What do you think?
Rate this book
Evam Indrajit
बादल सरकार के नाटक ‘एवम इन्द्रजित’ का भारतीय रंगकर्म में एक विशिष्ट स्थान हैं ! मूलतः बांग्ला में लिखे इस नाटक का अनेक भारतीय भाषाओँ में अनुवाद हो चूका है ! विभिन्न भाषाओँ के रंगकर्म में इस नाटक ने बार-बार मंचित होकर प्रशंसा और प्रसिद्धि पर्याप्त बटोरी है ! इस नाटक की लोकप्रियता का कारण इसके कथा व् शिल्प में निहित है ! युवा वर्ग की महत्त्वाकांक्षा, परवर्ती कुंठा व् निराशा का यथार्थपरक चित्रण इसमें किया गया है ! नाटक अपनी निष्पत्ति में रेखांकित करता है कि मृत्यु का वरण समस्या का समाधान नहीं है ! यह जानते हुए भी कि हमारे पास कोई संबल नहीं, हमें जीना है ! नाटक का कथ्य अत्यंत यथार्थवादी होते हुए भी शिल्प प्रतीकात्मक है ! जीवन के दस-पंद्रह वर्षो की अवधि को समेटे हुए यह नाटक जीने की जिद का तर्क है ! बादल सरकार की काव्यात्मक भाषा सम्प्रेषण और अर्थ दोनों को समृद्ध करती है ! नए कलेवर में प्रस्तुत यह प्रसिद्द नाटक पाठकों व् रंगकर्मियों को खूब भाएगा, ऐसा विश्वास किया जा सकता है ! प्रसिद्द रंगकर्मी डॉ. प्रतिभा अग्रवाल ने ‘एवम इन्द्रजीत’ का मनोयोगपूर्वक अनुवाद किया है ! उनके अनुसार, ‘...मेरे द्वारा किए गए अनुवादों में यह सर्वश्रेष्ठ है !’
120 pages, Paperback
First published January 9, 1975
23 people are currently reading
374 people want to read
About the author
Badal Sircar
25 books16 followersBadal Sircar also known as Badal Sarkar, was an influential Indian dramatist and theatre director, most known for his anti-establishment plays during the Naxalite movement in the 1970s and taking theatre out of the proscenium and into public arena, when he founded his own theatre company, Shatabdi in 1976. He wrote more than fifty plays of which Ebong Indrajit, Basi Khabar, and Saari Raat are well known literary pieces, a pioneering figure in street theatre as well as in experimental and contemporary Bengali theatre with his egalitarian "Third Theatre", he prolifically wrote scripts for his Aanganmanch (courtyard stage) performances, and remains one of the most translated Indian playwrights. Though his early comedies were popular, it was his angst-ridden Ebong Indrajit (And Indrajit) that became a landmark play in Indian theatre. Today, his rise as a prominent playwright in 1960s is seen as the coming of age of Modern Indian playwriting in Bengali, just as Vijay Tendulkar did it in Marathi, Mohan Rakesh in Hindi, and Girish Karnad in Kannada.
Sarkar was awarded the Padma Shri by the Government of India in 1972, Sangeet Natak Akademi Award in 1968 and the Sangeet Natak Akademi Fellowship- Ratna Sadsya, the highest honour in the performing arts by Govt. of India, in 1997, given by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama.
The "Tendulkar Mahotsav" held at the National Film Archive of India (NFAI), Pune in October 2005, organised by director Amol Palekar to honour playwright Vijay Tendular, was inaugurated with the release of a DVD and a book on the life of Badal Sircar.
In July 2009, to mark his 85th birthday, a five-day-long festival titled Badal Utsava as tribute to him was organised by several noted theatre directors. He was offered the Padma Bhushan by the Government of India in 2010, which he declined, stating that he is already a Sahitya Akademi Fellow, which is the biggest recognition for a writer.
He was awarded the Padma Shri in 1972, Sangeet Natak Akademi Award in 1968 and the Sangeet Natak Akademi Fellowship- Ratna Sadsya, the highest honour in the performing arts by Govt. of India, in 1997.[
Sarkar was awarded the Padma Shri by the Government of India in 1972, Sangeet Natak Akademi Award in 1968 and the Sangeet Natak Akademi Fellowship- Ratna Sadsya, the highest honour in the performing arts by Govt. of India, in 1997, given by Sangeet Natak Akademi, India's National Academy for Music, Dance and Drama.
The "Tendulkar Mahotsav" held at the National Film Archive of India (NFAI), Pune in October 2005, organised by director Amol Palekar to honour playwright Vijay Tendular, was inaugurated with the release of a DVD and a book on the life of Badal Sircar.
In July 2009, to mark his 85th birthday, a five-day-long festival titled Badal Utsava as tribute to him was organised by several noted theatre directors. He was offered the Padma Bhushan by the Government of India in 2010, which he declined, stating that he is already a Sahitya Akademi Fellow, which is the biggest recognition for a writer.
He was awarded the Padma Shri in 1972, Sangeet Natak Akademi Award in 1968 and the Sangeet Natak Akademi Fellowship- Ratna Sadsya, the highest honour in the performing arts by Govt. of India, in 1997.[
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 21 of 21 reviews
August 5, 2021
Evam Indrajit begins with the hunt of the Writer in quest of a premise for his play. As he wrathfully tears up his manuscripts, his stimulation appears as a woman whom Sircar calls Manasi— “the creation of the mind” and perhaps an Indian counterpart of Jung’s anima.
As the narrative unfolds, we find the Writer scribbling feverishly; he has been trying to write a play without any thought for eating or drinking.
This worries Auntie who wonders what will ultimately come out of “all this scribbling”. Manasi, “the creation of the mind”, the woman who is present in one form or the other throughout ‘Evam Indrajit’, asks him what he has written about and the answer is that he has hit upon nothing to write about.
What shall I write? Who shall I write about? How many people do I know?... And what do I know about them?
He picks up four latecomers scrambling for their seats among the audience and discovers to his dismay that they all belong to the middle-class; they have similar backgrounds, education and aspirations.
They are known by different names. They are the middle income group, although within that group there is enough disparity of income.
They are the intellectuals, although if they really relied on their intellect, they would die of starvation. They are the educated minority, if a degree is indeed a mark of education. They are the elite, because they are well aware of their difference from the rest. They are Amal, Vimal, Kamal ... And Indrajit.
Their lives are reviewed in a flashback from the time they are college students engaged in studies, gossip and routine pursuits. He sees their lives as going round and round as if in a circle and this comes through the song:
One-two- three
One-two- three-two-one-two-three
Four-five-six
Four-five-six-five-four-five-six
Four-Jive-six-five-four-five-six
Seven-eight-nine
Seven-eight-nine-eight-seven-eight-nine
Seven-eight-nine-eight-seven-eight-nine
The Writer finds it “totally undramatic”; it is not possible to write about such a repetitive and monotonous theme.
The only unusual thing which attracts the writer about the foursome is Indrajit; he has a young woman in his life—his first cousin Manasi whom he wants to marry but can’t as there is a social taboo against marrying one’s first cousin in the middle-class society.
Moreover, Manasi is a stickler for the “rules”, principles and standards of the male- dominated society she lives in. This love story is also clichéd, as old as the hills or the age of the Mahabharata and after he sees Indrajit and Manasi, he gives up the idea of writing about them, although Indrajit loathes all the “rules” and societal customs; he wants to cut loose and score out on his own. He wants to be unlike the hordes of Indrajits and Manasis appearing “from all levels of society, in all forms, with all possible names” and similar joys and sorrows, pity and hatred. But he finally fails to rise above such middle-class conventions.
Evam Indrajit assaults middle class gratification, an attempt to be incorporated into the existing scheme of things as Amal, Vimal and Kamal do, and the unsuccessful attempt of Indrajit to break free as he in due course returns to a boring monotonous life. He is one of those, who have failed to fine-tune, side with, and ceased to aspire, and also one of those who are enmeshed in the commonplace effort for survival.
Of the four latecomers called on stage by the writer, Indrajit tries desperately to break away from the established social norms and taboos but fails. He returns, much to the chagrin of the Writer, in his original identity (Nirmal) who, like Amal, Vimal and Kamal, is meant to lead the same routine and humdrum existence that those belonging to the middle class are destined to.
He is no different from others despite his efforts to break free of the social norms and taboos.
Evam Indrajit provides ‘a shock of recognition’. The social realism which take account of the characters, makes them felt blatant unhappy.
Here “a boy of eight” is seen “with a child in his arms”... “polishing shoes” on the pavement; “there on the pavement near him is a woman. Her name is Leela. Her husband died of T.B. and her in- laws have thrown her out after taking her husband’s provident fund, the insurance money and her ornaments. Vimal has three unmarried sisters to look after:
Kamal’s father is retiring this year. Amal, Vimal, Kamal and Indrajit (Nirmal actually)—all of them need jobs. They apply and face interviews and finally, “Yes, a regret letter.” The sordid reality around them makes them Angry Young Men; they suffer from an existential despair: “I’m fed up with life”; “I’m tired of being a student”; “I just feel tired and exhausted”.
Then the look of EL Dorado. They want to escape.
The Writer’s dilemma is related to what he considers the limitedness of his experience. He does not know “people”, he has not experienced life at its primitive and basic reality; and he is goaded to write only about those who at the moment are sitting in the auditorium (incidentally, the middle classes in Calcutta and Bombay are known for their addiction to theatre in spite of the inroads it makes into their budget).
The Writer finds them in dramatic (Sircar hitting at the traditional concept of the dramatic in relation to subject matter.)
Meanwhile Auntie, eternal and typical mother figure, keeps popping in to deliver her homilies. There is a totally bewildered incomprehension on her part of the Writer’s need to write at the cost of neglecting important human fruitions like eating and sleeping. Throughout the clay we shall find Auntie and Manasi counterpointing each other.
In the midst of shattered dreams we have a ray of hope through Manasi. She puts faith in Indrajit by way of her love for him. As a common human being she has her dreams, hopes and desires. If these are taken out of life, a life would be a poor shrunken thing. Manasi’s view of life, her attitude to is “Live, “Live! Live long!”. This provides a new meaning to the play. Indrajit, who is apathetic to this life, now starts believing that “nothing is more valuable than my life in this world.” He concludes that his search for life in this way, “we have to push the rock to the top even if it just rolls down”.
Manasi, the creation of the mind”; she is the quintessential woman who has appeared in various incarnations down the ages and her tale is ever old and ever new, it started, as the Writer puts it, in the age of the Mahabharata. She assumes several identities in the course of the play the Writer intends to write.
Nothing important happens in the play. There is in it no story, no message. Besides, the play has no spectacle, no star-part, and no sex. It is much like Waiting for Godot, where “nothing happens twice”, if there is a question why Evam Indrajit has achieved such a striking success is not easy to answer.
The main reason for its success is that it depicts a situation which has a general human application:
What is more important? The way we actually live our life or the way we reality want to? Sircar depicts the dilemma of all Indrajit’s in this play.
As the narrative unfolds, we find the Writer scribbling feverishly; he has been trying to write a play without any thought for eating or drinking.
This worries Auntie who wonders what will ultimately come out of “all this scribbling”. Manasi, “the creation of the mind”, the woman who is present in one form or the other throughout ‘Evam Indrajit’, asks him what he has written about and the answer is that he has hit upon nothing to write about.
What shall I write? Who shall I write about? How many people do I know?... And what do I know about them?
He picks up four latecomers scrambling for their seats among the audience and discovers to his dismay that they all belong to the middle-class; they have similar backgrounds, education and aspirations.
They are known by different names. They are the middle income group, although within that group there is enough disparity of income.
They are the intellectuals, although if they really relied on their intellect, they would die of starvation. They are the educated minority, if a degree is indeed a mark of education. They are the elite, because they are well aware of their difference from the rest. They are Amal, Vimal, Kamal ... And Indrajit.
Their lives are reviewed in a flashback from the time they are college students engaged in studies, gossip and routine pursuits. He sees their lives as going round and round as if in a circle and this comes through the song:
One-two- three
One-two- three-two-one-two-three
Four-five-six
Four-five-six-five-four-five-six
Four-Jive-six-five-four-five-six
Seven-eight-nine
Seven-eight-nine-eight-seven-eight-nine
Seven-eight-nine-eight-seven-eight-nine
The Writer finds it “totally undramatic”; it is not possible to write about such a repetitive and monotonous theme.
The only unusual thing which attracts the writer about the foursome is Indrajit; he has a young woman in his life—his first cousin Manasi whom he wants to marry but can’t as there is a social taboo against marrying one’s first cousin in the middle-class society.
Moreover, Manasi is a stickler for the “rules”, principles and standards of the male- dominated society she lives in. This love story is also clichéd, as old as the hills or the age of the Mahabharata and after he sees Indrajit and Manasi, he gives up the idea of writing about them, although Indrajit loathes all the “rules” and societal customs; he wants to cut loose and score out on his own. He wants to be unlike the hordes of Indrajits and Manasis appearing “from all levels of society, in all forms, with all possible names” and similar joys and sorrows, pity and hatred. But he finally fails to rise above such middle-class conventions.
Evam Indrajit assaults middle class gratification, an attempt to be incorporated into the existing scheme of things as Amal, Vimal and Kamal do, and the unsuccessful attempt of Indrajit to break free as he in due course returns to a boring monotonous life. He is one of those, who have failed to fine-tune, side with, and ceased to aspire, and also one of those who are enmeshed in the commonplace effort for survival.
Of the four latecomers called on stage by the writer, Indrajit tries desperately to break away from the established social norms and taboos but fails. He returns, much to the chagrin of the Writer, in his original identity (Nirmal) who, like Amal, Vimal and Kamal, is meant to lead the same routine and humdrum existence that those belonging to the middle class are destined to.
He is no different from others despite his efforts to break free of the social norms and taboos.
Evam Indrajit provides ‘a shock of recognition’. The social realism which take account of the characters, makes them felt blatant unhappy.
Here “a boy of eight” is seen “with a child in his arms”... “polishing shoes” on the pavement; “there on the pavement near him is a woman. Her name is Leela. Her husband died of T.B. and her in- laws have thrown her out after taking her husband’s provident fund, the insurance money and her ornaments. Vimal has three unmarried sisters to look after:
Kamal’s father is retiring this year. Amal, Vimal, Kamal and Indrajit (Nirmal actually)—all of them need jobs. They apply and face interviews and finally, “Yes, a regret letter.” The sordid reality around them makes them Angry Young Men; they suffer from an existential despair: “I’m fed up with life”; “I’m tired of being a student”; “I just feel tired and exhausted”.
Then the look of EL Dorado. They want to escape.
The Writer’s dilemma is related to what he considers the limitedness of his experience. He does not know “people”, he has not experienced life at its primitive and basic reality; and he is goaded to write only about those who at the moment are sitting in the auditorium (incidentally, the middle classes in Calcutta and Bombay are known for their addiction to theatre in spite of the inroads it makes into their budget).
The Writer finds them in dramatic (Sircar hitting at the traditional concept of the dramatic in relation to subject matter.)
Meanwhile Auntie, eternal and typical mother figure, keeps popping in to deliver her homilies. There is a totally bewildered incomprehension on her part of the Writer’s need to write at the cost of neglecting important human fruitions like eating and sleeping. Throughout the clay we shall find Auntie and Manasi counterpointing each other.
In the midst of shattered dreams we have a ray of hope through Manasi. She puts faith in Indrajit by way of her love for him. As a common human being she has her dreams, hopes and desires. If these are taken out of life, a life would be a poor shrunken thing. Manasi’s view of life, her attitude to is “Live, “Live! Live long!”. This provides a new meaning to the play. Indrajit, who is apathetic to this life, now starts believing that “nothing is more valuable than my life in this world.” He concludes that his search for life in this way, “we have to push the rock to the top even if it just rolls down”.
Manasi, the creation of the mind”; she is the quintessential woman who has appeared in various incarnations down the ages and her tale is ever old and ever new, it started, as the Writer puts it, in the age of the Mahabharata. She assumes several identities in the course of the play the Writer intends to write.
Nothing important happens in the play. There is in it no story, no message. Besides, the play has no spectacle, no star-part, and no sex. It is much like Waiting for Godot, where “nothing happens twice”, if there is a question why Evam Indrajit has achieved such a striking success is not easy to answer.
The main reason for its success is that it depicts a situation which has a general human application:
What is more important? The way we actually live our life or the way we reality want to? Sircar depicts the dilemma of all Indrajit’s in this play.
October 21, 2012
To be frank, I didn’t like the play when I first read it, mainly because I couldn’t understand it’s circular plot and the role changes of it’s characters. But on re-reading I found that I could identify myself and most Indians with it. I loved it even more when I came to understand Badal Sircar’s intention in bringing the Third- theatre or street play, a traditional Indian form, into the accepted world of drama. After Independence, Indian playwrights and people in general started seeking acceptance, in all aspects, from the western world. Badal Sircar wanted establish the Indian tradition saying “This is who we are, deal with it”. It is also an introspection into each Indian’s heart as to what he prefers- either Indian tradition or foreign acceptance. Throughout this play through the characters of Amal, Vimal, Kamal and Indrajit present the popular existential dilemma and unrest of that time. They are middle-class people affected by the cultures of the West yet, try to like their lives by Indian standards.‘Evam Indrajit’, fits the contemporary Indian society as well. It is encrypted with meanings that each reader can decipher on 'individualizing' the play. It’s overall a good read, though it may be very difficult to comprehend within the first two reads, if you’re not aware of Street play techniques.
August 21, 2020
বাংলায় 'এবং ইন্দ্রজিৎ' goodreads এ নেই দেখে হিন্দী সংস্করণকেই দাগিয়ে রাখলাম। যদিও বাংলা মূল নাটকটাই পড়লাম। বাদল সরকারের নাটক সমগ্রের প্রথম খন্ডে নাটকটা আছে।
দিব্যি লাগল। অসাধারণভাবে existentialism, absurdism সব এসে মিশেছে। শিবপুরের ইঞ্জিনিয়ারিং এর ছাত্র বাদল সরকার লেখাতে স্বাভাবিকভাবেই বিজ্ঞানকে এনেছেন নিজের প্রাতিষ্ঠানিক শিক্ষার স্বাক্ষর হিসেবে।
সিসিফাসের পাথর ঠেলে চলা কিংবা 'যাচ্ছি' বলে (লেখক গেল না) মঞ্চনির্দেশ এসব পড়তে পড়তে অসামান্যভাবে বাংলায় বেকেট পড়ছি বলে মনে হচ্ছিল। অমল, বিমল, কমল এর সাথে ইন্দ্রজিৎ এর নাম পাল্টে নির্মল না হতে চাওয়ার দ্বন্দ অসামান্য। এই নাটকটা নিয়ে ভবিষ্যতে গভীরে পড়ার ইচ্ছা রইল।
দিব্যি লাগল। অসাধারণভাবে existentialism, absurdism সব এসে মিশেছে। শিবপুরের ইঞ্জিনিয়ারিং এর ছাত্র বাদল সরকার লেখাতে স্বাভাবিকভাবেই বিজ্ঞানকে এনেছেন নিজের প্রাতিষ্ঠানিক শিক্ষার স্বাক্ষর হিসেবে।
সিসিফাসের পাথর ঠেলে চলা কিংবা 'যাচ্ছি' বলে (লেখক গেল না) মঞ্চনির্দেশ এসব পড়তে পড়তে অসামান্যভাবে বাংলায় বেকেট পড়ছি বলে মনে হচ্ছিল। অমল, বিমল, কমল এর সাথে ইন্দ্রজিৎ এর নাম পাল্টে নির্মল না হতে চাওয়ার দ্বন্দ অসামান্য। এই নাটকটা নিয়ে ভবিষ্যতে গভীরে পড়ার ইচ্ছা রইল।
July 16, 2025
I found pieces of myself in all the characters throughout the play. However, I myself don't know what I was expecting towards the end of it. Is there a point to our existence? Aren't we all simply a symphony of atoms? The moment I read the premise of the play, I was intrigued and wanted to read it ever since. Sircar intricately fleshed out the absurdity of life right from the threads of our conversations to the meaningless hustle of our lives. I still don't know what could've been a better ending. One must imagine Sisyphus happy...
July 31, 2020
Камал. Либо литература отражает политику, либо она перестает быть литературой.
Амал. Не согласен. Литература должна запечатлевать истинную красоту. А грязному делу, политиканству, в литературе не место.
Бимал. Я не согласен со словом "грязный". Если в жизни существует грязь, так и литература должна ее описывать. Литература должна быть реалистической и давать картину подлинной жизни. Правда, Индра?
Индраджит. Не знаю. Конечно, должна быть реалистической. Но позволительно ли ей быть фотографическим отображением жизни или...
Амал. Не согласен. Литература должна запечатлевать истинную красоту. А грязному делу, политиканству, в литературе не место.
Бимал. Я не согласен со словом "грязный". Если в жизни существует грязь, так и литература должна ее описывать. Литература должна быть реалистической и давать картину подлинной жизни. Правда, Индра?
Индраджит. Не знаю. Конечно, должна быть реалистической. Но позволительно ли ей быть фотографическим отображением жизни или...
December 1, 2020
इसे पढ़ो। बस इतना ही कहूँगी। इंद्रजीत के सवाल जवाब, बात चीत सब भीतर कुछ झिंझोड़ेंगे।
December 10, 2024
Sometimes, after lunch, when I go out for a little walk at work, I meet the 3 PM man. He comes to a tea shop with faltering steps and sits down with visible discomfort. In his hands, there is always a shiny 10-rupee coin. Whenever he sees me, he taps his wrist to ask for the time and instantly raises three fingers to ask if it's 3 PM. But every day, without fail, I tell him that it's half past two. I see a flicker of disappointment on his face every time I tell him it's not three.
Last night, I found myself reading Badal Sircar's play Evam Indrajit (And Indrajit) out loud in the middle of the night. I laughed, teared up, felt exhilarated, and finally slept like a log once I finished it. In Evam Indrajit, Sircar captures the everydayness of life through the lens of four random people in the audience: Amal, Vimal, Kamal, and Evam (And) Indrajit. As the story unfolds, you realize the possibility of being any one of these characters.
And that’s where the play beautifully shatters you. Once you get acquainted with the characters, your mind starts choosing the one you resonate with the most.
I am Amal. I am Vimal. I am Kamal. Or am I Indrajit? I want to fit in and become Nirmal in the everydayness of Amal, Vimal, and Kamal. But when does my existence break the rhythm of this mundane life and make me Indrajit? Badal Sircar poses this existential question repeatedly throughout his play, which flows like a perennial river with no exact beginning or end.
In the grand scheme of things, where societal rules weigh heavily, you find yourself trying your best to blend into the crowd like a Nirmal. Every day, everyone is trying to box you in, just as they have done to Amal, Vimal, and Kamal. But you know that whenever you close your eyes for just a little too long, you see him—that man who has already pierced through the misty music of society. He’s waiting for you to decide: will you turn into the real Indrajit and walk your path, no matter what?
Sometimes, I want to lie to the old man and tell him that the clocks of the world have struck 3 PM at his will—that we must, we must, we have to walk, even if there is no God or a cup of tea waiting at the journey’s end.
Last night, I found myself reading Badal Sircar's play Evam Indrajit (And Indrajit) out loud in the middle of the night. I laughed, teared up, felt exhilarated, and finally slept like a log once I finished it. In Evam Indrajit, Sircar captures the everydayness of life through the lens of four random people in the audience: Amal, Vimal, Kamal, and Evam (And) Indrajit. As the story unfolds, you realize the possibility of being any one of these characters.
And that’s where the play beautifully shatters you. Once you get acquainted with the characters, your mind starts choosing the one you resonate with the most.
I am Amal. I am Vimal. I am Kamal. Or am I Indrajit? I want to fit in and become Nirmal in the everydayness of Amal, Vimal, and Kamal. But when does my existence break the rhythm of this mundane life and make me Indrajit? Badal Sircar poses this existential question repeatedly throughout his play, which flows like a perennial river with no exact beginning or end.
In the grand scheme of things, where societal rules weigh heavily, you find yourself trying your best to blend into the crowd like a Nirmal. Every day, everyone is trying to box you in, just as they have done to Amal, Vimal, and Kamal. But you know that whenever you close your eyes for just a little too long, you see him—that man who has already pierced through the misty music of society. He’s waiting for you to decide: will you turn into the real Indrajit and walk your path, no matter what?
Sometimes, I want to lie to the old man and tell him that the clocks of the world have struck 3 PM at his will—that we must, we must, we have to walk, even if there is no God or a cup of tea waiting at the journey’s end.
December 31, 2025
Acute absurdism flawlessly portrayed. Evam Indrajit is a cyclic play about life itself, what it is, and what is it exactly? It asks questions we all have thought of but never answered, because they have no true answer or meaning.
Sircar has framed a microcosm of society in this play, making each of us a prototype, defining life in a circular, meaningless, yet hopeful journey of Man.
Sircar has framed a microcosm of society in this play, making each of us a prototype, defining life in a circular, meaningless, yet hopeful journey of Man.
October 22, 2025
3.5 ⭐
"Indrajit is the eternal question mark, and he still seeks an answer."
"Forget the questions
Forget the grief,
And have faith
In the road—
The endless road.
No shrine for us
No God for us
But the road,
The endless road."
"Indrajit is the eternal question mark, and he still seeks an answer."
"Forget the questions
Forget the grief,
And have faith
In the road—
The endless road.
No shrine for us
No God for us
But the road,
The endless road."
September 12, 2018
नाटक प्रायोगिक होतं - झेपलंच नाही...
July 2, 2020
Who are you? What are you? Why are you ? Why you are reading this review...Every Question is asked by Indra in this play...
September 27, 2021
The use of characters to convey masses is intriguing. Raised questions on identity and the need to belong to a group.
July 24, 2022
Very good and deeply absorbent drama by doyen of Indian and Bangla drama
May 26, 2025
हमारे लिए तीर्थ नहीं, बस 'तीर्थयात्रा' है।
October 13, 2016
A little too self-referential for its own good without real payoff.
June 27, 2024
बादल सरकार भारतीय नाट्य मंच की वह रोशन मीनार हैं, जिनके प्रकाश में जाने कितनी ही नवीन नाट्य मंडलियों को साहस और विश्वास मिला। 'थर्ड थियेटर' के प्रणेता, बादल सरकार ने नाटक को ऐसा रूप दिया इसमें कम से कम मंच व्यवस्था हो, अत्याधिक सेट डिज़ाइन की ज़रूरत ना हो और अभिनेताओं को अद्भुत स्वतंत्रता मिले। यह तभी मुमकिन है जब कहानी का मूल सुढृढ़ता से खड़ा होकर उदात्त और महंगे सेट के बिना भी दर्शक को अभिभूत कर सके।
'एवं इंद्रजीत' इसका सबसे प्रचंड उदाहरण है के शुद्ध क्रिएटिविटी के तल पर बाह्य संसाधनों की आवश्यकता कम होती चली जाती है। यह नाटक मूलत: अस्तित्वादिता के प्रश्नों पर गहनता से चिंतन करता है। जीवन क्या है? वही हजारों वर्षों से चला आ रहा चक्र या इससे भी इत कुछ और? अगर अंत में सब निष्फल ही है तो जीवन का औचित्य क्या है? जब गंतव्य ही नहीं तो पथ क्यों? और पथ है तो भी चलना क्यों अनिवार्य हो? इन सारे प्रश्नों की नींव को झकझोरने ने की चेष्टा करता यह 'एवं इंद्रजीत'। कमल-अमल-विमल वह सब है ढर्रों पर चलते हैं, बिना किसी खास प्रश्नोत्तरी के। और इसी कड़ी का चौथा हिस्सा, इंद्रजीत - एवं इंद्रजीत - जिज्ञासु है, प्रश्न उठता है, खुद पर, संसार पर, जीवन पर और अंत में इस निष्कर्ष पर पहुँता है कि.....
'एवं इंद्रजीत' इसका सबसे प्रचंड उदाहरण है के शुद्ध क्रिएटिविटी के तल पर बाह्य संसाधनों की आवश्यकता कम होती चली जाती है। यह नाटक मूलत: अस्तित्वादिता के प्रश्नों पर गहनता से चिंतन करता है। जीवन क्या है? वही हजारों वर्षों से चला आ रहा चक्र या इससे भी इत कुछ और? अगर अंत में सब निष्फल ही है तो जीवन का औचित्य क्या है? जब गंतव्य ही नहीं तो पथ क्यों? और पथ है तो भी चलना क्यों अनिवार्य हो? इन सारे प्रश्नों की नींव को झकझोरने ने की चेष्टा करता यह 'एवं इंद्रजीत'। कमल-अमल-विमल वह सब है ढर्रों पर चलते हैं, बिना किसी खास प्रश्नोत्तरी के। और इसी कड़ी का चौथा हिस्सा, इंद्रजीत - एवं इंद्रजीत - जिज्ञासु है, प्रश्न उठता है, खुद पर, संसार पर, जीवन पर और अंत में इस निष्कर्ष पर पहुँता है कि.....
September 8, 2025
Being the first absurdist play I've read that's written by an Indian, I was delighted. I found its exploration of the self, autonomy of choice, and collective fate very interesting. This is definitely one play that is not at all meant to be read - it's meant to be experienced. It made me imagine the actors on stage shuttling between character roles. Love the ease of flow of language in this play. Well written!
Read
October 12, 2014nxn
Want to read
February 27, 2016classic
February 7, 2025
It's just amazing. Still releveant.. Will always be relevant. Literary brilliance.
March 31, 2017
Great play.
Displaying 1 - 21 of 21 reviews