In a country where audio and filmic documentation of theatre is abysmally poor, Badal Sircar will perhaps be remembered primarily as a playwright simply because we don’t have nearly enough record of his plays in performance for future generations, and what we have is not of very good quality. A large number of his plays do however exist in print, and they will doubtless survive the test of time. To see Badal Sircar as primarily a playwright is, however, to do him a disservice. He was a practitioner—he not only wrote plays, he directed them, acted in them, worked out the scenography (even if it only involved re-arranging audience seating to be part of the action, as he did in his classic Michhil), and came to evolve a set of psychophysical exercises for actor training that embodied his overall philosophy, politics, aesthetics and method of theatre making.
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