Call for Papers

  Mode: Blended (Online & Offline)

Two-Day International Seminar & Workshop On

Indian Drama: Society-Culture, Tradition and Heritage Organized by

Ateswartala Sanskritik Manch, Radhakantapur, Raidighi, South 24 Parganas

In collaboration with

Department of Bengali, Vidyasagar University, Paschim Medinipur

and

Jana Sanskriti, Centre for the Theatre of the Oppressed

(Publication Partner: Peter Lang, International Academic Publishers)

Date: March 29-30, 2025 

Concept Note

India has a rich and ancient theatrical heritage deeply rooted in religion, society, and culture. Natyashastra, the classical treatise authored by Bharata Muni, serves as a comprehensive guide not only for drama, but also for music, dance, poetry, and other performance traditions. It is generally believed that Natyashastra was written sometime between the 5th and 1st century BCE. This text consists of a total of 36 chapters, of which the first 27 chapters (excluding the 4th and 5th) discuss various aspects of drama. Through this classical treatise, the tradition of Indian theatre has been systematically organized and enriched with fundamental characteristics.

Drama in Sanskrit has significantly enriched Indian theatrical traditions. Bhasa, an eminent predecessor of Kalidasa, wrote 13 plays. Kalidasa, arguably regarded as the greatest playwright of ancient India, composed dramas that showcased poetic excellence and dramatic craftsmanship. His famous play Abhijnana Shakuntalam is the finest example of this.

Indian theatre has never been limited to mere entertainment; it has been a vehicle for social and cultural transformations as well. Thus, with the development of modern Indian languages, plays began to be written and performed in various regional languages. In Bengal, a form of theatre known as Jatra originated from religious festivals. In Shabdakalpadrum, there are various festivals mentioned under the name Jatra. The emergence of Jatra Sangeet in Bengal began with the Vaishnavite tradition. In Assam, Mahapurush Sankardev introduced Bhaona, a form of religious and moral theatre. In Odisha, the traditional folk theatre is also known as Jatra. North India's popular folk theatre Nautanki and South India's Yakshagana also share similarities with it. These popular folk dramas reflect various aspects of human life, including religious, social, and political themes. In this way, different regional theatrical traditions have influenced one another, enhancing the diversity of Indian theatre.

Indian folk traditions often blended music, dance and storytelling, and introduced paalagaan. Regional plays of India draw inspiration from Krishnakatha of the Ramayana, Mahabharata, and Bhagavata Purana. These were primarily based on indigenous traditions.

During the colonial period, drama became a medium of political consciousness and social movements. At the time of the Indian freedom movement, theatre evolved as a powerful tool that inspired the masses and played a crucial role in resisting the colonial atrocities that compelled the British administration to impose restrictions on some specific theatrical performances. The diverse journey of Indian theatre has continued, even after independence. Indian theatre has continued evolving, incorporating themes of mass perception, historical consciousness, political awareness, concerns of the lower class, social injustice, and gender inequalities. Today, modern Indian theatre blends local traditions with global influences and has transformed into a rich and globally recognized art form. Indian theatre, incorporating various forms and styles in harmony with time, has continued to play a significant role in society in recent times.

In a multilingual country like India, translation is a significant way to make regional plays available to audiences from different continents. As a result, dramas have been translated since ancient times to make the content of dramas available to diverse linguistic communities and to perform dramas in various languages. Just as many Indian regional plays have been translated into English, many English plays have also been adapted into various Indian languages, especially for the sake of performance. From Lebedev's The Disguise and Love is the Best Doctor to the works of Kalidasa, Shakespeare, Rabindranath, and contemporary playwrights, translations have been consistently carried out. Alongside this, efforts are being made everywhere to understand the depth and scope of Bengali and other regional plays by comparing them with various provincial and foreign dramas. It is now essential to reassess and appreciate the depth, diversity, and significance of India's rich two-thousand-year-old theatrical tradition. We invite all to send paper proposals related but not limited to the following sub- themes:

Sub-Themes

1. Tradition and Heritage of Indian Drama
2. Plays in Regional Indian Languages
3. Indian Folk Theatre
4. Various Forms and Styles of Drama
5. Drama in Historical, Social, and Political Contexts
6. Nationalism in Plays
7. Drama and Dalit Consciousness
8. Theatre and Women's Liberation
9. Dramatic Structures and Stagecraft
10. Comparative Theatre Studies
11. Drama and Translation
12. Third Theatre
13. Art of Theatre
14. Theatre Staging Techniques
15. Eminent Playwrights and Theatre Practitioners
16. Theatre and Environment

Submission & Registration Guidelines

1. Abstracts (250-300 words) must be submitted in Bengali or English including 5-6 keywords.
2. Submission deadline for abstracts: March 23, 2025. (Extended)
3. Abstracts must be sent in Word and PDF formats to asmanch2025@gmail.com.
4. Full papers (3000-4000 words) must be submitted by March 29, 2025, in Word and PDF formats.
5. Font and format:

• Bengali: font type Avro Kalpurush, font size 14pt., single spacing
• English: font type Times New Roman, font size 12pt., double spacing with justified Alignment

1. The seminar will be conducted in hybrid (offline and online) mode.
2. Selected Paper Presenters and Participants must register by March 22, 2025, through the following Google Form Link: https://forms.gle/CYPCuuX767PGMgcQ6
3. Selected papers in English, after blind peer-reviewed, will be considered for publication in an edited volume to be published by Peter Lang, International Academic Publishers.

Registration Fees

• Faculty: ₹1000
• Research Scholars: ₹750
• Students: ₹350
• Participation Certificate: ₹300
• Theatre Practitioners (only for Workshop): ₹350

Fees must be paid via Phone Number: 9153560458 (Sabyasachi Haldar) or through QR Code.

Venue: Ateswartala Sanskritik Manch, Radhakantapur, Raidighi, South 24 Parganas

For offline participants, lunch and dinner arrangements will be made and accommodation (on request) will be provided for 29 March 2025. For vehicle service, please inform the convenors.

For queries, contact:

• Dr. Shubhendu Shekhar Naskar: +91 97324 68368
• Assistant Professor, Department of English Literature, Language and Cultural Studies, Vidyasagar University, West Bengal, India
• Soumitra Gayen: +91 97494 27012
• Assistant Professor Department of English, Government General Degree College, Gopiballavpur-II, West Bengal, India