In the sixties and seventies, contemporary theatrical expression was at its peak in India. There were a host of playwrights all over the country writing plays expressing deeply felt concerns, in a variety of forms. And there were thousands of theatre groups busy interpreting these plays in different spaces, experimenting yet again with theatrical forms. The theatre scene was full of unusual energy, and there were several initiatives to encourage and promote theatre both private and governmental at different levels. There was also a great deal of exchange of ideas, plays and performances between theatre practitioners and scholars of theatre in the different regions that created a more unified vision of theatre in the country. And all this held a lot of promise for the future development of theatre and its place in our society.
Naturally, with all this activity, there were also certain tendencies that raised serious doubts and issues of concern that needed to be addressed, if theatre was to grow in the right direction. As we got into the eighties, the initial excitement abated and the concerns became more focused. There was immense possibility of serious reflection on these issues both by practitioners and scholars.
Unfortunately, not many practitioners had the time to address these concerns and the scholars were more focused on and more at ease with dramatic literature rather than the practice of theatre.
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