RABINDRANATH TAGORE’S THEATRE AND THE PROFESSIONAL STAGE : CONFLUENCE, CONFLICT, AND REVIVAL
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Abstract: Although Rabindranath Tagore's plays are a unique addition to Bengali literature, their acceptance on the professional stage has always been paradoxical. On one hand, Rabindranath’s dramas hold immense significance in the group theatre movement; on the other, they have struggled to fit within the framework of commercial theatre. Due to their abstract themes and philosophical depth, these plays have not aligned well with popular theatre culture. However, a few plays, such as Chirakumar Sabha, Bisarjan, and Dakghar, have found success on the professional stage. With the rise of the group theatre movement in the mid-20th century, Tagore’s plays experienced a revival. This study explores the limitations, successes, and cultural impact of incorporating Rabindranath’s dramas into professional theatre. Keywords: Rabindranath’s plays, professional stage, group theatre, theatre philosophy, Shishir Kumar Bhaduri, commercial theatre, cultural impact. Introduction: The history of Bengali theatre bears witness to a multifaceted evolution. In the late 19th century, Rabindranath Tagore introduced a new dimension to theatre, where art, philosophy, and poetic expression were intricately intertwined. However, the position of Rabindranath’s plays on the professional stage has always been a subject of debate. Traditional theatrical conventions prioritize intense emotions, dramatic conflict, and entertainment-driven presentation, whereas the intrinsic essence of Rabindranath’s plays—marked by abstraction, contemplative philosophy, and subtlety—has often been deemed unsuitable for this framework. Despite these limitations, Rabindranath’s plays have become an integral part of Bengali theatre. With the emergence of group theatre and the contributions of eminent theatre personalities like Shishir Kumar Bhaduri, Shambhu Mitra, and Utpal Dutt, a new era for Rabindranath’s plays was ushered in. This research paper analyzes the oscillation of acceptance, specific instances of success, and the overall impact of Rabindranath’s plays on the professional stage.
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Conclusion: The relationship between Rabindra Natya (Rabindranath Tagore’s plays) and the professional stage is complex and multifaceted. The abstract nature and philosophical depth of his plays did not entirely align with the conventions of professional theatre. However, the Group Theatre movement played a significant role in the revival of Rabindra Natya. Renowned theatre personalities such as Shishir Kumar Bhaduri, Shambhu Mitra, and Utpal Dutt successfully staged Rabindranath’s plays, paving the way for a new theatrical tradition. Although some of his plays, like *Bisarjan*, *Chirakumar Sabha*, and *Dak Ghar*, have been performed on the professional stage, the overall presence of Rabindra Natya in mainstream theatre has remained relatively limited. Nevertheless, through Bengal’s cultural movements and the Group Theatre initiative, his dramatic vision was rediscovered, leading Bengali theatre to new horizons. Rabindra Natya is not merely a source of entertainment but a reflection of intellectual and artistic engagement. It has emerged as a crucial medium for the evolution of theatre as well as for socio-cultural transformation. Your research paper, ‘Rabindra Natya and the Professional Stage: Confluence and Distance’, explores various historical and contemporary discussions on Rabindra Natya and its stage adaptations. The following references align with the themes discussed in your work.