This work reviews and analyzes from a fresh angle the stage by stage chronicle of theatre art, theatrical trends, actor directors, playwrights as well as theatre personalities active in the history of theatre during last century and half of Gujarati literature. That is what distinguishes this work from a history of literary theatre. The work also includes an elaborate feature about Bhavai, the traditional (folk) theatre, and the pioneering endeavour of Parsi community for the inception of theatre in its own tongue as well as in Gujarati. This is a very informative delineation of the emphatic impact made by politics, society, literature and theatre on one another.

About the Author

Hasmukh Baradi is associated with Gujarat Amateur Theatre for the last two decades. He has written plays as well as essay on theatre topics. He has also been in the forefront of the folk-oriented activity of street-play. During the period between 1990 and 1992, he was a Senior Fellow at the Department of Cultural Affairs of the Government of India. Professionally, he has devoted two decades of his career to production of TV programmes, one and spent considerable time for imparting media training. He has visited Russia, Germany, England, Poland, Bulgaria and Malaysia to acquaint himself with the direction techniques employed in the theatre and TV programmes in those countries. Noteworthy among his work are 'Natak Sarikho Nadar Hunnar' [An exquisite craft like theatre] and Janardan Joseph (a play)

Preface
Translator's Note
Chapter 1: Pre-Tradition
Folk-centred Theater Forms, Cachar, Bhavai Vesh (Bhavai Skits), A Chronicle of the Sansrit Tradition, Jain Literature, Bhavai Today.
Chapter 2: 'Old Theatre-Phase One: Formation of various group (1842-1878):
Background, Early English Theatres, Jagannath Shankar Sheth, Parsis, The Process of Formation of Various Group, A Parallel Stream of Original Play, On the Threshold of the New Phase.
Chapter 3: 'Old' Theate-Phase Two: The Owner- Playwright (1878-1898):
The Surge of Reformative Attitude, Ranchhod-ray Udayram, Dahya-bhai Dholashaji, Oza Brothers, Manilal Nabhu-Bhai Dwivedi, Plays Stage Under Bowers, Ideals and Reality.
Chapter 4: 'Old' Theatre-Phase Three: Actor Dominance (1898-1913):
Transition into the Twentieth Century, Actor Dominance, Amrut Keshava Nayak, Bapulal Nayak, Pransukh 'Adipolo', Mohanlala, Master Ashrafkhan, Prabhashankar 'Ramani', Jayshankar 'Sundari';
Phase Four: Struggle of Playwrights (1913-1923):
Funlchand 'Master', Mulshankar Mulani, Nrusinh Vibhakar, Jaman, Severance of the Relationship between Playwright and theatre;
Phase Five: Main Actor-Director (1923-1939):
Bapulal Nayak, Mulchand-Mama, Master Kasam, Miss Moti-bai, Master Vasant, At the Transition Point Between the Phase, 'Rehearsal Master'.
Chapter 5: 'Old' Theatre-Phase Six: Owners and Moneylenders (1939-1953):
Owners-Moneylenders, Theatre Stage Shifted to the Cities of Gujarat; Invasion by Cinema; Poet Vairati, Poet Trapajkar, Prafulla Desai, Nandlal Shah, Pragji Dosa, Raghunath Brahma-bhatt (The Poet of Passion), Prabhulal Dwivedi, 'Pagal', Music Makers, Centenary Celebrations;
Phase Seven: Travelling Theatre Groups (1953-)
Performances in Villages and Towns, Improvised Theatres Once Again, One Hundred and Fifty Years later.
Chapter 6: 'New' Theatre Activity-Phase One: Activities Based on Actor and Festivities: (1922-1939):

The Players' Act, Chandravadan Mehta, The Crusade, Kaniyalal Munshi, Bharatiya Vidya Bhavan, Rnagbhoomi Parishad.
Chapter 7: 'New' Theatre Activity-Phase Two: Formation Theatre Groups (1939-1949):
The Appeal for an Actors' House, Theatre Group, Rang -Mandal, IPTA, Javanika, I.N.T., Adi Maraban, Pratap Oza, At the Junction of the Phases.
Chapter 8: 'New' Theatre Activity- Phase Three: Director Dominance (1949-1960):
At the High Noon of the Century, 'Sundari', Natya-Vidya Mandir; Nat-Mandal, Jashvant Thakar, Bharat Natya-Pith; From Narmada to Nat-Samrat; Pransukh Nayak, Rangbhoomi, Centernary Celebnration; Theatre Training Institutions; Original Play-writing.
Chapter 9: 'New' Theatre Activity- Phase Four: Actor-Proprietor Dominance (1960-1990):

I.N.T. - Pravin Joshi and Sarita: Nila Theatres; Bahurupi; Natya-Sampada - Kanti Madiya; Adi Marzban; Pratap Oza, Vishnukumar Vyas; Madhukar Randeriya; Dina Pathak, Vanlata Mehta, Tarala Mehta, Usha Malji; Parallel Gujarati Theatre of Ahmedabad - Darpan, Triveni, Other Cities of Gujarat; 'Absurd' (1996); Akanth (1972), The SubPhase of Playwright-Producer (1980); The Quest for Director.
Chapter 10: One-Act Play (1871-1990):
Tracking the Footprints; Stageability (1870-1921)- Parsis, Appendages; Literature-oriented New One-act Play (1922-1930) - Batu-bhai Umarwadiya, Yashwant Pandya, Pranjivan Pathak; The Poets' One-act Play - Umashankar Joshi, Krushnalal Shridharani; Socially Disposed Play-Writing (1940-1950) - Radio, Jayanti Dalal, Bharatiya Vidya Bhavan, One-act Play Competitions; the Second Sub-Phase of StageableOne-act Plays (1951-1966)-Chunilal Madiya, Shivkumar Joshi, Prabodh Joshi, Drawing-room Theatre, Param-Pravasi; 'Absurd' (1966-1971) - Reverberations over Five Year,Akanth Sabarmati; The Sub-Phase of Stylization (1971-1980) - Devotion to Theatre, After One Hundred and Twenty-five Years.
Chapter11: Miscellanea
About the Graph of the Parallels
Important Sources of References
Index : Concepts and Processes
Index : Nouns