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Padma Shri Daya Prakash Sinha has given new life to Hindi theatre
“Theater will always remain alive”: ‘Padma Shri’ Daya Prakash Sinha
New Delhi: Indira Gandhi National Centre for the Arts (IGNCA) has been organizing the ‘Sanskriti Samvaad Series’ for several years to honour artists, cultural workers, theatre practitioners, and writers. In this context, the Media Centre of IGNCA organized the 18th edition of the ‘Sanskriti Samvaad’ series. The 18th edition was held in honour of the renowned playwright, director, and cultural administrator, Padma Shri Daya Prakash Sinha. Notably, Shri Daya Prakash Sinha has made a significant impact on the ‘Rang Andolan’ (Theatre Movement) that occurred in Indian Hindi theatre after 1950, providing rejuvenation and energy to Indian Hindi theatre through his rich writing and direction. The event, which spanned the entire day, was divided into five sessions. During these sessions, renowned personalities from the fields of art, culture, theatre, and literature discussed Shri Daya Prakash Sinha’s contributions to literature and theatre in detail. Additionally, in the concluding session, the book titled ‘Daya Prakash Sinha: Natyasrishti Evam Drishti’ was also launched, which has been compiled and edited by Dr. Shailesh Srivastava.
The inaugural and honouring session of the programme commenced at 11 a.m., featuring the cultural luminary and internationally renowned dance guru, Padma Vibhushan Dr. Sonal Mansingh, as the chief guest. The session was chaired by the esteemed scholar, musicologist and cultural analyst Dr. Bharat Gupt. Shri Daya Prakash Sinha took this opportunity to share his remarkable journey in theatre over the past seven decades. The event, titled ‘Sanskriti Samvaad,’ also included the presence of Dr. Sachchidanand Joshi, Member Secretary of IGNCA, and Shri Anurag Punetha, Controller of the Media Centre. On this occasion, Daya Prakash Sinha shared his seven-decade-long journey in theatre. As the audience journeyed through his experiences, they also gained insights into the evolution of Hindi theatre. He remarked, “A person is born with certain inclinations, and perhaps I was born for theatre. I have been drawn to it since childhood, though I cannot say how or why.” He further noted that theatre is not ordinary; it awakens people. “There is a profound intellectual element in theatre,” he explained.
Addressing the relevance of theatre today, Shri Sinha remarked, “People say this is the era of television, but the live interaction that theatre offers is unparalleled. Compared to radio or TV, theatre is far more impactful, with dynamic exchanges taking place in real time. That is why, in my view, no matter how advanced technology becomes, theatre will remain alive.”
In her address, Dr. Sonal Mansingh described the event as a heartwarming context, remarking on the complexity of truly knowing a person as an ongoing journey. She recalled her long-standing acquaintance with him, dating back to when he served as Secretary of Culture in Uttar Pradesh. Emphasising his role as not only a connoisseur of art and culture but also a promoter of artists, she noted that he possesses the warmth and sensibilities characteristic of those deeply engaged with culture—a rare quality for a bureaucrat. In praise of Daya Prakash Sinha, she remarked that life is paraphernalia that reflects one’s vision. She concluded by expressing that he embodies eternal freedom and continues to spread joy.
Prof. Bharat Gupt during his address said that there has been a dearth of playwright in Hindi and the famous playwrights of the time wrote in tune with ideologies or influence however that’s not the case with Daya Prakash Sinha. He has written with courage and with freedom. He further remarked that to take truth towards historical validation and later write a play is not mean in any way. This is surreal work and should be complimented and he should be congratulated for it. To change perspectives in Hindi theatre is a courageous act and a Hindi playwright being translated into various languages like Marathi and Malayalam is no mean achievement. In his introductory remarks, Shri Anurag Punetha highlighted the gathering’s purpose: to celebrate and honour the life of Daya Prakash Sinha and his longstanding association with theatre. He reiterated how Shri Sinha has introduced the audience to an entirely new world of theatre and drama, inspiring many through his remarkable journey and contributions to the field.
In the closing session held in the evening, the book ‘Daya Prakash Sinha: Natya-Srishti Evam Drishti’ was inaugurated. This session was chaired by Shri Ram Bahadur Rai, the Chairman of IGNCA. Introducing the book, the editor, Dr. Shailesh Shrivastava, stated that it highlights Daya Prakash Sinha’s unforgettable contributions to theatre. He emphasized that the book has been meticulously and diligently prepared. Shri Ram Bahadur Rai remarked that this book is very useful for anyone wishing to understand Daya Prakash Ji, including those who have worked with him and the new generation. He described it as an extraordinary book, noting that many individuals have written about various plays and Sinha’s personality through short articles. He also added that Daya Prakash Ji’s persona is not limited to being merely a theatre artist or cultural administrator; one of his unique traits is his steadfastness in his beliefs. He has never changed his views at any point in his life. While he may not agree with everything, he has shown that it is possible to work together despite disagreements, a valuable lesson we have learned from Daya Prakash Ji.
Dr. Sachchidanand Joshi emphasized that while various aspects of Daya Prakash Ji have been discussed, he wished to focus specifically on his significant role as a cultural administrator. This position often presents considerable challenges, particularly for someone who is also an artist or creative individual, as they navigate numerous difficulties in balancing these dual identities. He vividly recalled Daya Prakash Ji’s tenure as the administrator of Bharat Bhavan when he came to Bhopal. During that time, he observed a remarkable surge of enthusiasm and inspiration among the local populace to stage Daya Prakash Ji’s plays. Bhopal’s theatre artists eagerly began to perform his works. Initially, he thought this excitement would eventually fade, as it is common for people to engage in such discussions merely to appease the administrator. However, as they delved deeper into Sinha Ji’s multifaceted personality, his distinctive working style, and the way he embraced the rich cultural fabric of Bhopal and Madhya Pradesh, they realized they were witnessing a new paradigm in cultural administration. The people of Madhya Pradesh, who had previously encountered a different kind of cultural administrator, discovered in Sinha Ji a compassionate and emotionally connected leader. He not only embraced all the creators in Bhopal but also ignited a profound sense of self-respect and pride within them.
Three additional sessions were organized between the inaugural and concluding sessions. In the first session, Prof. Avnivesh Awasthi, Prof. Chandan Kumar, Shri Diwan Singh Bajeli, Prof. Manpreet Kaur, Dr. Ashok Kumar Jyoti, and Dr. Naushad Ali discussed the contributions of Daya Prakash Sinha’s plays to literature. The second session focused on the translations and performances of Daya Prakash Ji’s plays in various languages. During this session, Prof. A. Achyutan, Shri Mahendra Prasad Singh, Shri Nagendra Manekari, and Dr. Hina Nandrajog shared their insights. Subsequently, Prof. A. Achyutan translated Daya Prakash Ji’s play into Malayalam, while Shri Nagendra Manekari translated it into Marathi. Meanwhile, Shri Mahendra Prasad Singh facilitated the Bhojpuri translation of his play ‘Apne Apne Daav’ as ‘Aapan Aapan Daav’ through his organization, ‘Rangshri.’
In the third session, renowned directors and actors from the theater discussed the theatricality of Daya Prakash Sinha’s plays. They emphasized that Daya Prakash Ji wrote his plays with the consideration that they should be easily staged. He intended for them to be more than just texts to be read; rather, they should be performed on stage, as a play is only complete when it is enacted. In this session, theater luminaries such as Prof. Ajay Malkani and Jai Prakash Singh shared their thoughts.
