Growing up in a refugee colony of North 24 Parganas, Titas has been into theatre since their childhood. In their words, 'Much of life made sense for me only on stage. The impossible seemed possible there.' After graduating in Zoology from the University of Calcutta, Titas set out to explore theatre with full devotion and on the way picked up a few formal degrees from FLAME University and London International School of Performing Arts. Although the first decade of their professional life was spent working as an actor in national and international performing arts companies, Titas began writing and devising theatres on their own since 2014. In 2019 they come back to their hometown Kolkata to found a female and queer centric collective - Samuho. 

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Titas was an international fellow of Future Art Leaders program of The Australia Council for the Arts in 2022-2023 for her community-based arts practice.

Titas champions accessibility, inclusivity, and queer and female visibility in her artistic practice. Their dramatic writings keep the performer's body at its vantage point. Titas prefers to pen untold narratives or counter-narratives to the popular traditional texts. She is currently based in Kolkata working as an independent actor, writer-director, dramaturge and arts manager.

Before the internet era, one would often encounter people distributing leaflets on the streets. Leaflets offering jobs, or tutorial classes – all kinds of things. I used to pick up as many as I could, even when I didn’t need them, in the hope that it would perhaps aid the efforts of the person in front of me in some small way. It was out of this habit that an ordinary looking letterpress-printed leaflet – black ink on newsprint – came my way. I glanced at it. It carried a long list of plays along with a schedule of their performances. The title read ‘Anganmancher Natak’ (Arena Theatre), and the name of the contact person was Badal Sircar. That was 25 years ago.

Third theatre took me in. And I chose to stay away from the pyramid of power – glad to have my bare feet firmly on the ground. I have become a slave to the addiction of creating strange designs in strange spaces, of travelling someplace in a group to perform for a call show. I can’t leave my home. How can I? This home of mine has no walls.

Often when I'd write a script - and I've written many - I'd invite friends over. I'd buy samosas, make tea, and then plunge into reading the entire script in one breath. As the final words of the play hung in the air, the room would fall into a profound silence. Curious for feedback, I'd ask, “Won’t you say something?” 

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And then, someone would shatter the silence to ask the inevitable question, “Are there any samosas left?”