Jana Sanskriti

Forum Theatre and Democracy in India

Fiction & Literature, Drama, Eastern, Nonfiction, Entertainment, History, Asian, India
Cover of the book Jana Sanskriti by Sanjoy Ganguly, Taylor and Francis
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Author: Sanjoy Ganguly ISBN: 9781136978630
Publisher: Taylor and Francis Publication: April 28, 2010
Imprint: Routledge Language: English
Author: Sanjoy Ganguly
ISBN: 9781136978630
Publisher: Taylor and Francis
Publication: April 28, 2010
Imprint: Routledge
Language: English

Jana Sanskriti Centre for the Theatre of the Oppressed, based in West Bengal, is probably the largest and longest lasting Forum Theatre operation in the world. It was considered by Augusto Boal to be the chief exponent of his methodology outside of its native Brazil.

This book is a unique first-hand account - by the group's artistic director Sanjoy Ganguly - of Jana Sanskriti's growth and development since its founding in 1985, which has resulted in a national Forum Theatre network throughout India. Ganguly describes the plays, people and places that have formed this unique operation and discusses its contribution to the wider themes espoused by Forum Theatre.

Ganguly charts and reflects on the practice of theatre as politics, developing an intriguing and persuasive case for Forum Theatre and its role in provoking responsible action. His combination of anecdotal insight and lucid discussion of Boal’s practice offers a vision of far-reaching transformation in politics and civil society.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Jana Sanskriti Centre for the Theatre of the Oppressed, based in West Bengal, is probably the largest and longest lasting Forum Theatre operation in the world. It was considered by Augusto Boal to be the chief exponent of his methodology outside of its native Brazil.

This book is a unique first-hand account - by the group's artistic director Sanjoy Ganguly - of Jana Sanskriti's growth and development since its founding in 1985, which has resulted in a national Forum Theatre network throughout India. Ganguly describes the plays, people and places that have formed this unique operation and discusses its contribution to the wider themes espoused by Forum Theatre.

Ganguly charts and reflects on the practice of theatre as politics, developing an intriguing and persuasive case for Forum Theatre and its role in provoking responsible action. His combination of anecdotal insight and lucid discussion of Boal’s practice offers a vision of far-reaching transformation in politics and civil society.

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