Indian drama

Indian drama

The earliest form of Indian drama was the Sanskrit drama that is said to have its framework directly given by Lord Shiva who used these techniques to pray to Lord Vishnu. Between the 1st century AD and the 10th was a period of relative peace in the history of India during which hundreds of modern plays were written. 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.
and Agnimitra, and The Recognition of Shakuntala), Śudraka (famous for The Little Clay Cart), Asvaghosa, Daṇḍin, and Emperor Harsha (famous for Nagananda, Ratnavali and Priyadarsika). Śakuntalā (in English translation) influenced Goethe's Faust (1808–1832). Modern Indian drama 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 Bengali and include Chitra (Chitrangada, 1892), The King of the Dark Chamber (Raja, 1910), The Post Office (Dakghar, 1913), and Red Oleander (Raktakarabi, 1924). Girish Karnad is a noted playwright, who has written a number of plays that use history and mythology, to critique and problematize ideas and ideals that are of contemporary relevance. Karnad's numerous plays such as Tughlaq, Hayavadana, Taledanda and Naga-Mandala are significant contributions to Indian drama. Urdu Drama evolved from the prevailing dramatic traditions of North India shaping Rahas or Raas as practiced by exponents like Nawab Wajid Ali Shah of Awadh. His dramatic experiments led to the famous Inder Sabha of Amanat and later this tradition took the shape of Parsi Theatre. Agha Hashr Kashmiri is the culmination of this tradition. In some way or other, Urdu theatre tradition has greatly influenced modern Indian theatre. Among all the languages Urdu (which was called Hindi by early writers), along with Gujrati, Marathi and Bengali theatres have kept flourishing and demand for its writers and artists has not subsided by the drama aficionados. For Urdu drama, no place is better than Bombay Film industry otherwise known as Hindi film industry. All the early gems of Urdu Theatre (performed by Parsi Companies) were made into films. Urdu Dramatic tradition has been a spectator‘s delight since 100 years and counting. Drama as a theme is made up of several elements. It focuses on life and different aspects of it. The thing to be noticed here is that drama on stage imitates drama in life. It has been said that, there has always been a mutual relationship between theatre and real life. Great historical personalities like Shakespeare have influenced Modern Urdu tradition to a large extent when Indian, Iranian, Turkish stories and folk was adapted for stage with heavy doses of Urdu poetry. In modern times writers like Imtiaz Ali Taj, Rafi Peer, Krishan Chander, Manto, Upender Nath Ashk, Ghulam Rabbani, Prof. Mujeeb and many others shaped this tradition.
While Prof Hasan, Ghulam Jeelani, J.N,Kaushal, Shameem Hanfi, Jameel Shaidayi, etc. belong to the old generation, contemporary writers like Danish Iqbal, Sayeed Alam, Shahid Anwar, Iqbal Niyazi, and Anwar are a few postmodern playwrights actively contributing in the field of Urdu Drama. Sayeed Alam is known for his wit and humour and more particularly for Plays like 'Ghalib in New Delhi', 'Big B' and many other gems which are regularly staged for massive turn out of theatre lovers. Maulana Azad is his magnum opus both for its content and style. Danish Iqbal's play about 'Dara Shikoh' directed by M. S. Sathyu is considered a modern classic for the use of newer theatre techniques and contemporary perspective. His other plays are 'Sahir' on the famous lyricist and revolutionary poet. 'Kuchh Ishq kiya Kuchh Kaam' is another play written by Danish which is basically a Celebration of the Faiz's poetry, featuring events from the early part of his life, particularly the events and incidents of pre-partition days which shaped his life and ideals. 'Chand Roz Aur Meri Jaan' - another play inspired from Faiz's letters written from various jails during the Rawalpindi Conspiracy days. He has written 14 other plays including 'Dilli Jo Ek Shehr Thaa' and 'Main Gaya Waqt Nahin hoon'. Shahid's 'Three B' is also a significant play. He has been associated with many groups like 'Natwa' and others. Zaheer Anwar has kept the flag of Urdu theatre flying in Kolkata. Unlike the writers of previous generation Sayeed, Shahid, Danish Iqbal and Zaheer do not write bookish plays but their work is a product of vigorous performing tradition. Iqbal Niyazi of Mumbai has written several plays in Urdu, his play "AUR KITNE JALYANWALA BAUGH?" won a National award other awards. Hence this is the only generation after Amanat and Agha Hashr who actually write for stage and not for libraries.

 Modern Indian theatre developed during the period of colonial rule under the British Empire, from the mid-19th century until the mid-20th.  Sanskrit theatre.

 The earliest-surviving fragments of Sanskrit drama date from the 1st century AD. The wealth of archeological evidence from earlier periods offers no indication of the existence of a tradition of theatre. The ancient Vedas (hymns from between 1500 to 1000 BC that are among the earliest examples of literature in the world) contain no hint of it (although a small number are composed in a form of dialogue) and the rituals of the Vedic period do not appear to have developed into theatre. The Mahābhāṣ ya by Patanjali contains the earliest reference to what may have been the seeds of Sanskrit drama. This treatise on grammar from 140 BC provides a feasible date for the beginnings of theatre in India.  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 BC to 200 AD) 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. 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. It was patronized by the kings as well as village assemblies. Famous early playwrights include Bhasa, Kalidasa (famous for Vikrama and Urvashi, Malavika