetrating vision and an ability to successfully communicate the essence to the
audience are some of the strengths of Saurabh's style and vision of theatrical
presentation. He is currently active in Jaipur.

28
Sharma, Shrikrishna, ed. 1996. Rangkarmi. Cultural Societies of Rajasthan. (1996, 139). Retrieved
on 04-03-2019.

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 IV . IMPACT OF THEATRE ON SOCIETY

When and where theater first originated is unknown, but its impact on
culture is evident throughout history. It is thought that the first theatrical
performances arose from rituals and religious ceremonies. These
ceremonies were coupled with myths or stories. Over time, the myths
themselves separated from the ritual aspect and soon were performed for the
primary purpose of telling a story. The earliest example of theater is thought
to have occurred in ancient Egypt. Ancient cultures in Greece, India, and
China also had early forms of theatrical performance.

When and where theater first originated is unknown, but its impact on
culture is evident throughout history. It is thought that the first theatrical
performances arose from rituals and religious ceremonies. These
ceremonies were coupled with myths or stories. Over time, the myths
themselves separated from the ritual aspect and soon were performed for the
primary purpose of telling a story. The earliest example of theater is thought
to have occurred in ancient Egypt. Ancient cultures in Greece, India, and
China also had early forms of theatrical performance. 29

CULTURAL INFLUENCE
Western theater history traces its origins back to the theater of the ancient
Greeks. Surviving Greek tragedies and comedies are still performed by
theaters across the world today, translated into many different languages or
in some cases adapted to suit contemporary audiences. Ancient Greek drama
was originally performed in an outdoor amphitheater. The stage,
or orchestra, was a circle where the action took place. Behind the orchestra

29
https://www.theaterseatstore.com/blog/cultural-evolution-theater. Retrieved on 04-03-2019.

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was a skene, or a tent or building in which the costumes and masks were
stored. The audience sat in the theatron, or seats that rose up and around the
orchestra area.

The rules of Greek drama were strict. There were three actors who played
all the roles in a play as well as a chorus. All violent acts took place offstage
and were vividly described to the characters and audience by a messenger.
Tragedies followed a specific structure. Each tragedy began with a prolog
and ended with an exodus. After the prolog, the chorus would sing and
dance. The body of the plays consisted of episodes, in which the chorus and
characters speak, and stasimon’s, or choral songs. 30

In Japan, there are two forms of theater that survive today. The first is
Noh theater, which is the oldest form. The second is Kabuki theater, which
began in the 1600s, during the Edo period. Noh theater is generally
considered to be aristocratic. The actors wear masks and elaborate
costumes. A key part of a Noh performance is the specific, stylized
choreography of the main character. Zeami was one of the most well-
known and celebrated Noh playwright and performer.

30
https://www.theaterseatstore.com/blog/cultural-evolution-theater. Retrieved on 04-03-2019.

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Compared to Noh, Kabuki has much more humble origins. The first
Kabuki performance was danced by a woman, Okuni. In the 1600s, Kabuki
theater was typically performed in the red light district and featured
themes Japanese Kabuki actor that were considerably less refined than
those of Noh theater. Both forms are still enjoyed in contemporary Japan
and around the world.

Theater has a long history in other countries around the world. In China,
theater was a popular form of entertainment during the Yuan Dynasty.
Chinese theater featured stunning tricks such as acrobatics and mime.
During the Song Dynasty, opera became a popular form of theater in
China. In India, Sanskrit theater, which dates back to the 8th century BCE,
was a very stylized form of theater. 31

In the west, theater flourished in countries such as France and England

during the middle ages. French playwrights such as Corneille and Moliere
caused a stir with plays that were considered controversial at the time.
Corneille’s Le Cid broke the rules of verisimilitude and the unities,
angering many. Moliere’s Tartuffe , a play about a hypocrite, got him in
trouble with the Roman Catholic church. In England, the playwright
William Shakespeare is still lauded today for masterworks of comedy,
tragedy and history. Commedia dell’Arte was a form of comedy that
thrived in Italy and also influenced some playwrights in France, such as
Moliere. The form relied on stock characters and mask work.

THE IMPORTANCE OF THEATRE ARTS

Theater remains an important art form for understanding a culture and
society. Modern playwrights use theater to express opinions about current
events, whether those events are cultural or political. Performing in a play

31
https://www.theaterseatstore.com/blog/cultural-evolution-theater. Retrieved on 04-03-2019.

19 | P a g e
or helping build sets for a production allows people, young or old, to
express their creativity and learn new skills. Theater is useful for
instruction as well. It helps students learn to read and think critically.
Throughout time, theater has played an important role in societies all over
the world. The theater helped societies develop their religions and myths
and played a key role in influencing thought. Some societies, such as
Ancient Greece, are remembered primarily for their contributions to the
theater. Theater helps connect people who otherwise have little in
common.

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 V . INTERVIEWS AND ANALYSIS
INTERVIEW SCHEDULE 1. (ACTOR IN THEATRE)
Section A:
Date : Time:
NAME
AGE
GENDER

SECTION B:
1. For what you work in Theatre?

2. How much do you think theatre influences the society?

3. How much did theatre changed over time?

4. Don’t you think digital media overshadowed theatres?

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INTERVIEW SCHEDULE 2. (ACTOR IN THEATER)
Section A:
Date : Time:
NAME
AGE
GENDER

SECTION B:
1. For what you work in Theatre?

2. How much do you think theatre influences the society?

3. How much did theatre changed over time?

4. Don’t you think digital media overshadowed theatres?

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INTERVIEW SCHEDULE 3. (common audience)
Section A:
Date : Time:
NAME
AGE
GENDER

SECTION B:
1. Which excites you more: theatre or movie?

2. How much do you think theatre influences the society?

3. How much did theatre changed over time?

4. As an audience suggest how can theatre be saved from fading away from
society ?

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Analysis:

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 VI . CONCLUSION AND SUGGESTION

The researcher initiated this project to bring up whatever can be brought up on

the topic of ‘CONTRIBUTION OF THEATRE TO SOCIETY’ with its
origination and the global scenario, its evolution in India from the very beginning
time and aimed to discuss the status of theatres in today’s scenario.

This project was started with the Hypothesis that the theatres in India as well
as in the world is losing its importance and it is overshadowed by the digital
platforms and movies which can be partially concluded as true that it is
overshadowed by the digital media and movies. But it can’t be stated that now it
is of no use or it has become irrelevant in this scenario as even today it is playing
its role in creating great actors like Nawazuddin Siddiqui, Manoj Bajpeyi, Shah
Rukh Khan, etc which all started their careers in theatres. So the major role it is
still alive is to give remarkable great actors which might not remained connected
to the theatres but always respect that place which gave them name and fame. So
it is serving in its own ways.

Its impact and influence on the society can never be undermine which it serves.
It is number of times said that theatre is a mirror to the society and it used to be a
severe critic of the biasness shown by the society towards different class and
groups of society.

Drama and theatre play a key role in developing students’ core skills in language.
Drama is an integral part of study of any language. This genre is studied and
taught in all the languages in the world. Theatre is the practical part of drama
learning. A play is chosen and students present the play on the stage. This
enacting helps students to develop students’ core skills. Students learn the
following skills from drama and theatre:

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1.Students overcome their fright of stage. They get the confidence to perform in
front of the audience. Confidence and overcoming shyness is the first prerequisite
to be a good speaker and fluent in any language.

2. Drama and theatre improves better assimilation of the language; when students
learn their dialogue and pronounce the words in the dialogue, not only their
understanding of the structures of the language improves, but their pronunciation
also improves.

So being a part of theatre not only give an experience but teaches many things,
when any artist acts something which he wants to explain to the audience it is
quite important for him to understand that himself first. So the criticism one is
going to do against society, he will judge himself first and this will immensely
help him to be a better person.

Suggestion:

1.For keeping alive theatres and all it is necessary to organise such things on
important days like Republic day and independence day, or on any function in
different schools, colleges.

2.There should be strict guidelines for any new actor for his signing a movie that
he should have experience of acting in theatres. This will also rise the importance
of theatres

3.This should be told to new generations and help them analyse how theatre is
different from movies, in theatres live performance happens, which is a challenge
of different level to perform live. Whereas in movies a scene is shooted until
perfect shot is not captured.

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 BIBLIOGRAPHY:

BOOKS:
John, Gassner, and Allen Ralph. Theatre and Drama in the Making. 1st ed. New
York, NY: Applause Theatre Books, 1992. 93

Kapur, Kamlesh (2010). History Of Ancient India (portraits Of A Nation), 1/e.

New Delhi: Sterling Publishers Pvt. Ltd. p. 483. ISBN 9788120752122

Westlake, E.J. (2017). World Theatre: The Basics. Oxon: Routledge. p. 7. ISBN
9781138838055.

Downs, William; Wright, Lou Anne; Ramsey, Erik (2012). The Art of Theatre:
Then and Now. Boston, MA: Cengage Learning. p. 244. ISBN 9781111348304.

WEBSITES:
1.https://study.com/academy/lesson/indian-theatre-origins-types-
characteristics.html

2.https://en.wikipedia.org/wiki/Theatre_of_India#History_of_Indian_t
heatre

3.https://thoughteconomics.com/theatre-performance-and-society/

4.https://www.theaterseatstore.com/blog/cultural-evolution-theater

5.https://brainly.in/question/2357562

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