The book shows a refreshing new perspective toward a theatre culture that frequently escapes the critical lens in spite of being one of the largest urban theatre cultures in the world. Theatre events are a sum total of the conditions in which they are built and the conditions in which they are viewed. Studying the event separate from its materialistic beginnings and semiotic effects allow only a partial insight into the performance phenomenon.
The materialist semiotic critical framework of this book locates the Bengali group theatre within its performative context and offers a heretofore unexplored insight into this vibrant theatre culture.
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