Initially rooted in the Natyashastra, an ancient text, Indian theatre has journeyed through various phases, including folk and street performances that served social and educational purposes. But the real heartbeat of Indian theatre lies in its regional roots.
Chittaranjan Tripathy, director of the National School of Drama (NSD), one of the foremost theatre training institutions in the world and the only one of its kind in India, asserts that “regional theatre is the real identity of Indian theatre”.
Rightly so. Students at NSD, who hail from different parts of India, bring with them their own languages, folk traditions, and storytelling methods, and merge them with training in everything from Bharat Muni’s Natya Shastra to Stanislavski and other Western theories. The result: “A truly hybrid theatre practice that retains the soul of its origins while evolving in form,” adds Tripathy.
We shouldn’t be in awe of Broadway, says Tripathy. “We are the root cause of big productions. We live in a country of folktales and jataka kathas—a treasure trove of narratives yet to be explored on stage,” he explains. The issue, he argues, is not relevance but resources. “Regional theatre often lacks the finances and technology needed for ambitious productions—but its spirit, core humanity shine through. And urban theatre, even the most polished English productions, owe a quiet debt to these regional traditions,” adds Tripathy, who is also an accomplished director, writer, actor, and musician with popular plays like Taj Mahal Ka Tender with NSD Repertory Company; and films like Shubh Mangal Savdhan, among others.
Marathi and Gujarati theatre prove the point powerfully. They run seven days a week, sometimes with multiple shows per day, and continue to draw packed houses. As per Khan of Aadyam, these theatres function as independent industries with a consistent audience base, multiple daily shows, and strong financial viability.
Similarly, Assam’s mobile theatre, known as Bhramyaman Natak—a unique theatrical tradition where groups travel across the state, performing plays in villages and towns—has become an institution in itself. “This model counters the perception that theatre is inherently elitist or inaccessible—it is grassroots, community-driven, and culturally embedded. Mobile theatre is not just entertainment; it’s a celebration of Assamese culture and contemporary life,” says Guwahati-based veteran actor Pranjal Saikia, who has been associated with mobile theatre of Assam since his childhood days.
Saikia’s more than 50 years of theatre and film experience reflects the fact that theatre need not be confined to urban auditoriums or elite circles. His criticism on the commercial turn—where artistic practices like prompting and thoughtful song integration are giving way to loudness and spectacle—echoes similar concerns in other regional and urban theatres.
“Whether adapting Shakespeare, mythology, or political satire, these plays reflect and engage the people of Assam, making theatre immediate, local, and relevant,” says the 73-year-old veteran actor, who has acted in films like Raag Birag by Bidyut Chakraborty and Munin Barua’s films such as Pita Putra and Prabhati Pakhir Gaan.
Even if formats change, the enduring spirit of Assamese mobile theatre lies in its connection to lived reality—and that’s the very essence of theatrical relevance. One such is Hengool Theatre, founded in 1986 by Prasanta Hazarika, a visionary director and film personality. Today, under his son Sankalpajit Hazarika’s leadership, Hengool continues to blend tradition with modernity, offering Assam’s audiences unmatched entertainment.
“Mobile theatre is made for the masses and the purpose is entertainment. We have built a strong, loyal mass audience. With annual business turnover of Rs 4–5 crore, it is bringing enough work and employment for locals. This underscores that mobile theatre is not just a cultural artifact but a sustainable economic ecosystem,” adds Sankalpajit Hazarika.