Spotlight on Odisha’s Theatre Scene: Celebrating World Theatre Day

Spotlight on Odisha’s Theatre Scene: Celebrating World Theatre Day

The famous quote by French writer Victor Hugo states, “Life is a theatre set in which there are but few practicable entrances.” Once the spotlight is on and the curtains open, the show begins. The International Theatre Institute (ITI) initiated World Theatre Day in 1962, which is celebrated annually on March 27th by ITI centres and international theatre communities. Despite living in an era where entertainment is available 24/7 at our fingertips, the allure of going to a play theatre and watching live actors perform is unmatched. This is why play enthusiasts worldwide still visit theatres to enjoy live acts, even if they have to purchase expensive tickets.

The significance of theatre is not just about entertainment, but also the craft’s rich history. In honour of this special day, My City Links investigated the theatre scene in Odisha and discovered some fascinating facts.

History and the Evolution

‘Babaji’, a play written, directed, and staged by Jaganmohan Lala in Mahanga in 1877, is considered the first modern Odia play. Theatre in India is one of the oldest forms of theatre, featuring detailed textual, sculptural, and dramatic effects that emerged in the mid-first millennium BC. Since ancient times, Odisha has been a land full of various folk arts and plays like Jatra, Pala, Patua, Daskathia, Mughal Tamasha, Karma, Danda Nata, Chaiti Ghoda Nata, and many more. Professional theatre groups such as Annapurna Theatre, Janata Rangamancha, Kalashri Theatre, and Odisha Theatre have emerged and breathed life into the Odisha theatre movement.

One of the earliest examples of theatre architecture in India and Odisha is the Khandagiri caves from the 2nd century BC. With the Islamic conquests that began in the 10th and 11th centuries, theatre was discouraged or even forbidden entirely. Later, in an attempt to reassert 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 century. The number and practice of theatres in India increased significantly from the last half of the 19th century. After Indian independence in 1947, theatres spread throughout India as a means of entertainment. As a diverse, multicultural nation, the theatre of India cannot be reduced to a single, homogenous trend.

“During the reign of emperors in Odisha, ‘Galpa Sagara’ used to be a profession. They used to narrate stories and earn a living out of it. Later on, they started performing the stories with facial and body expressions. Then ‘Loka Nataka’ came into the scene, where people used to perform short plays and earn their bread and butter or gain name and fame,” said Abhinna Routray, former General Secretary of Odisha Natya Sangha and a veteran theatre personality known for his unique experimental direction in contemporary language.

Street plays like ‘Chadheiya Chadheiani’ and ‘Kela Keluni’ did not have any written script in those days. Artists used to listen to their seniors, practice, and perform. Then ‘Gitinatya’ emerged, which combines Sangeeta (music), Nataka (drama), and Nurtya (dance). Later on, people started scripting these art forms. After ‘Babaji’, modern plays with social stories began their journey in Odisha. Simultaneously, fictional plays, historical plays, and mythological plays also continued to flourish.

When we talk about the characters, the two major Sanskrit epics of ancient India, the Mahabharata and the Ramayana, feature all of them. If you observe closely, you can definitely find a resemblance between any character from any story and a character from one of these epics. I can guarantee that even after 100 years, the characters of these two epics will be repeated in every single new story.

The Odisha Natya Sangha and the Natyadhara

To promote collaborative development of the theatre scene in Odisha, a group of theatre personalities from the state formed a committee called the ‘All Odisha Theatremen’s Coordination Committee’ in 1986. Late Jatin Das was the President, with Vice President Asim Basu and Secretary Dhira Mallick. In 1989, the group changed its name to ‘The Odisha Natya Sangha’ and registered it under the society act of India. Sharat Raut, the Culture Minister of Odisha at that time, was a theatre lover and renovated the Bhanjakala Mandap in 1988 at the request of the theatre association. He also agreed to perform plays for five days a month for every theatre company in Bhubaneswar and provided Rs. 5,000 for the project.

Other theatre veterans such as Bijay Mishra, Dhira Mallick, Manoj Pattnaik, Ajit Das, Haren Sahoo, Abhinna Routray, Subodh Pattnaik, etc. played a significant role in the formation of this committee and the Natyadhara. At the time, the government’s patronage in the field of theatre was minimal, and theatre had already lost its audience. Therefore, the committed theatre groups formed Odisha Natya Sangha solely for the betterment of the theatrical movement. Haren Sahoo is currently the president of the Odisha Natya Sangha, and Subhakanta Padhi is the general secretary.

The Natyadhara, a monthly theatre programme now underway in the capital city, is being organised by the Odisha Sangeet Natak Academy, the Department of Culture, and the Odisha Natya Sangha. The Sangha had regular meetings and discussions with government officials for assistance, and their efforts finally bore fruit. Thus, Natyadhara started in 1989, and a theatre institution was asked to stage a play for five evenings in the Bhanjakala Mandap in a week, resulting in 20 shows in a month. Surprisingly, in 1990, the dhara of natya again broke for unknown reasons. The member institutions of Sangha put up plays and held theatre festivals on their own and continued to persuade the government for assistance. Finally, the government listened to the demands of the Sangha. The Department of Culture, the ‘Odisha Sangeet Natak Akademi’, and the Odisha Natya Sangha chalked out a detailed plan regarding the funds and the guidelines.

In 2012, the Natyadhara programme started again and is still ongoing. Initially, a single play was being staged in the Bhanjakala Mandap by a single group within a radius of 200km from Bhubaneswar on the first, second, and third day of every month. Today, a sum of Rs. 37,000 is being given to groups coming from outside the 200 km radius from Bhubaneswar to meet production expenses for staging a play in the Rabindra Mandap on the second Sunday of every month. Simultaneously, for groups participating at Bhanjakala Mandap, Rs. 23,000 is being given. The Culture Department provides both the mandaps free of cost. Earlier, Rs. 4,000 and Rs. 2,000 were being charged as development fees, by each Mandaps respectively, which has been repealed now.

“The Odisha Natya Sangha is successfully organising Natyadhara with more than 150 theatre groups from all over the state. Up until now, more than 450 dramas have been performed in Odisha. For Rabindra Mandap’s Natyadhara, the preference is to give a chance to theatre groups from more than 200 km away from the capital city. Theatre groups from Bhubaneswar and nearby places are participating at the Bhanjakala Mandap,” said senior theatre actor, light, and craft designer Ashok Kar.

These groups are not only performing but also holding festivals, seminars, and workshops in their respective districts. The Sangha has mindfully designed its office bearers to cover all districts, including one president, four vice presidents in each of the east, west, south, and north zones, four secretaries in four zones, advisors, treasurers, executive body members, and area representatives across the state.

Any registered theatre group can participate in the program, but it should have staged at least two dramas annually inside the state and consist of regular and reputed artists, along with a professional director who must be regularly associated with the group. Additionally, it should have staged plays in other state festivals, and the organisation should deposit the documents requested by the Odisha Sangeet Natak Akademi.

Odisha Theatre Groups at the ‘Bharat Rang Mahotsav’

Started in 1999, the Bharat Rang Mahotsav or National Theatre Festival is the annual theatre festival organised by the National School of Drama, New Delhi. The festival was initiated to showcase the works of Indian theatre practitioners, and it has grown over the years to attract international performers as well. The 22nd edition of the festival, held from February 14 to February 26, was hosted in Guwahati, Delhi, Jaipur, Rajahmundry, Ranchi, Jammu, Srinagar, Bhopal, Nashik, and Kevadia. It staged plays from five different states, covering Assamese, Hindi, Manipuri, Bengali, and Odia languages.

Every year, drama groups from Odisha also participate in this grand theatre festival. Here is a list of theatre groups from Odisha that have participated in this festival.

1. Utkal Rangamancha, Bhubanwswar

Director: Ananta Mohapatra

2. Natya Chetana, Bhubaneswar

Director: Subodh Pattanayak                             

3. Manan Natya Sanstha, Bhubaneswar

Director: Manoj Pattanayak

4. New Quest Repertory, Rourkela

Director: Nalini Nihar Nayak

5. Canmass Theatre Group, Paradeep

Director: Sriman Mishra

6. Satabdi Ra Kalakar, Bhubaneswar

 Director: Dhira Mallick             

7. Abhinaya Jagruti Institute of Theatre, Bhubaneswar

Director: Late Ajit Das (Now his wife and veteran play writer Maya Das is taking Care of it)

8. Mirror Theatre, Belpahar

Director: Subash Pradhan

9. Jibana Rekha Theatre Group, Bhubaneswar

Director: Abhinna Routray

10. Dynamic Platform, Bhubaneswar

Director: Debabrata Pattnayak

11. Utkal Sanskrutika Parisada, Sunabeda

Director: Sudam Bisoi

12. Expression, Bhubaneswar

Director: Debananda Nayak

This year, five plays from Odisha were staged in this festival, namely ‘Maha Sangram Ra Maha Nayak Buxi Jagabandhu’ by the group Satabdi Ra Kalakar, ‘Gandhinka Odisha’ by New Quest Repertory, ‘Tata Niranjana’ by Abhinay Jagruti Institute of Theatre, ‘Barang Nibas Bhala Rana Khsetra Re’ by Utkal Sanskrutika Parisada, and ‘Botala Bhuta’ by Expression.

Theatre groups organising drama festivals in Odisha

Along with participating in theatre festivals all over the nation, some Odia theatre groups also organise their own theatre festivals. They arrange and invite theatre groups from outside the state to perform at their venues, creating a great opportunity for cultural exchange and allowing artists to learn from each other and grow together while improving their craft.

The following is a list of theatre groups in Odisha that have their own theatre festivals all over the state.

Abhinay Jagruti Institute of theatre – National Theatre Festival, Bhubaneswar

Sankalpa- State Level Odia Drama & Inter School Drama Competition, Rourkela .

Panchamveda- State Level Drama Festival, Bhubaneswar

Ganjam Zilla Mancha Kalakar Sammilani-  Dakhhina Odisha Nataka Mahotsava, Berhampur

Satabdi Ra Kalakar- National Multilingual Drama Festival, Bhubaneswar

Manana Natya Sanstha- State Level Drama Festival at Bhubaneswar

Utkal Yuva Sanskrutika Sangha- National Level Drama Festival and International Drama Festival, Cuttack

Theatre Movement- National Level Drama & Dance Competition, Cuttack

Spandana- All India Multilingual Drama , Dance & Theatre Seminar Festival & All India Children Theatre Festival, Rourkela Rourkela .

Kalinga Kala Parisada- State Level Children’s Theatre Festival, Rourkela

Swasti Jhankar- State Level Drama festival, Theatre Seminar & Natak Darbar, Rourkela

Sampark- National & State Level Drama Festival, Theatre Seminar & Theatre The Occasion Of World, Rourkela

Odisha Natak Samaroha Samitee- State & National level Drama festival, Berhampur

Bindu Balaya- State Level School Drama Festival, Balasore

Kalakar- State Level School Drama Festival, Balasore

Yuba Udayan- Veer Surrender Say Sambalpuri Drama Competition Sambalpur

Panchapattamala Natya Mahotsava- State level Odia Drama Short play competition, NALCO, Damanjodi

Canmass- Canfesta, Paradeep

Creative Art- Parala Rajyastariya Natak Mahotsav, Paralakhemundi

Kalaparisada- Kalaparisada Natak Festival, Dhenkanal

Jagarana Art International- Multilingual National Drama festival, Deogarh

Shree Cultural Association- Rang Samagam (National Drama festival), Sambalpur

Natyam- State level Theatre festival, Angul

Rangashala- National Theatre festival, PURI

Expression- State level Theatre festival, Bhubanesar

Mirror- Ekka (National Solo Theatre Festival), Bhubaneswar

Nandanik – Deomali National Theatre Festival, Koraput

Bhumika- Mathkhai Mahotsav, Balangir

Smmaraki- National Theatre festival, Bhawanipatna.

The Opinions

My City Links spoke with several individuals associated with theatre, and here is what they have shared with us.

Ollywood actor Aman, well-known for his role in the series ‘Gangs of Puri’, did theatre plays for over a decade before transitioning to films and other entertainment programs. He said, “Theatre personalities cannot lead the life of a regular social human. They are all crazy people, always living in the dreamy world of stories, drama, and art. When I began my journey with Odisha’s theatre, I realised that I knew nothing. So, I spent more than 17 years doing theatre plays only. Now, a few people are trying to commercialise theatre plays, which may affect the art and its uniqueness. If we are talking about the development of the artist, then we must let the person become an artist first.

Aman believes that these days, people use theatre’s credibility to get work. “I have seen artists misrepresenting themselves to production houses by claiming that they have worked in theatre plays, when in reality they have not even done a single play. Giving a child all the luxuries of life can hinder their ability to learn, and commercialization may impede the process of making a person an artist. The more time an individual spends on stage, the more respect they will gain from the stage throughout their life. This has been proven by the fact that veterans like Nasseerudin Shah, Anupam Kher, and in Odisha, veteran actors like Choudhury Bikas Das and Choudhuri Jayprakash Das are still active in theatre and continue to be respected as some of the finest actors,” added Aman.

The veteran actor, director, and one of the pioneers of Odisha’s theatre plays, Asim Basu, left his government job to pursue his passion for painting. We had a conversation with a well-known personality in Odia theatre, films, and serials, as well as his daughter, Bhaswati Basu. Further elaborating on her father, she said, “Even Babuji (Asim Basu) burnt all his academic certificates, so that even if he wished, he couldn’t go back to his job and focus solely on his craft. Later on, he entered into theatre acting, stage art designing, and direction. His directorial debut was with the play ‘Duiti Surjya Dagdha Fulanku Nei’. During his stage design days, he introduced the revolving stage and trap-way design. In 1982, when the state was going through a bad phase due to severe floods, Babuji and a few other actors were performing street plays in a truck to collect donations for the affected people. He played the character of a man who had lost his family in the flood so convincingly that even after years, a stranger met him and asked if he had found his son after the flood.”

“During Babuji’s time, entertainment options were limited, so a single play used to be staged for more than 90 days. Artists and technicians who were dependent on it somehow managed to survive. However, with the rise of numerous entertainment mediums, the audience has decreased and now one play lasts for only 2-3 days at most. Even during Babuji’s period, commercialization of theatre had reduced, and art lovers like him used to do theatre out of dedication towards the art rather than for money,” she added.

Popular Ollywood film, television, and theatre actor Kanha, also known as Krishna Kar, stated that senior theatre director Nalini Nihar Nayak is the person who started paying first in professional theatre plays. Popular for playing the character of Babu Jena in the series ‘Gangs of Puri’ recently, KK has acted in hundreds of plays and even solo act plays. He said, “Sponsors do pay, but the artists do not get paid well to date. Sometimes, even a lady artist gets paid, but male artists don’t. So, I would say that nothing has changed, which is the harsh truth. To know what is acting, you need to understand life, and for an actor to know what is life, theatre is the best place, I would say.”

Talking about the changing times, the veteran Abhinna Routray said, “We should change too while keeping the aesthetic values of our art in mind. As seniors, it’s our responsibility to give scope to the upcoming actors and directors who are equally dedicated and disciplined towards this art. It’s time to upgrade ourselves, believing young minds and moving forward with them. We are not going to beg people to come to watch our play, they will come buying a ticket if they want to.”

As someone who considers drama as his life, KP, a popular host, radio jockey, and theatre actor, said, “I started my journey in drama in 2000. It’s true that in recent years, the progress of drama has been slow. But the current youth drama workers all over Odisha have caught the passion and brought a new version of drama. If we stop the forced melodrama completely, more dramatists can come forward and we can see more good plays.”

Umakant Mohapatra, an MBA student who is also a theatre lover, feels that with the OTT revolution, we have all witnessed what realistic acting is, and most of these OTT actors come from a theatre background. Therefore, there is no doubt that theatre plays are the reason behind most of the successful actors in the Indian entertainment scene. He said, “We can consider theatre as the birthplace of actors. At times when western influence is trying to dilute the authenticity of our art and culture, we all should come forward for the betterment of ancient art forms like theatre. We, as an audience, have been educated enough to distinguish between good and bad. It’s high time we should be proud of our art and promote it as much as possible.”

Firdaus Yasmeen, a creative writer by profession, who grew up surrounded by art in various ways, developed a natural love for different art forms. Upon expanding her film horizons beyond mainstream Bollywood and Hollywood, she said, “I began to appreciate the beauty of acting, the importance of art direction, lighting, dialogue delivery, and other intricacies that shape films that really move us. I vividly recall being captivated by a Tamil language documentary of a stage play, which prompted me to seek out live plays. While exploring the state of theatre in my home state of Odisha, I discovered a community of actors, directors, and writers who are passionately working to preserve this dying art form by regularly producing plays. Sadly, however, only a small number of people are aware of their efforts.”

“Attending a play in Bhubaneswar’s Rabindra Mandap, I observed that the audience was primarily composed of older individuals. Unless theatre can engage the youth of Odisha, it may prove challenging to save this art form. I believe it is our responsibility as art lovers to support those who are working to preserve this art form, even if it does not yield them a significant financial return. In a world consumed with creating content for likes and shares, there are few things that truly touch us. Art can serve as a refuge, particularly during difficult times. Who else will we turn to if not art?” concluded Firdaus.

In contemporary India, the theatre faces strong competition from the growing television and film industries. Another challenge is the lack of funding. However, despite these obstacles, true theatre enthusiasts continue to support the craft and nothing can replace its unique charm. On this World Theatre Day, the team of My City Links extends its warm wishes to all those who are associated with theatre.

 (Special thanks to Ashok Kar and Abhinna Routray for their inputs for this story)