Having remained active for more than eight decades, IPTA has become an important cultural movement in the country. The organisation has demonstrated that art is not merely entertainment, but can also inspire social transformation.
For many years, IPTA organised theatre festivals in Mumbai, but for various reasons, this tradition could not continue. After 24 years, IPTA organised a festival from May 20 to 27, inspired by Kaifi and Shaukat Azmi and dedicated to the memory of Jitendra Raghuvanshi, who played a significant role in IPTA’s reorganisation. Held at the Mysore Association Auditorium in Matunga, Mumbai, under the leadership of IPTA’s National Committee and hosted by IPTA Mumbai, the festival featured artists from Delhi, Nashik and Mumbai, Kapurthala in Punjab, Indore in Madhya Pradesh, Lucknow in Uttar Pradesh, Tamil Nadu, Odisha, and Patna in Bihar. They presented 12 plays in Hindi, Tamil, Marathi, Odia, and Punjabi.
The artists staged plays on issues such as tribal and Dalit communities, inequality, women’s dignity, social justice, communalism, environmental concerns, and market-driven culture.
IPTA JNU’s play Goh explored the lives of Adivasis, their culture, myths, way of life, and struggles to protect the environment. Based on the poems of Vandana Tete, Anuj Lugun, and Jasinta Kerketta, the production was collectively directed by the JNU team.
IPTA Tamil Nadu’s Uryantha Theerappu (The Supreme Verdict), directed by Anand Basu, highlighted the conflict between large development projects and the rights of ordinary citizens, emphasizing the relationship between water, forests, and land.
IPTA Nashik’s Upath Shumbh (The Misguided Demon), directed by Mukesh Kale, was a satirical comedy-drama exposing the harsh realities behind the glamour of the entertainment industry through the story of four struggling artists.
IPTA Punjab’s Kude Vich Khidya Gulab (A Rose Blooming in Garbage), directed by Inderjit Rupowali, portrayed the story of a sanitation worker father and son through the lenses of caste and class. The play also responded to criticisms of reservation policies.
IPTA Indore’s Azadi Ke Tarane, directed by Gulrez and Sarika Srivastava, traced India’s freedom struggle from the Quit India Movement to Independence. Based on extensive research, it depicted local uprisings in Chimur, Ballia, and Midnapore involving workers, peasants, students, and ordinary citizens. Anand Patwardhan remarked that the play also showed who was absent from the freedom movement.
IPTA Lucknow’s Sapna Mera Yahi Sakhi, directed by Ved Rakesh, examined the rebellious spirit of medieval women poets Mirabai, Akka Mahadevi, Andal, and Lallan, showing how society either deifies or condemns women who challenge social norms.
IPTA Mumbai presented a musical adaptation of Balraj Sahni’s Meri Filmi Atmakatha, directed by Nidhi Kant Pandey, and Anand Hi Anand, produced by Anuradha Dar, which explored the relationships among Chetan, Dev, and Vijay Anand, and their contributions to Hindi cinema.
IPTA Odisha’s Ekanua Sakalara Apekshare (Waiting for a New Dawn), directed by Vikram Kesari Jena, depicted the ideological conflict between two brothers—a corrupt politician and a believer in armed revolution—who ultimately embrace Gandhian values.
IPTA Jodhpur’s presentation of Krishna Chander’s Thali Ka Baingan, directed by Dr Vikas Kapoor, sharply criticised exploitation in the name of caste and religion through satire on ignorance and opportunism.
IPTA Bihar’s Court Martial, directed by Tanveer Akhtar, revealed the ugly face of casteism through the trial of a soldier accused of killing his superior officer.
IPTA Mumbai’s Hum Parwane: The Story of Ashfaqullah Khan Warsi, directed by Ramesh Talwar, celebrated the sacrifices of Ashfaqullah Khan and Ram Prasad Bismil, whose revolutionary legacy inspired Bhagat Singh and his comrades.
It is noteworthy that in his message sent to the IPTA conference held at Marwari Vidyalaya, Mumbai, on May 25, 1943, Jawaharlal Nehru stated: “There are immense possibilities for the development of people’s theatre in India, provided it is rooted in the people and their traditions.”
Homi Jehangir Bhabha, one of the founding pillars of India’s nuclear science programme, expressed his happiness when the Government of India issued a commemorative postage stamp on the occasion of IPTA’s Golden Jubilee. He said, “Everyone has every right to be proud of the public recognition that IPTA has received.” It is noteworthy that the name “Dr Bhabha coined the Indian People’s Theatre Association (IPTA) itself. (IPA Service)
IPTA National Theatre Festival Held in Mumbai Was a Big Success
Sixteen Groups Staged Plays Depicting the Socio-Political Issues of the Day
Harman Singh - 2026-06-05 12:48 UTC
When the country was struggling for independence, the world was grappling with World War II. The people of Bengal were suffering from the tragedy of famine. During that period, on May 25, 1943, writers and artists from various states and princely kingdoms came together in Mumbai to form the Indian People’s Theatre Association (IPTA). In an era marked by war, famine, and political repression, IPTA transformed theatre, music, dance, and cinema into instruments of resistance against fascism, communalism, and poverty. IPTA’s motto is: “The people are the heroes of IPTA.”