Latest news with #TheatreofRoots
Hindustan Times
4 days ago
- Entertainment
- Hindustan Times
The world was his stage, and he played many parts
Ratan Thiyam, the legendary Indian playwright and theatre director who passed away earlier this week, was more than just a master craftsman of the stage; he was a profound philosopher who consistently challenged the prevailing notions of modernity in theatre and, by extension, in human existence. Born in Imphal, Manipur, in 1948, Thiyam emerged from a region steeped in rich martial, ritualistic, and storytelling traditions. His journey, from studying at the National School of Drama in Delhi to returning to his roots to establish the Chorus Repertory Theatre in 1976, was a deliberate act of questioning the western-centric theatrical paradigms that often dominated the discourse of 'modern' theatre. This stance places him among a global cohort of visionary theatre makers, including Japan's Yukio Ninagawa, Nigeria's Wole Soyinka, and his own great Indian contemporaries, Neelam Mansingh Chaudhuri and Heisnam Kanhailal, who similarly interrogated modernity by drawing deeply from their indigenous cultural wellsprings. I had the great opportunity to see many of his productions over the years, and much like many other theatre makers of my generation, his work was always the gold standard for how far the limits of one's art could be pushed and how interrogatively beautiful one's questions to oneself and one's society could be. Thiyam's critique of modernity was not a rejection of progress outright, but rather a nuanced interrogation of its often-unseen costs: The erosion of cultural identity, the spiritual vacuum created by material pursuits, and the disconnect from nature and ancestral wisdom. He believed that true modernity lay not in blind imitation of western forms, but in a deep engagement with one's cultural heritage, allowing it to inform and enrich contemporary expression. This philosophy became the cornerstone of the Theatre of Roots movement, of which he was a leading figure, echoing the cultural rootedness globally seen in Soyinka's commitment to Yoruba traditions or Ninagawa's embrace of Kabuki and Noh. It is not a coincidence that at a time when India had been a free country for three decades and the world wars had been three decades past, committed artists such as Thiyam, around the world, were the frontrunners in questioning both the form and content that shaped the lives of humanity. In that sense, Thiyam was a global luminary not merely because of how widely his theatre was seen but more importantly for how significantly he was part of a worldwide movement of interrogating the question of modernity, led by the brightest minds in the theatre and arts. For our own contemporary practice, there is often a misunderstanding that the contemporary is synonymous with the modern; Thiyam is a guiding light who illuminates radical and modern ideas through classics, often revealing the orthodoxies of many modern telling. His theatrical language was a direct manifestation of this tension between modernity and tradition, deeply intertwined with a distinctive visual culture. In an era where theatre often leaned towards naturalism and dialogue-heavy narratives, Thiyam embraced silence, ritual, and a powerful visual vocabulary. His productions were characterised by the evocative use of light, shadow, and music, minimal yet symbolic props, and the incorporation of indigenous Manipuri martial arts like Thang-Ta. One of Thiyam's most celebrated works, Chakravyuh (1984), based on an episode from the Mahabharata, is a searing indictment of war and the cyclical nature of violence, themes that are acutely relevant in the modern world. Similarly, Andha Yug (The Blind Age), adapted from Dharamvir Bharati's Hindi verse play, explored the moral collapse and spiritual reckoning in the aftermath of the Mahabharata war. Staged famously in an open-air performance in Tonga, Japan, on the eve of the Hiroshima atomic holocaust anniversary, the play became a poignant commentary on humanity's capacity for self-destruction in the modern age. Thiyam's direction amplified the existential angst and the profound sense of loss, using stark imagery and a powerful chorus to convey the spiritual barrenness that often accompanies unchecked 'progress'. His Manipur trilogy, particularly Wahoudok (Prologue), directly addressed the impact of modernisation on traditional values and ecological balance. In this play, Thiyam explored ancient Meitei creation myths, juxtaposing them with the perceived threats posed by contemporary civilisation. He lamented the gradual cultural and ecological degradation of his native land, advocating for a return to the traditional reverence for nature and spiritual ecology. Thiyam's adaptations of western classics, such as Sophocles's Antigone (retitled Lengshonnei) and Shakespeare's Macbeth, further exemplify his unique approach. Instead of merely transplanting these plays onto an Indian stage, he 'cooked foreign ideas in a Manipuri kitchen', as he famously put it. He reinterpreted these universal narratives through the lens of Meitei culture, infusing them with local philosophical and performative traditions. This act of localisation was a powerful statement against the cultural homogenisation often associated with globalisation and a testament to the enduring relevance of indigenous forms. By rooting these stories deeply in his own cultural context, he demonstrated that universality is achieved not through imitation, but through profound authenticity. Beyond his artistic endeavours, Thiyam was a figure of significant political importance, using his art as a potent form of social commentary and protest. He was unafraid to speak up against policies and politics that threatened the cultural or human fabric of his region, particularly during times of ethnic unrest in Manipur. His theatre became a vehicle for expressing the pain and struggles of his people, often wrapping his protest in metaphors of epic proportions. A testament to his conviction, Thiyam famously returned his Padma Shri award in 2001 in protest against the central government's extension of the territorial limits of the ceasefire with the National Socialist Council of Nagaland (Isak-Muivah) and the violent impacts of this action on Manipur; an act that underscored his unwavering artistic integrity and moral courage. For Thiyam, theatre was not confined to proscenium boundaries; it was a living discourse that interrogated power, injustice, and the erosion of values. The image of Ratan Thiyam that will always be etched in my mind is of him bowing on his knees in front of the audience, along with his company at the end of every performance, and the entire audience standing up not just for a standing ovation, but to acknowledge the theatrical irony, that a god had bowed in front of his subjects. That we now knew, that we would never leave the theatre the way we entered it. That before and after watching a Chorus Repertory performance, one can never think about being modern and embracing tradition, in the same way, ever again. Abhishek Majumdar is a playwright and theatre director. He is the artistic director of Nalanda Arts Studio, Bengaluru, and programme head of the Theater Programme at New York University in Abu Dhabi. The views expressed are personal.
India Today
23-07-2025
- Entertainment
- India Today
Ratan Thiyam, Indian playwright and theatre icon, dies at 77
Legendary Indian playwright, theatre director, and cultural visionary Ratan Thiyam died in the early hours of Wednesday at the age of 77, leaving behind a towering legacy in Indian theatre. He breathed his last at around 1:30 am at the Regional Institute of Medical Sciences (RIMS) in Imphal, where he had been undergoing treatment.A pioneering figure in the "Theatre of Roots" movement, Thiyam was best known for fusing traditional Manipuri performance styles with contemporary theatrical forms, crafting a distinctive stage language that earned him critical acclaim both in India and abroad. His decades-long career transformed the landscape of modern Indian theatre, making him one of its most revered and influential contributions were recognised with numerous national and international accolades. His honours included the Indo-Greek Friendship Award (1984), Sangeet Natak Akademi Award (1987), Fringe Firsts Award at the Edinburgh International Festival (1987), and the Padma Shri conferred by the Government of India in 1989. In 1990, he gained global recognition with the Diploma from the Cervantino International Festival in Mexico. His later awards included the Kalidas Samman (2005), John D. Rockefeller Award (2008), Bharat Muni Samman (2011), and the prestigious Sangeet Natak Akademi Fellowship (Akademi Ratna) in 2012, capping his legacy as a true cultural titan. He also received the Bhupen Hazarika Foundation Award in news of his demise spread, tributes and condolences poured in from across the country. Assam Chief Minister Himanta Biswa Sarma described Thiyam as 'a leading light of the Theatre of Roots movement' and 'a brilliant ambassador of the rich culture of Manipur and the Northeast.''He used art as a powerful vehicle to convey the emotions and aspirations of the people,' Sarma said in a heartfelt tribute on social Manipur Chief Minister N. Biren Singh also expressed deep sorrow over Thiyam's passing, calling him 'a true luminary of Indian theatre' and 'an esteemed son of Manipur.' Singh remembered Thiyam for his unwavering passion for theatre and his role in preserving and promoting Manipuri cultural heritage through the stage.'His work carried the soul of Manipur, echoing its stories, its struggles, and its beauty,' Singh a former chairperson of the National School of Drama (NSD), is credited with elevating Indian theatre to international standards. His innovative use of movement, music, and stagecraft brought alive themes of identity, morality, and human conflict, grounded in Indian philosophical and aesthetic for iconic productions such as Chakravyuh, Uttar Priyadarshi, and Andha Yug, Thiyam built a formidable reputation as a master storyteller, philosopher, and cultural guardian. His theatre company, Chorus Repertory Theatre, based in Imphal, became a training ground and home for aspiring artists from across the Thiyam's death marks the end of an era, but his artistic spirit will continue to resonate through generations of theatre practitioners, scholars, and contributions not only brought Manipuri theatre into the national spotlight but also made a lasting impact on the global stage.- Ends
India.com
23-07-2025
- Entertainment
- India.com
Renowned Manipuri Theatre Exponent Ratan Thiyam Dies At 77: Condolences Pour, List Of His Plays, Awards & Honours
New Delhi: Famous theatre exponent from Manipur, Ratan Thiyam breathed his last on Wednesday, July 23, 2025 in Imphal. According to reports, the legendary Indian theatre maestro was suffering from prolonged illness and admitted at Regional Institute of Medical Science in Imphal. He was 77. Sahitya Academy in their official X handle (formerly called Twitter) wrote, "Sad to know that a very distinguished playwright, director, writer, scholar, leading personality of "Theatre of Roots" and founder of Chorus Repertory Theatre, Sri Ratan Thiyam has passed away. He was one of the few directors who popularized ancient Indian traditions & touched millions of hearts through his works. His plays have been staged as well as adapted across the world. He will be missed in the Indian performance and literary circles." Sad to know that a very distinguished playwright, director, writer, scholar, leading personality of "Theatre of Roots" and founder of Chorus Repertory Theatre, Sri Ratan Thiyam has passed away. He was one of the few directors who popularized ancient Indian traditions & touched… — Sahitya Akademi (@sahityaakademi) July 23, 2025 All India Radio (AIR) too extended condolences on X: Globally acclaimed Theatre personality Ratan Thiyam has passes away. Ratan Thiyam is known for his direction in the internally acclaimed dramas like "Chakrabvyuha", "Uttar Priyadarshi", "Hey Nungshibi Prithivi", "Chinglon Mapan Tampak ama". He was honoured with Fringe First Award in the Edinburg International Festival 1987 for his play "Chakrabvyuha". Globally acclaimed Theatre personality Ratan Thiyam has passes away. Ratan Thiyam is known for his direction in the internally acclaimed dramas like "Chakrabvyuha", "Uttar Priyadarshi", "Hey Nungshibi Prithivi", "Chinglon Mapan Tampak ama". He was honoured with Fringe First… — All India Radio News (@airnewsalerts) July 23, 2025 Who Was Ratan Thiyam The iconic Indian playwright and theatre director, and the winner of Sangeet Natak Akademi Award in 1987, was one of the prominent names behind 'theatre of roots' movement in Indian theatre, which started in the 1970s. Thiyam Nemai, as he was called used ancient Indian theatre traditions and forms in a contemporary context in his writings. He was also a painter and into direction, writing and music. Ratan Thiyam's Prolific Position He worked as chairperson of the prestigious National School of Drama from 2013 to 2017. He had also worked as vice-chairman of Sangeet Natak Akademi before joining NSD. He was also the founder-director of Chorus Repertory Theatre, formed on the outskirts of Imphal, Manipur in 1976. He was awarded the Sangeet Natak Akademi Award in Direction in 1987, given by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama, and the Padma Shri given by Government of India in 1989. He was awarded the 2012 Sangeet Natak Akademi Fellowship. In 2013, Ratan Thiyam received honorary from Assam University, Silchar. Ratan Thiyam's List Of Plays Ratan Tahiyam's plays were strongly influenced by Natya Sastra, an Indian theatre style propounded by Bharata during the second century B.C., as also ancient Greek drama, and the Noh theatre of Japan, as per Wikipedia information. Karanabharam (1979) Imphal Imphal (1982) Chakravyuha (1984) Lengshonnei (1986) (An adaptation of Jean Anouilh's Antigone) Uttar Priyadarshi (The Final Beatitude, by Hindi playwright Agyeya) (1996) Chinglon Mapan Tampak Ama (Nine Hills One Valley) Ritusamharam (Ritusamharam by Sanskrit playwright Kalidasa) Andha Yug (The Blind Age, by Hindi playwright Dharamvir Bharati) Wahoudok (Prologue) Ashibagee Eshei (based on When We Dead Awaken, by Norwegian playwright Henrik Ibsen) (2008, Lairembigee Eshei (Song of the Nymphs) The King of Dark Chamber (Raja, 2012), based on a play Raja (1910) by Rabindranath Tagore Ratan Thiyam's Honours Here are the list of awards which the legendary theatre personality received in his lifetime: 1984: Indo-Greek Friendship Award, 1984 (Greece) 1987: Sangeet Natak Akademi Award 1987: Fringe Firsts Award, from Edinburgh International Festival 1989: Padma Shri 1990: Diploma of Cervantino International Festival, (Mexico) 2005: Kalidas Samman 2008: John D. Rockefeller Award 2011: Bharat Muni Samman 2012: Sangeet Natak Akademi Fellowship (Akademi Ratna) 2013: Bhupen Hazarika Foundation Award His pathbreaking contribution in the world of Indian theatre is immense and the void will never be filled again.
The Wire
23-07-2025
- Entertainment
- The Wire
One of India's Greatest Theatre Luminaries, Ratan Thiyam Passes Away
The Arts The productions that Thiyam mounted transformed the Indian theatre scene. New Delhi: Ratan Thiyam, one of India's most acclaimed directors and playwrights has died. He was 77. Thiyam was also a noted artist, painter, and musician. He was also known as Thiyam Nemai. Thiyam's imprint went far beyond Manipur, his state of origin. He received the Padma Vibhushan in 1989 and is seen as a co-founder of the 'theatre of roots' movement, which saw its coming of age in the 1970s. This kind of theatre was contemporary as well as grounded itself in indigenous aesthetics and art forms. He was awarded the Sangeet Natak Akademi Award in 1987. He is especially known for his direction in dramas like Chakrabvyuha, Uttar Priyadarshi, Hey Nungshibi Prithivi, Chinglon Mapan Tampak Ama. You can catch a glimpse of Nine Hills One Valley here. The productions that Thiyam mounted transformed the Indian theatre scene. Indian theatre got global recognition in large part due to work done by Thiyam and his team. He never shied away from political themes and narratives, winning wide acclaim and admiration in India and internationally for his work. Sad to know that a very distinguished playwright, director, writer, scholar, leading personality of "Theatre of Roots" and founder of Chorus Repertory Theatre, Sri Ratan Thiyam has passed away. He was one of the few directors who popularized ancient Indian traditions & touched… — Sahitya Akademi (@sahityaakademi) July 23, 2025 Born on January 20, 1948, he passed away in the Regional Institute of Medical Science at 1.30 am today, July 23, 2025. The Wire is now on WhatsApp. Follow our channel for sharp analysis and opinions on the latest developments.
The Hindu
23-07-2025
- Entertainment
- The Hindu
Manipur theatre personality Ratan Thiyam passes away
Manipur's noted theatre personality Ratan Thiyam, one of the pioneers of the Theatre of Roots movement in India, passed away in Imphal on early Wednesday (July 23, 2025) morning. He was 77. The late Thiyam was known globally for writing and staging plays that used ancient Indian theatrical traditions with modern themes. The infusion of Manipuri art forms gave his plays such as Chakravyuha and Ritusamharam a distinctive flavour. Also Read | Drama in the time of bigotry: theatre director and poet Ratan Thiyam Awarded the Padma Shri in 1989, he served as the vice-chairman of Sangeet Natak Akademi before a five-year stint as the chairperson of the National School of Drama. Former Manipur Chief Minister Nongthombam Biren Singh was among several leaders who mourned the passing of one of the country's leading contemporary theatre gurus. 'It is with deep sorrow that I express my heartfelt condolences on the passing of Shri Ratan Thiyam, a true luminary of Indian theatre and an esteemed son of Manipur. His unwavering dedication to his craft, his vision, and his love for Manipuri culture enriched not only the world of theatre but also our very identity,' Mr Singh posted on X. Also Read | Bringing Adivasi's art to centrestage He said the work of Thiyam carried the soul of Manipur, echoing its stories, its struggles, and its beauty. Manipur Bharatiya Janata Party president Adhikarimayum Sharda Devi also mourned the demise. 'A towering figure in the world of theatre, he was the only individual from the region to have held the prestigious position of Director at the National School of Drama. Recipient of numerous accolades... Thiyam's contribution to art, culture, and literature will forever be remembered,' she wrote on X, conveying her condolences to the bereaved family, friends, and the artistic fraternity on behalf of her party. Nagaland BJP leader Mmhonlumo Kikon said the late Thiyam was the Eugène Ionesco of India, and he left behind a 'legacy which is difficult to fill.'
