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All Plays Delhi Plays


Writer : Dattprasad Shenai
Director : Balkrishna Narayan Gore
Group : Balkrishan Gore Paramparik Lok Kala, Dashaawtaree Natya Mandal Kawathi, Maharashtra
Language : Marathi
Duration : 90 Mins


16th day of the Mahabharata war revolves around Karna. Although Karna faces an intense emotional conflict, he emerges as a great human being and warrior. A night before the beginning of Kurushetra war, Duryodhana appoints Karna as the new commander of Kauravas. Kunti requests Krishna to prevail over Karna, her first son, to fight on the side of the Pandavas and against the Kauravas. Krishna advises Kunti that she herself should speak to Karna. When Kunti meets Karna, he faces an emotional conflict. He is committed to Duryodhana but he assures his mother that the life of his brothers will be safeguarded. The story of this play highlights how Karna emerges as the greatest warrior Maharathi Karna in this difficult situation.


Dashavatar is a famous folk theatre form of Maharashtra. Dashavatar originated in Karnataka, spread to Maharashtra, and finally established itself in Konkan. It does not have any written compilation; the dialogues of the play are natural and rejuvenating. Male actors play the role of female characters as well. Dashavatar is a local home training for the actor community. Having a stage and technical assistance is not a necessity for this form. It can be performed in streets, nearby roads, in an open courtyard or anywhere else. Various Dashavatar groups are preserving this tradition in Konkan region. They are working with total dedication and commitment to nurture this cultural tradition with enthusiasm, and without any govt. or industry support.

Director and Director’s Note

I, Balkrishna Narayan Gore, M.P.- Kavathi, Taluka Kudal, District- Sindhudurg Greets all of you, the  considerate viewers. ‘Dashavatar’ is an iconic folk art form of our Konkan region. In this, the stories of Ramayana and Mahabharata are presented. Dashavatar folk art tradition is almost an ancient art dating back to the era prior to 800 years. Being the Dashavatar our lineage, the present generation is the ninth generation of that tradition, which has continued it even today. Dashavatar is a popular folk drama in Konkan, Maharashtra, and Goa states. In these regions, Dashavatara was earlier called Yakshagana. Keshav, Madhav, Mukund, Murare, Hari, Ram, Krishna, and Govind – these eight of our ancestors brought this art from Karnataka to Konkan in the form of Dashavatar, and I represent the ninth generation of this lineage. Me Balkrishna aka Dinesh Gore… It has been twenty years since I was associated with Dashavatar- performance. In this Dashavatari, I have been playing the roles of Ram, Krishna, Indra, Shankar, and Narad. Our Dashavatar has been performed in numerous National-International theatre festivals, organized in Madhya Pradesh’s Ujjain and Indore, Maharashtra’s Osmanabad, Dhule and Nashik, International Olympic Festival, Thiruvananthapuram, Kerala, West Bengal, Jammu-Kashmir. Our Balakrishna Gore Paramparik Lok Kala Dashavatari Natya Mandal Kavathi has been included in the Universal Talent Book of Records. Our group has received 52 awards at the state, national and international level. In the 22nd Bharat Rang Mahotsav-2023, organized by the National School of Drama in Delhi, Balkrishna Gore Paramparik Lok Kala Dashavatari Natya Mandal Kavathi is going to present today- ‘Maharathi Karna’ under the ‘Dashavatar’. I express my heartfelt gratitude to all the esteemed audiences.

All Plays Jammu Plays


Playwright : Pt. Natharam Sharma Gaur
Director : Dr. Umesh Chand Sharma
Group : Sri Sri Narhari Seva Sansthan, Vrindavan, U.P.
Language : Hindi
Duration: 90 mins


The story of Satyavan and Savitri, in Indian mythology has left a deep impact on the mass. This is the best story of ‘Pativrata dharm’. When Savitri, the only child of King Ashwapati of Bhadra country, reached her youth, a suitable groom was searched for her, but no prince was found worthy of Savitri. Seeing Satyavan, the son of King Dyumtsen, whose kingdom had been usurped by a neighboring king, and who lived in a hut in the forest with his wife, Queen Sadhvi, Savitri proposed to him. Though Sage Narada warns Savitri’s father that Satyavan has only 1 more year left to live, Satyavan and Savitri get married due to Savitri’s unwavering determination. After one year passed, one day while cutting woods from the tree, Satyavan felt pain. Savitri sits with her husband’s head on her lap. Yamdoots return after being impressed by her ‘Pativrat’. Then Yamraj himself comes to take his life. Savitri also starts following Yamraj. Impressed by her tenacity, loyalty and devotion, when Yamraj asks her to ask for boon, she asks for her father-in-law’s eye sight be back as the first boon, the return of their kingdom as the second boon and as the third boon, for herself, she asks for having 100 sons. Yamraj says – it will happen like this. On this Savitri said that you are taking my husband away, how will I be the mother of sons? In the end, keeping his promise, Yamraj returns Satyavan’s life. In this way, Savitri snatches her husband back from the hands of death by her chastity and Pativrata Dharma.

Director’s Note

Nautanki Satyavan-Savitri is a very assertive composition, composed in folk theater drama style of North India. So far, it has been staged in various regions of the country by the eminent artistes, but the more often, this outdoor drama is staged and is seen by the audience, the more it appears in new surroundings. This Nautanki, full of lofty expressions, has been invited by the National School of Drama for performance in the 22nd Bharat Rang Mahotsav 2023. All our actors are very excited. The audience and the artistes and our organization, will all be specially benefited by the performance being presented. Being Impressed by the theme of this story, based on devotion and emotion, even today, every year the festival of Vat Savitri Vrat is celebrated with great enthusiasm on the new moon day (Amavasya) of Jyeshtha month, by the married women of North India, and on the full moon day (Poornima) of Jyeshtha month, by the married women of South India. Iti Shubham…


Dr. Umesh Chand Sharma was born in Vrindavan, District Mathura U.P. on 12 August 1956 in the family of Shri Madhav Prasad Sharma and Smt. Sushila Devi. He completed his M.A. in Hindi Literature and Philosophy, and Ph.D. in Vrindavan itself. After serving as Head of the Hindi Department in Vrindavan’s Sanskrit College for 30 years, retired from there. He has helped many, complet research work based on the stories of Braj region’s folk drama, and other genres like Rasleela and Bhagat, Swang, Nautanki etc. and has presented Nautanki on stage. Along with this, has done writing work on Nautanki, Swang etc. In 1993, he established Brajlok Art and Craft Museum in Vrindavan. Along with organizing seminars on Rasleela and Nautanki subjects, many plays were staged, in which ‘Mrichchikatikam’, written by Shudrak and Mohan Rakesh’s ‘Ashadha Ka Ek Din’ staged in collaboration with U.P. Sanskrit Academy are prominent ones. ‘Bhakti-Darshan aur Sahitya’, ‘Kamadhyatma’, ‘Braj Ka Bhava Bhoogol’ written by him have recently been published by the National Book Trust, New Delhi. At present he is serving as the Braj culture specialist with U.P. Braj Teerth Vikas Parishad, Mathura where he is making special contribution to the genres of Braj folk theatre.


Pt. Natharam Sharma Gaur was born on 14 January 1874 in Dariapur village near Hathras. His father’s name was Pandit Bhagirath and mother’s name was Mrs. Indira. He was a born artiste of music genre. Ustad Inderman made him study art-skills in Swang style. At the age of 16, Pandit Natharam Gaur laid the foundation stone of the Swang Akhara in Hathras jointly with Chiranji Lal ji. With this unique genre, rich in amazing style, not only he adorned the theater in the entire Indian provinces, but also hoisted the flag of the native culture in foreign countries as well. He was also honoured with gold and silver medals several times in the field of Nautanki. His singing of Nautanki, and accompanying acting was so powerful that the audience used to become engrossed in emotions. Apart from this, there is abundant Sangeet literature created by him on religious, cultural, social and mythological subjects. He also had his own printing press. He caused, the sun of Kanpur Nautanki rise. In the Hathras style provided by him, the conversation used to happen in verse only. It is classically ornate. The intensity of singing here, the ups and downs of alap and the inclusion of classical ragas is incomparable.


Sri Sri Narhari Seva Sansthan has been continuously working for the last 29 years on various forms of folk culture and art of Braj. The group has organized many seminars of international level on folk dramas, 10 workshops on Nautanki and Rasleela have also been organized by the Sansthan. The Sansthan also publishes its monthly magazine ‘Braj Lok Sampada’. This magazine publishes research oriented articles on the contexts of Braj’s culture. Along with this, the ancient manuscripts of the culture and literature of Braj are also published by the Sansthan. The Sansthan has established the ‘Brajlok Art and Craft Museum’, in which folk lifestyle, living and customs and traditions have been cherished within. There is constant movement of tourists in this. It is reputed as an important center of Braj culture. The Sansthan has a library of 15,000 reference books related to Braj culture, in which research students from India/abroad keep coming regularly. Tourists are also guided by the Sansthan. The Sansthan has an open air theater with a seating capacity of 300 spectators. Regular programs on folk and classical forms continue on this stage. Theater artistes, and artisans working especially in rural areas are encouraged. Under the aegis of the National School of Drama, a fifteen-day training in the arts of Braj was completed in Vrindavan by the Sansthan itself in 2014 under the direction of Mrs. Tripurari Sharma.

All Plays Ranchi Plays


Writer : Yogesh Tripathy
Director : Sharda Singh
Group : Prastuti, Patna, Bihar
Language : Hindi
Duration : 105 mins


The period of the story is from 1937 to 1940. A village woman of Mithilanchal, named Gauri, after giving birth to a daughter named Pratibhama and a son named Umanath becomes widow. As tradition, she manages early marriage of Pratibhama and sends her to Pratibhama’s in-laws’ house, far away from her village. The son Umanath goes to a big city for earnings. At the village Gauri uses Takli and Charkha for survival. In this way she is the follower of Mahantma Gandhi. Unfortunately she becomes pregnant with her brother-in-law (Devar) named Jainath. When the developing embreo becomes of eight months she worries and finally goes to her maternal house and manages the abortion. After returning home she found that the woman society has bycotted her. The son Umanath comes to village to follow tradition of yearly ‘Shraddha’ of his father and comes to know about her mother’s incident. He becomes very angry and after slapping his mother, begins crying. Gauri loves her brother-in-law’s teenaged son Ratinath as her own son. She promotes Ratinath to take education in big city, where as Ratinath’s father Jainath wants him to marry immediately. Umanath gets married and puts his bride Kamalmukhi at village for the care of his mother, but the behaviour of Kamalmukhi doesn’t suit to Gauri and she becomes ill. Kamalmukhi continuously ignores her mother-in-law’s wishes and desires, and ultimately Gauri dies. Ratinath does her funeral, as per Gauri’s wish. This is the story of a village woman who always tried to stand on her own feet with self respect till the last breath.

Director’s Note

Baba Nagarjuna’s compositions reach straight to heart. Stories happen to be, or fiction gives the sensation, of a grotesque kind. This is the first Novel of Baba. The Novel based on widows is reflective of the situation and the circumstances of the society.

Baba has described the snotty mentality, lust and deceit of the man through the Novel. Wherein a widowed woman is pushed in to the jaws of a stingy whirlpool trap. In a society where the marriage of the widower man was possible, but a widowed woman was kept away  from all the pleasures, the Novel’s chief woman, Gauri, says… the widows are squared up, wearing white ones, away from men… Where can woman spend holy life? The question also arises, why can’t the vidhwa live up with a society or family after the demise of her husband? This is the question of Gauri that shake us- why ?

Baba has engraved to, the bitter truth of the celebrating her Society through his writings, in any era women have not the luck of tasting the nector of individuality, It has always men first to ‘amritpaan’. The theatrical adaptation of this Novel is done by Shri Yogesh Tripathi. It basically becomes  even more robust reading conversion. With the craft, taste, and theatricality, the drama draws a great impact on the outlines.


Born in 1977 and a graduate from Patna University, Bihar and Post graduate in History and Dramatic arts, Sharda Singh acted in almost more than 50 plays. She received various awards, sammans and got best actress award also for acting. She is associated with Doordarshan and A.I.R (All India Radio) Patna, and has participated in many serials, tele films, radio dramas. She worked with renowned theater personalities like Satish Anand, Sanjay Upadhyay, Vijay Kumar. She received national scholarship in 1998 for acting and was rewarded the Jr. Fellowship in 2012-2013 by the Ministry of Culture, Govt. of India.

Sharda has directed a number of Nukkad plays along with stage plays like Maati Gadi, Ekla Chalo Re, Ashadh Ka Ek Din, Lahron ke Rajhans, Laal Pan Ki Begam, Ratinaath Ki Chachi etc. She received ‘Shailbala Mishra’ acting award for acting- 1992, 1994, 1995. In the year 1995, she was honored with ‘Kala Shree’ Samman for acting and in the Year 2003 she received ‘Bhikhari Thakur Samman’. She received ‘Noor Fatima Smriti Samman’ 2009 and ‘Purnank Rang Samman’ in 2010. In the year 2013 she won Abhinav Rang Sammman (Ujjain), Bhikhari Thakur Yuva Samman (Bihar Government) 2013, Women’s achiever’s Samman and Shikshak Ratna Samman as well. She is currently active in doing Theatre.


Prastuti, one of the famous theatre group in Bihar, was established in 2011-12. Since then it has been working very actively in the field of Theatre. The group performed many important stage plays all over India in states and cities like Bihar, Bhopl, Jabalpur, Delhi etc. It Participated in many important state and national festivals and recently has been selected to participate in Minarva Festival, Kolkata.

Prastuti has its Repertory consisting of 10 members, but we have more than 20 people who are associated with Prastuti and are working regularly for Nukkad and stage Plays. Some of the prominent productions by the group are- Maati Gadi, Ashadh ka ek Din, Lahron ke Rajhans, Renu Nama, Laal Pan Ki Begam, Bakri, Ratinath Ki Chachi.

All Plays Guwahati Plays


Playwright : Pankaj Jyoti Bhuyan
Director : Krishna Bhuyan
Group : Rangabhumi
Language : Assamese
Duration : 70 Mins.


Panchawati, a boat that sails in the heart of river Dirang, isn’t just a boat. It is the source of strength for a crew of young men, and a symbol of determination and prestige for the village. By winning every annual traditional rowing event held in ten neighbouring villages, Panchawati has always stood out as a figure of protest. But, this is troubling the region’s MLA, and she is utilizing every deceitful trick she has up her sleeve to defeat Panchawati. She has tried her best to break the team down. On the other hand, five courageous women reorganize the crew and the event, as a resistance towards the MLA’s political ambitions. They provide shelter and shade to oppressed people, just like the five ancient trees called Panchawati. This is the story of victory of women power.

Director’s Note

Panchawati is a fictional social drama.  The play mainly attempts to show the power of women as a means of fighting against an evil force. The play is presented with special emphasis on Assamese folk music and dance. The play attempts to present the diversity of culture with the color of lights. The play makes extensive use of symbolism in its presentation and characterization. The play shows the courage and inspiration of five women.  In their inspiration, the victory of a culture and the defeat of a bad culture are at the heart of the play.  The play is an attempt to symbolically portray one of the folk cultures of Assam, boating.


Well known actor and director, Krishna Bhuyan has been working in different fields of theatre in Assam. He has played major roles in famous plays such as Andhayug, Kukurnesia Manuh, Tomak Valpaw, Janmantar etc., and in about thirty plays and TV serials in Assam. He has also directed Kangsha, Siyali Palegoi Ratanpur, Moi Tuniya Tun Tunalo, Lavita, Akashor Nodi etc. He directed Andarat Sihatar Mukhabor that participated in Jashne Bachpan 2012 organized by National School of Drama. He was awarded the best actor and director awards in State Level Competition of Assam and National Theatre Competition held in Orissa. In the 10th “Purrvottar Natya Samaroh, by National School of Drama, New Delhi 2018, the play Dhaniramar Theatre was directed by him, staged in Arunachal Pradesh. ‘Panchawati’, the play directed by him had been selected for Pragjyotish Theatre Festival 2020 by National School of Drama.


Established in 2012 the organization Rangabhumi is relentlessly working for the all-round development of the village children, as they are not lucky enough to get support for their extracurricular activities. The group has done a tremendous job by making this organization work throughout the state. It is producing many talents in the field of culture and sports, and also organizing theatre workshops, recitations, quizzes and music competitions. Rangabhumi has staged many children’s plays including Jokar, Xaxagot, Xiylirxadin, Anivobi Monbur, Bakhor. Dhaniramar Theatre, Panchawati, Andharot Hihotor Mukhbur which have been selected for National and International Theatre Festivals by National School of Drama. A good number of talent from Rangabhumi is now successfully working in different socio- cultural and sports arena in various parts of Assam.

All Plays Jaipur Plays


Director : Piyal Bhattacharya
Writer : Shudraka
Translation : Sayak Mitra
Group : Chidakashkalalay, Centre of art and divinity, Howrah, W.B.
Language : Multi Lingual
Duration : 90 Mtns.


Never before staged, Padmank Gatha is an adaptation of “Padma Prabhritakam”, a Rupaka (10 types of play accordingly ‘Natyashastra’) by famous Sanskrit playwright Shudraka. An apt example of a ‘Bhan’, a model of the Western concept of monologue. The character ‘Samvatsar Vit’ is the learned common one, he heard a lot of teachings, and he goes on to render the picture of the society while he encounters characters that represent various stratum of the societal structure, which finds its relevance in today’s social model. ‘Bhan’ is the category of Rupaka that was modelled to communicate social evils and increase awareness amongst the common mass.

The story takes us through various facets of society and sheds light upon many issues which are usually less discussed, but Vit takes it up with ease. It blatantly opens up the hypocritic attitude of our society towards the prostitutes, whereas the society leaves no chance. Thus, through the supposed light mood the play conjures a serious inner-atmosphere within the viewers and leaves room for pondering within them.


A consummate artiste and also a painter, sculptor and costume designer Piyal Bhattacharya has been engrossed in the research and practical reconstruction of the complete performance system of Natya, from the perspective of Natyashastra for the past 20 years of his life. He completed 6 years diploma course in Kathakali Vesham (Kathakali acting) from Kerala Kalamandalam under the supervision of Kalamandalam Balasubramanyan, 2004. While in Kerala, he also learned Kathakali vocal under Kalamandalam Madambi Subramanyan Namboodiri, Cheruthuruthy.

He studied Rasa, Bhava, Chitrabhinaya and Samanyabhinaya of Natyashastra under Dr. K.D. Tripathi; Musicology under Dr. Pradeep Ghosh, Dr. N. Ramanathan and Indrani Chakraborty; took initial training in Rudra Veena under Subir Mishra; went to Myanmar to learn the migrated tradition of Indian Harp, surviving as Saung Gauk under U Win Maung, at Gitameit Music Centre, Yangon, Myanmar, 2016.

It is has been his sole endeavour to uphold the ancient tradition of performance as envisioned by him under the name of “MARGA NATYA”, a sincere effort of research and reconstruction evolved from the practice of Nritta, Geet and Abhinaya based on Bharata’s theatrical system of performance, based on the Natyasastra.

He was awarded Sangeet Natak Akademi, New Delhi junior fellowship grant on ‘Ekadasha Natya-sangraha of Natyashastra’ 2010; ICH fellowship for ‘Safeguarding Intangible Cultural heritage’, granted by Sangeet Natak Akademy, 2014; Tagore Scholarship by Sangeet Natak Akademi, Delhi, 2019-2020; Kalasarathi Award, Sri Sri University, Bangalore, 2022 and many more.  At present he is taking advance training in Dagar style from Ustad Bahauddin Dagar.


Away from the hustle and bustle of the city, this institution is committed to preserve and serve the traditional art and culture. This artistic endeavour is the brainchild of Piyal Bhattacharya, who has dedicated his life to determine and preserve the practice and propagation of Ancient Indian Art forms. This is primarily founded upon the practice and performance based on the wisdom of Bharata’s Natya-system explored in Natyashastra. This has been envisioned and researched into a form of practice named as Marga Natya.

Established in 2013 standing amidst the babel of modern society, this institution endeavours to build consciousness about the richness and the importance of Guru-Shishya Parampara and self-improvement within all. A deviation from the modern practice of inviting actors to form a theatre group, here, individuals go through an enriching experience where they are given an opportunity to bloom. Not only are involved in resurrecting the lost tradition of Bharata’s practice of Natyashastra, they are fulfilling the essential meaning of practicing Indian Classical Art. This is not a mere art form, this a way of life, a parallel culture where the disciples develop into artistes who can contribute in the society by enriching the Indian Heritage.

All Plays Guwahati Plays


Director : Khoisnam Ranabir Singh
Playwright : Mahasweta Devi
Group : Khoriphaba Artistes’ Association, Manipur
Language : Manipuri
Duration : 75 Mins


The play Meenai depicts a story of Paatan, an Aajir(slave) enslaved by a bond signed by his ancestor very long ago. That bond of slavery denies him the right to love and marry. Now he and his entire life belongs to the Master Maatang Shunri. The Mistress of the house who is the wife of Maatang is a young and luscious wench and loves Paatan very much. Paatan looks up her as a mother. So one night, she steals all the jewelries and gamchha binding the bond from her husband’s chest and then runs away with Paatan to a distant place. When he asks her for the bond, she shows him by shaking the gamchha that there is no bond any longer to bind him as it had long turned to specks of dust. But he does not believe her and bursts out of furious anger. Out of control of his extreme rage, he kills her by squeezing her throat. At this terrible juncture his Master Maatang and Villagers find them and catch him. Paatan tells all the things why he had killed her. His Master opens up the truth that he and even his father had never seen that bond in the gamchha as it had turned to dust long ago. Now Paatan discovers himself that he was never been a slave and was a free man. And he loses his luscious woman forever.

Director’s Note

The play entitled as Meenai is an adapted Manipuri Version of the play Aajir written by renowned playwright, Mahasweta Devi. It depicts a sad story of a slave, who was enslaved by a bond signed by his ancestor very long ago. But he could discover too late that the bond had long turned to dust. Such late discovery is a metaphor, for traditional constraints that bind the individual in India long after the legal authority has given away. Our creative endeavour  is focused on the quest that a weakest person is one who has no self confidence and not bold enough to live in liberty. People must be aware of class consciousness in an outdated social system and exploitation of man by man as well.


Born on 1st March 1954, Ranabir Khoisnam, B.Sc. B.Ed, is a serious theatre enthusiast and has been rendering his services as an actor, director and organizer since 1979. Now he is also working as General Secretary of Theatre Centre, Manipur, an apex body of all theatre groups in Manipur. He received the basic education of theatre art from various luminaries of Indian Theatre namely Shri Heisnam  Kanhailal, Padmabhusan Awardee, Shri  Sanakhya  Ebotombi (N.S.D.), Shri Wareppa Naba, Padmashri Awardee etc. as his gurus.  He directed more than 40 plays and conducted many seminars and theatre workshops. He is the recipient of the prestigious awards for outstanding achievements in  the field of theatre in national and state levels, recipient of Manipur State Kala Akademi Award 2020, Ranga Ratan Award. Few of publicly acclaimed plays under his direction worth mentioning are- Ningthou Pheijomthok (the naked king), Doctor Faustus, Mother of 1084, Ashadh Ka Ek Din, The Fire and The Rain, Hayavadan, Shen Thanaba (The Bet), Meenai (Aajir), Post Master,  Kaikup-Phi (kaphan), Kanasu Eigi Ming Khangde, The Last Journey, Phagigee Maikhum (Mask of the Joker), Fate of An Artiste  etc. As contribution to Dramatic Literature, he has translated 8 plays into Manipuri  and dramatized 6 short stories. Now he is working with full dedication in contemporary Indian Theatre with great insight in the traditional and cultural roots.


The Khoriphaba Artistes’ Association, Nambol, established in 1969 and registered in  1971 under the Indian societies Registration Act, XXI of 1860 is a dynamic theatre group of Manipur with the objectives for bringing preservation, promotion and propagation of theatre culture in the state, in particular building the contemporary Indian theatre in general and in developing children’s theatre for children as well.

The Group has strenuously involved in the contemporary theatre movements and actively has been engaged in multifarious cultural activities to the cause of cultural movements and artistic growth with the hardship of 35 young and energetic artistes under the guidance of Kh. Ranabir Singh. It has produced more than 90 plays of different categories and organised workshops, seminars, interaction programmes, lectures and demonstrations etc. It has participated in the National and State Level Drama Festivals and Seminars organised by reputed organisations at New Delhi, Allahabad, Andhra Pradesh, Bihar, Kolkatta, Assam and Manipur State Kala Akademi, Imphal theatre Centre, Manipur, 4th National Theatre Festival 2019 organized by Minerva Natya Sanskriti Charchakendra, Kolkata, National IPTA Platinum Jubilee Festival 2018, Patna, Under the Sal Tree Festival 2019, Goalpara District, Assam  etc.

Now, This theatre is seriously going on experimentation solely based on indigenous culture and traditions to evolve a new theatre idiom-Theatre of Inner Spiritual Essence.

Ima Nangi Natambakta (1)
All Plays Jaipur Plays

IMA NANGI NATAMBAKTA (On Your Bosom, Mother Earth!)

Writer and Director: Heisnam Tomba
Group: Kalakhetra, Imphal,  Manipur
Language: Manipuri
Duration: 1:05 Hrs.


The mother lovingly called him Manikorouhanba. His late father named him Sanakokchao. From his childhood, he has been obedient, honest and studious. His father absconded before he understood the world. People believe his father is not alive.

Manikorouhanba’s mother worries about his future. Because like his father, his mother can see in him his honesty, straightforward, someone who stands against any form of wrongdoings. The mother is always apprehensive about him. The mother prays the three avatars of Sun God every day – Mangang, Luwang, Khuman for his well-being. Many days had passed. Now Manikorouhanba is studying at a university.

Today, Manikorouhanba wants to search the whereabouts of his father. He starts reading his father’s books. He is not interested in romance and other natural activities of his age. The boy, who always topped his class from school to university, has many enemies who are envious of him. He wants to bring changes to society. He wants to clean the corruption. He started investigating the false disappearance of people in the state. An unfortunate circumstance makes him a murderer. He was in prison for some years. Even in prison, he never stopped his research. He keeps reading, researching and writing.

Coming out of the prison, he begins a new life. Holding a broom, he started sweeping the wrongs of society. Sweeping the evils of society, he becomes older and older – from school to college, college to university, university to prison, prison to becoming sweeper. At last, he transforms himself into a broom. Can you believe this – a human turning into a broom? This is the story of the play Ima Nanggi Natambakta (On Your Bosom, Mother Earth!).

Director’s Note

The play is a production of a 30 days residential theatre workshop. It is a production primarily built up through improvisations. The final script is written after making the play. During the workshop, the main focus was on searching for a new language of theatre for the next generation. The participants were mainly young new actors. The whole credit of the play goes to those young, ambitious actors and their parents who encourage them to pursue theatre. I hope that the celebration of Azadika Amrit Mahotsav brings a new life to theatre art, which is on the verge of extinction.


Established in 1969 by the late Heisnam Kanhailal, Kalakshetra Manipur has evolved a distinctive theatrical style that is predominantly non-verbal. The group is dedicated towards expressing the realities of oppression and resistance that are a part of day-to-day living in Manipur today, through plays like Pebet and Memoirs of Africa. Other major productions of the group are Tamnalai (Haunting Spirit), Kabui Keioiba (Half Man Half Tiger), Khomdon Meiroubi, Imphal ’73, Izzat, Lajja, Karna, Draupadi, Dakghar, Samnadraba Mami (Disjointed Images), Hungry Stone,, An Enemy of the People, Keishumshang Nupi, Yamata amasung Keibu Kei-oiba etc.

All Plays Guwahati Plays


Director and Writer : Debananda Nayak
Group : Expressions, Bhubaneswar, Odisha
Language : Odia
Duration : 105 Mins.


Far from this hurly – burly world, there was a hamlet, Malapur, at the midst of nature, surrounded by hills, forests and stream, where Nandibali a tribal cultivator is living with his family comprising his son Bagla and daughter Kajodi. Nandibali’s life as an independent cultivator is not fitting to the game plan of Sahukar (money lender), Revenue Officer (tiger), Police (wild buffalo) and Dhangda (eunuch servant). They set the Botala Bhuta (country liquor) after him as a plea to get relief from physical stress and strain. Nandibali became bankrupted. Inspite of knowing the evil designs, Nandibali helplessly allowed Sahukar to take away his son as slave and daughter as kept. Now Nandibali is realizing that the country liquor engulfed him.

Director’s Note

It’s a play featured with realistic acting, stylized costume, illusions in character identity, folk dance, folk music along with a little creativity in Odia dialogues to give the subject a countryside flavor. This play is very much influenced by “NATA “the traveller actor, singer of ancient Odisha and his belonging box (NataPetika). As we know style is the manner of dramatic expressions hence the style is borrowed from typical Odishan folk theatre. Style is the degree and kind of life likeness that has used in its writing. The play starts from tree worshiping, as it’s a common and ever practiced ritual among Odishan hill side people. It’s a story of hill side farmer’s struggle for existence which turns to a tragic end.

Director & Writer  

After completing Post Graduation in dramatic literature and direction, Debananada Nayak focused into street theatre along with exclusively the Folk and Traditional Theatre arena of Odisha. Later he is a front liner Director, Writer to a number of Odia Tele Serials and Feature Films, one of them got President Award at National level also. Apart from these, as a director scored a remarkable recognition at National Youth Festival and National Inter University Festivals various times. A lifelong member of Odisha IPTA group, conducted theatre workshops on behalf of State Sangeet Natak Academy in a number of districts. He is presently working as a Faculty in the department of drama at Utkal Sangeet Mahavidyalaya, Bhubnaneswar Odisha.


A center for social welfare, registered in 2015, Expression is functioning under the guidance of Shri Debananda Nayak, a Post Graduate (Specialization in Dramatic Literature) from Utkal Sangeet Mahavidyalaya, BBSR Odisha. The group has already attended around 10 National Festivals along with 12 State Level festivals till Date. Successfully 45 Student already trained within 5 years. Out of them 25 are continuing in the group as actors and Technicians. Experts those are already recognized by State Sangeet Natak Academy and Central Sangeet Natak Academy like Sadasiv Pradhan (Chau dance), Praful Mitra (Hindustani Vocalist), Joty Shankar Mahapatra, Amiya Kumar Maharana (Stage Craft & Illusionist), Nalini Nihar Nayak (Director & Designer) etc. are closely associated with the workshops and Productions of the group. The Play Botala Bhuta is the second production of this group which is going to stage its 76th number of Show in respected Bharat Ranga Mohatsav 2022. The group believes in contemporary theatre only.

All Plays Guwahati Plays


Writer : Dharamvir bharti
Translator :  Pronota Bandhyopadhyay
Director : Poulami Bose
Group : Shyambazar Mukhomukhi, Kolkata
Language : Bangla
Duration : 105 Mtns.


Andha Yug is based on the ancient Sanskrit epic, Mahabharata written by Ved Vyasa. The play begins on the eighteenth and last day of the Great Mahabharata War, which devastated the kingdom of Kauravas, the feuding cousins of Pandavas, their capital the once magnificent Hastinapur lay burning, in ruins, the battlefield of Kurukshetra was strewn with corpses, and skies filled with vultures and death laments. Fatalities were on both sides as cousins killed each other. The survivors were left grieving and enraged as they continued to blame each other for the destruction. No one was willing to view it as a consequence of their own moral choices. Ashwatthama, son of guru Dronacharya, in one last-ditch act of revenge against the Pandavas, releases the ultimate weapon of destruction – the Brahmastra, which promises to annihilate the world. No one comes forward to condemn it: Ethics and humanity have been the first casualties of the war. Krishna who mediated between the cousins before war, remains the moral centre of the play. Even in his failure he presents options that are ethical and just and reminds us that a higher or sacred way is always accessible to human beings even in the worst of times. The play ends with the death of Krishna.

Director’s Note

Andha Yug (The Age of Blindness) is set in the last day of the Great Mahabharat war. The five-act tragedy is a metaphoric meditation on the politics of violence and aggressive selfhood and that war dehumanized individuals and society. Andha Yug highlights the perils of self-enchantment in an anti-war allegory. It elaborates on the consequences, when a society fails to stop a cycle of revenge and instead chooses a redemptive path, which is always available even in worst of scenarios. Bharati uses the war of Mahabharat to make an anti-war statement and raises questions regarding moral uprightness, loss of faith and national identity. The play is not limited to the conflict between good and evil but it makes a nation aware about facing the changing times of the post modernity and post colonialism. Andha Yug does not therefore remain a tale of mythical characters but becomes a dialectical narrative where the past undergoes so many changes in order to comprehend the present. As a director I wanted to project the ills of modern society, the crisis that society is facing due to inaction, self destruction and the rotting Dmoral fabric, all of which can be overcome by following the last words of Krishna as portrayed in the play which says that the age of darkness can be overcome by displaying courage in the face of adversity, to have freedom of choice and to have an imagination to create something new. I very strongly feel that the play ANDHA YUG is a testament of our times and is extremely contemporary in its philosophy.


Since its inception in 1996, Shyambazar Mukhomukhi has traveled in search of meaningful and creative enriching theatre and this journey continues unabated without having lost its momentum. On one hand Shyambazar Mukhomukhi obeys the responsibility to generate a new group of theatre activities and has selected diverse but interesting, highly acclaimed socially relevant plays and has ensured a high level of production quality and presentation .At the same time Shyambazar Mukhomukhi has felicitated veteran theatre personalities for their contribution, thus bridging gap between the older and the younger generation of theatre enthusiasts.

Prantapasya, Atmakatha, Neel Mati Laal Kankar, Prem Nai Lambakarna, Teen Kanya are some mach applauded productions of Shyambazar Mukhomukhi. For the  last 20 years the group has been organizing drama festival for five days continuously which includes Exhibition, Seminar, Street Drama etc. with felicitating renowned Actors, Light designers, Music directors, Set designers & Critics also.

All Plays Guwahati Plays


Playwright : Budha Chingtham
Direction &  Design :  Ningthouja Deepak
Group : NT Theatre, Manipur
Language : Manipuri
Duration : 60 mts.


A pena player of the modern times, forewarns of an unknown disaster lurking in the deep water of the river of life.  An unknown force constantly invades upon the lives of fishers at this spot, from none could escape.  The attack took place one day in the lives of Rabei, a fishermen, Leihao his wife, also a priestess, and their son, Lemba and both father and son were taken captives.  A sculptor working in the area instructed Leihoa, the priestess to find her lost ones by using her hidden power.  But, at the moment she should trace them, she was forcibly given liquor as well as raped by the unknown force.  She was left alone in a secluded area, people blamed her for a woman of loose character and in thin ignorance of the fact, punished her severely.  Later on head Mother and her followers of the school of maibis came to take her fact to thin order.  Lemba who remains untraceable, the while returned to take up the chisel to carve a statue of peace, he found the old sculptor had turned into a statue himself. Pena player of the modern times remains still.

Director’s Note

The play is an attempt to show the various rituals involved with the life of a priestess in a Manipur society.  It is the story of how a priestess, by using her hidden power, tries to trace her husband and gets lost in this conflicting situation of this society as it usually happens.  While searching for them, she also becomes a victim of the evil forces.  For depicting the journey of the priestess through touch times, various ritual art forms of Manipur are portrayed in this play.


Ningthouja Deepak started his acting career at the young age of seven under the guidance of his father Ningthoujam Tombi Singh, prominent theatre director of Manipur and Director Chairman of Manipur Dramatic Union (MDU), the oldest theatre group of Manipur.  He became a child artiste of All India Radio, Imphal at a young age and has now been upgraded to a B High Artiste.

He worked with Wareppa Naba, Padmashree, Director Theatre Mirror Manipur for about fifteen years.  After establishing NT Theatre, Manipur in 1999, there has been no looking back.  Under his Directorship, the group has been participating in a number of National and International Festivals. To name a few, International Theatre Festival 2019, Tomsk, Russia, Bharat Rang Mahotsav, International Theatre Festival of India, organised by the National School of Drama, New Delhi 2012, 2013, 2014, Mahindra Excellence in Theatre Award (META), 2011, 2012, 2013, 8th Theatre Olympics 2018 etc. Under his guidance, the group has also organised National as well as International Theatre Festivals – All India Multilingual Drama Competition, North east Theatre Festival and Asian Theatre Festival in collaboration with Manipur Sangai Festival.

Ningthouja Deepak is also an awardee of Mahindra Excellence in Theatre Award (META) for Best Choreography in 2011, the highest theatre award of India.


Budha Chingtham (b. 1957 Imphal) is a critic, playwright and regular columnist on the Sangai Express. His criticism could be found in The Sangai Express, Theatre India, published by the National School of Drama, the Jharkhand based Hindi Theatre Journal “Rangavarta” and Manipur’s ‘This Week’. He is the founder, actor and director of Galaxy Mobile Drama, since 1975 and has acted in most of its major productions.

He received several META Award nominations for his plays best known for his conflict trilogy – Mythical Surrender, A Far Cry and The Priestess. And his solo play Dreams from My Room” is also nominated for META Theatre Festival, 2015. He is also the recipient of several awards such as the Best Original Script in META 2011, Ambedkar Kalakshetra Movement National Award 2013, Best Writer Award for Drama and Best Actor Award among others.

Budha Chingtham is a multi-talented theatre practitioner. His plays were blended with philosophy, poetry and dramatic narrative and have travelled to many International and National Theatre Festivals. He has presented more than dozen papers in Seminars on Theatre, held in various part of the country. A columnist for the Sangai Express, Chingtham was awarded the R.K. Maipaksana Journalist Fellowship for 2014. And he is a state member of NEZCC, Dimapur and programme committee member of EZCC, Kolkata.


NT Theatre, Manipur is one of the most outstanding theatre units of North-East India, established by some enthusiastic supporters and theatre activities with encouragement and patronage from various personalities of Manipur.

NT Theatre, Manipur has been short listed to participate in the Bharat Rang Mahotsav, International Theatre Festival of India organised by the National School of Drama, New Delhi in 2012, 2013 & 2014. The group also had the opportunity to take part in the Mahindra Excellence in Theatre Award (META), sponsored by Mahindra Group, from 2011 to 2013 winning the Best Choreography, Best Innovative Sound Design (twice), Best Original Playwright & Best Set Design. The group also participated in the 8th Theatre Olympics, organised by the National School of Drama, New Delhi under the aegis of International Theatre Olympic Committee and Government of India. It also Participated in the 5th International Theatre Festival  at Tomsk, Russia from 8th to 13th Nov., 2019.

So far NT Theatre Manipur has organised All India Multilingual Drama Competition, North East Theatre Festival and Asian Theatre Festival, in collaboration with the Manipur Sangai Festival and National Theatre Festival.

All Plays Delhi Plays


Writer: Srimanta Sankaradeva
Director : Bhoben Barbayan
Group : Uttar Kamalabari Satra Sankardev Kirsti Sangha, Majuli, Assam
Language : Brajawali (Old Assamese)
Duration : 120 mins


Shri Ram Vijay (the conquests of Rama Chandra) is the only dated work of Mahapurusa Sankardeva written in the ultimate year of his life at the request of Chilaraya, the Commander in Chief and Minister of State, Kochbehar. It was first represented on stage in the Koch capital with Chilaraya’s men in different roles under the Master’s own direction. The story of Rama and Laksmana’s fights against Tadaka and other demons and the much wrathful Parasurama is taken in an abridged form from the Ramayana. The plot is however developed by Sankardeva in his own way with such originality in characterization.


Adhyapak/guru Bhoben Barbayan is a fully dedicated sattriya artiste and a celibate neo-Vaishnava devotee residing at Uttar Kamalabari sattra (a Hindu neo-Vaishnava monastery) in Majuli, Assam. Since the 1980s, he has been working as a lead traditional artiste of different genres of sattriya dance, drama, and music. He also works at the same sattra as a director of Ankia Nat (a genre of one act play based on mythical stories) tradition. Apart from that adhyapak Barbayan has recently taken the responsibility of working as a conductor of sattriya music. Sri Barbayan teaches traditional sattriya dance, drama, and music every year to more than hundreds of students through the gurukul system.

Adhyapak Bhoben Barbayan was born in 1967 at a village called Uzuati in Majuli. At around the age of five, he was sent to Uttar Kamalabari sattra by his parents to grow up as a celibate neo-Vaishnava artiste/devotee. Since then, leaving behind all the family love and care, Barbayan has committed his whole life towards practicing and continuing the sattriya dance, drama, and music tradition.


A celebrated tradition of theatre in Assam with its abiding significance, Ankiya Bhaona emerged as a powerful audio-visual medium in the wake of the great Bhakti Movement in Assam during 15-16th Centuries. Introduced by Srimanta Sankaradeva (1449-1568), the fountain-head of the Movement first by mounting the “Chihnayatra” in the later part of the 15th century, Ankiya Bhaona(as popularly known), is among the finest works of Sankaradeva with subtle combination of music, dance and drama. Envisaged as an audio-visual medium to reach out to the multitude with the message of Bhakti, Ankiya Bhoana with artistry and elegance inlaid in all aspect of its form and structure, came to stand the test of time and remained as a popular medium of healthy entertainment among the masses and a powerful instrument of social harmony.

All Plays Guwahati Plays


Playwright : Daya Prakash Sinha
Director : Arvind Singh
Group : Sumukha, Delhi
Language : Hindi
Duration: 105 Mins.


The period of social disintegration with the dissolution (break down) of the empire, In the last phase of Mughal rule, is the protagonist of the play Seedhiyaan, who loses its chastity with the falling values of the society. Degenerate society, corrupt elites, voluptuous rulers are such livid, who caused the miserable picture of the past be drawn miserable. The colors neither disolved nor faded in course of time. Even in the present picture, observers can clearly see the glimpse of the blurred colors of the image of that period.

The hero of the play Sidhiyan is neither the Mughal emperor Mohammad Shah Rangila, nor Salim who became Subedar from a simple ‘Dhindorchi’. Its drama is the period, in which only truth is- in victory. The victory of untruth over truth, disbelief over faith, lust over love and violence over compassion: the religion of the era.

Most sacred passions of man hanging on the cross of cowardness to enunchism, from luxury to destruction, from revelry to blood streams and the ambition; the beginning and, the end- all the same. One step after another, but the stage of the journey is the same, the question is the same, the problem is the same, the self seeking is the same- in one sentence this is Sidhiyan.


Daya Prakash Sinha, the creator of the play Sidhiyan, in addition to the Padma Shri by the Government of India and the ‘Academy Award’ by the Central Sangeet Natak Akademi is honored with about two dozen other prestigious awards in the field of drama. Today he is considered to be amongst the best playwrights of Hindi. His contribution to Indian theater as a playwright, director, theater scholar and arts administrator has been unique.

Daya Prakash Sinha himself directs his plays, before they are published. Makes them stage- perfect, modifying them accordingly. Hence, his plays can easily be performed on stage, keeping their literary potential intact.

Daya Prakash Sinha’s plays are prescribed in the syllabus of many universities because of their literary excellence. A number of research scholars in many universities of Kerala, Gujarat, Delhi, Kashmeer, Rajasthan, West Bangal, Haryana, Madhya Pradesh etc. are Doing / have done research for Ph.D. on his plays.

Daya Prakash Sinha’s plays have been translated into many Indian languages including English, Oriya, Telugu, Kannada, Punjabi, Malayalam etc. Daya Prakash Sinha, the author of fifteen plays, has other famous and much-staged plays – such as Katha Ek Kans Ki, Samrat Ashoka, Apne Apne Daoan, Itihaas Chakra etc. to his credit.

He is presently involved in doing theatre and writing after retiring as an I.A.S.


Born in Allahabad, Arvind Singh has been deeply involved with theatre, music and performing arts since childhood. His activism in theatre had started from Allahabad itself. He has trained in theatre from Shriram Center for Performing Arts New Delhi. Arvind has a rich experience of working with many eminent theatre directors of the country. The major plays directed by him are-  Taj Mahal Ka Tender, Dus Din Ka Anshan, Andher Nagari, Mughal Bachcha, Gharwali, Baad, Kafan, Assi Bahari Alang, Chauraha, Kahaniyon Ka Sangam, Katha Ek Kans Ki, Devdas, Supna Ka Sapna, Thanku Baba Lochandas, Gandhi Ne Kaha Tha, Sidhiyan, Zanjeer Ka Naghma, Bulleshah, Jhalkari Bai etc. Arvind Singh has acted in more than fifty plays and has also composed music for many plays. Arvind Singh has received education in music from Prayag Sangeet Samiti, Allahabad. He was awarded research fellowship by the Ministry of Culture. He has received the Kakasaheb Kalelkar Award in the field of arts.


For the last ten years, our organization ‘Sumukha’ has been continuously promoting culture. We are committed to cooperate and support new experiments in culture. Our organization consists of the artistes trained at the institutions like National School of Drama Delhi, Bharatendu Natya Academy Lucknow, M.P. Drama School, Bhopal, Shriram Center for Performing Arts Delhi etc. and amateur artistes. It constantly keeps on doing something new. It also continues to work with children facing challenges. Apart from entertainment for the general public, our theatre troupe is regularly active in trying to stage new challenges and expressions of cultural works.

Sumukha has performed many plays in Delhi and other states in which it has received immense appreciation. Sumukha has staged plays like Dus Din Ka Anshan, Thanku Baba Lochan Das, Assi Bahri Alang, Kafan, Baad, Taj Mahal Ka Tender, Mughal Bachcha, Crime and Punishment, Kahaniyona ka Sangam, Katha Ek Kansa Ki, Devdas, Sidhiyan, Oedipus, Supna Ka Sapna Etc. Sumukha organizes the Natya Utsav every year.