Kolkata Calling Playwrights!
- harshini08
- May 18
- 7 min read
Updated: May 19
"What started as a simple initiative has grown into something so rich, so full of heart and ambition." Meghna Roy Choudhury catches us up on Third Bell, a Bhasha Centre Initiative that aims to build capacity in the world of contemporary Bangla playwriting.
What exactly is Third Bell?
Third Bell is an initiative of Bhasha Centre and www.thedramalibrary.com (TDL). From my conversations with Vivek, the founder of these two entities, I understand that while TDL is first and foremost a repository of unpublished Indian play scripts (available for free to anyone!), it also seeks to consistently add to the existing pool of contemporary playwriting, through training programmes and capacity building initiatives.
I had applied to one of their earlier commissions, Brecht@23, which invited playwrights to write a new play as a response to any of Bertolt Brecht’s written works. I wasn’t shortlisted, but I was intrigued by the idea of commissioning new dramatic writing, not many people do that in India.
So when Vivek got in touch with me to work on this project - later titled Third Bell - along with him and Arundhati Ghosh, I was excited. That’s where I come into the picture.
As a probashi Bangali—a Bengali raised outside Bengal—my relationship with the language and culture has always been a bit tangled. We probashis are often told we’re not “Bengali enough.” I never formally studied Bangla. I taught myself to read and write by poring over the Anandabazar Patrika each morning, letter by letter. I’m so glad I made that effort—because today, I get to be part of Third Bell not just as a project lead, but as a deeply curious reader.
India is home to so many languages, and Bangla—one of the richest among them—deserves to be celebrated. The idea of encouraging Bengali playwrights to create new work in Bangla, of supporting and acknowledging those already doing powerful work in the language, and of including them in the wider landscape of contemporary Indian playwriting—that’s what has driven me.
What was the selection process like?
The process for Third Bell began with an open call, and we were thrilled to receive submissions from 21 playwrights in India, and even a couple from Bangladesh. Each applicant had to send in a synopsis of the play they wanted to write, along with a note about why the play mattered to them and why now felt like the right time to write it. The initial panel—Sharmistha Saha, Arundhati Ghosh, and Sadique Hossain—went through each application and created a longlist of 12 candidates based on the strength of these submissions.
We then invited these 12 candidates for one-on-one calls. These weren’t your usual interviews—they were conversations. Informal. The panel came in with thoughtful, sometimes surprising questions tailored to each writer, and the idea was to really understand their intent, energy, and curiosity.
Did you look for experience at all? Or was it all just about the ideas they had?
We did ask the applicants to share samples of their previous work in Bangla—but we kept it very open. It didn’t have to be a fully produced play or even a formal script. It could be anything—a blog post, an essay, a monologue, even a piece of writing that felt personal or experimental. We just wanted to get a sense of their voice and how they think on the page.
That said, the main focus was definitely on the idea they were proposing. What were they trying to say? Why now? And why did it matter to them personally? We weren’t looking for polished playwrights with years of experience—we were looking for urgency, originality, and a sense of deep engagement with the story they wanted to tell.
I believe there was also a training element as part of the selection process? Tell us about that.
Yes, Bhasha Centre is very clear about the way they go about their projects. It’s always about widening the circle of knowledge, about building capacity within sets of people, and not merely transferring techniques or skills, or limiting recognition of potential to only the top of the pile.
In this case, it was important to us that the shortlisted candidates - whittled to seven from the 12 conversations - all had the opportunity to present their best selves in their second submission for the commission. That they all were equipped and brought on to a somewhat level playing field. So even the ones who weren’t selected, had seed ideas for plays, and a clear path to follow them to their eventual fruition.
So we called upon Irawati Karnik and Chanakya Vyas to develop a series of 6 masterclasses - to explore different ideas and approaches of playwriting, from around the world. Using texts as vehicles, they explored different forms, styles, structures and tried to understand the choices each playwright had made to suit the intent and content of that particular play.
No formal teaching, but rather a space for exploration, discussion, and discovery.
Ira selected Still & Still Moving by Neel Chaudhuri and The Witness by Vivienne Franzmann. Chanakya chose Hayavadana by Girish Karnad, Love and Information by Caryl Churchill, and a short story by Kritika Pandey. All the participants were expected to read each text at least twice before the sessions began—so there was homework right from the get-go!
Some sessions were conducted individually by either Irawati or Chanakya, while others brought both of them together - each session had a clear purpose but still felt lively, dynamic, and fun. The flow of the sessions allowed the playwrights to explore different aspects of their plays in layers, slowly building the structure and tone of their work.
Honestly, watching the writers evolve through these sessions was one of the most fulfilling parts of this whole initiative. Some ideas that started out a little fuzzy became razor-sharp by the end. It really shows what can happen when you give people space, support, and the right kind of provocation.
At the end of the masterclass series, each playwright submitted a portion of their play and synopses of the scenes they were working on. These helped us see how the ideas were shaping up in truth. Then came the final round. This time, the panel included Arundhati Ghosh, Daminee Basu, and Neel Sengupta.
And remind us, who was selected? And can you share why?
The jury settled on two playwrights who were to be awarded the commission. Titas and Ritadip.
What stood out about Titas was how grounded and ensemble-driven the piece was. The panel felt it smartly broke apart Manasha Mangal Kabya and kept challenging the form while still being accessible. The scenes were vividly imagined. Sure, there were tonal issues, but everyone agreed those could be worked out in future drafts. In the first phase too, the panel had all noted how clear and confident the vision was from the very beginning.
With Ritadip, it was the sheer imagination and humour in the writing that grabbed everyone. The craft was already strong, and the text had so many things to celebrate. Yes, the dramatic arc needed sharpening, but the writer’s grip on the material and the tone was solid. What really stood out, even in the first round, was how deeply personal and urgent the play felt. The panel wanted to know more about his research, and his answers showed that this was a story he felt he had to write.
So in the end, while everyone brought something exciting to the table, Titas and Ritadip really lit up the room in different ways.
Having said that, there were other strong contenders. I really hope they all get written, made and that I get to watch them. Or maybe even direct one or act in one.
How did you reach out to playwrights? Were you able to reach out to people outside Kolkata? Do you hope to?
Honestly, the part of theatre I love the most is the community and the collaboration. When something really matters to you—when you care about it earnestly—you’d be surprised how quickly people rally around it. Geography stops mattering.
We had help from so many corners. Friends of Bhasha Centre, like Ninad Samaddar, shared with us a huge list of Bengali theatre-makers from all over the world. I reached out to each and every one of them personally. Arundhati helped spread the word like wildfire, and we also got incredible support from the media. Subalakshmi Dey from T2 Kolkata and Koyena from ABP Ananda were both genuinely moved by what we were trying to do, and they helped us amplify the call. Even our family members got involved—it became a collective effort.
The rehearsed readings of the two new plays under the Third Bell Project are happening later this month. What was the process like for these particular pieces to come about? What can we expect from these readings?
The final readings of Mon Pabaner Nao by Titas and Janakrajar Pala by Ritadip are happening on May 31st, a Saturday, at The Urban Theatre Project in Kolkata—and I honestly couldn’t be more excited. These are two brand new Bangla plays by two incredibly promising Bengali playwrights, and this will be the first time they’re shared with an audience.
We’re doing a four-day rehearsal process leading up to the reading, working with actors from Samuho and Santoshpur Anuchintan, two fantastic ensembles who are bringing so much energy and insight into the room. The readings are being facilitated (and lightly directed) by Gaurav Das and myself.
What can people expect? Honestly, something fresh. These are bold, thoughtful, and deeply rooted plays—but also playful, surprising, and full of potential. This isn’t just a showcase, it’s a real step in the development of two exciting new voices in Bangla theatre.
As we step into the second year of Third Bell, what has the journey been like? What did this start out to be and has it met those expectations?
We’ve had some incredible collaborations come out of this process. In fact, we’ve even brought one of the shortlisted participants, Gaurav Das, into the fold. The panelists were really struck by the concept behind his play, and we knew we didn’t want to lose that voice. So we found a way to involve him, and it’s been great.
Honestly, I stepped into this project thinking I’d just be lending a hand here and there—but my expectations have been completely surpassed. What started as a simple initiative has grown into something so rich, so full of heart and ambition. And with the momentum we’ve built, stepping into the second year feels less like starting again and more like carrying forward something truly alive.
THIRD BELL READINGS
May 31 | 5pm
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