Revival of Local Theatre: A Case Study of Shantiniketan Theatre Group

Thesis Abstract

The revival of local theatre in mid-tier Indian urban spaces addresses a critical erosion of community-engaged performance praxis, shifting audience participation and heritage storytelling away from subsidized municipal stages toward independent, culturally rooted ensembles. This study investigates how the Shantiniketan Theatre Group, as a case exemplar, negotiates historical legacy, contemporary repertoires, and sustainability within a changing cultural economy. The aim is to understand mechanisms by which local theatre groups cultivate relevance, resilience, and artistic autonomy while maintaining community-centred values. Specific objectives include (1) mapping organisational trajectories, governance structures, and funding ecologies; (2) analysing repertoire strategies, audience development, and community engagement; (3) examining performative practices, pedagogy, and intergenerational knowledge transfer; (4) assessing perceived barriers and enablers to sustainability; and (5) proposing an integrated model for local theatre revival applicable to similar regional ensembles. The study adopts a mixed-methods design, combining a longitudinal case study with embedded qualitative and quantitative strands. The population comprises all active members of the Shantiniketan Theatre Group (n=42) and audiences drawn from three community spaces (n=300 survey respondents). A purposive sampling approach targets core leadership, artists, and mentors (n=12) for in-depth semi-structured interviews, while a stratified random sample (n=120) captures audience perceptions over two production cycles. Data collection instruments include a semi-structured interview guide aligned with stakeholder roles, a 5-point Likert-scale survey assessing audience engagement, confidence in local arts institutions, and perceived cultural value, as well as archival materials (archives, rehearsal logs, financial statements, production notes). Validity is enhanced through triangulation, member-checking, and expert review of instruments. Quantitative data will be analyzed using descriptive statistics, correlation analysis, and multiple regression to identify predictors of audience turnout and support, while qualitative data will undergo thematic analysis guided by Braun and Clarke’s framework, with coding corroborated by intercoder reliability (Cohen’s kappa). An interpretive phenomenological analysis will explore artists’ lived experiences of revival pressures. The study will also apply the Institutional Theory of Culture and Agency to interpret governance and decision-making dynamics, and draw on Cultural-Historical Activity Theory to illuminate knowledge transmission within the group. Expected findings include (i) a robust growth in local audience engagement linked to community-led programming, diversified revenue streams, and volunteer-based governance; (ii) evidence that repertoire choices anchored in regional vernacular performance traditions, combined with contemporary dramaturgy, enhance legitimacy and sustainability; (iii) identification of capacity-building practices—guest residency programs, youth mentorship, and local partnerships—that mediate artistic continuity; (iv) recognition of institutional barriers such as volatile funding, space access, and policy constraints, mitigated by strategic collaborations and micro-funding models; and (v) development of a transferable framework for local theatre revival emphasizing participatory governance, inclusive programming, and strategic community alliances. The study contributes to knowledge by detailing a holistic, empirically grounded model of local theatre revival that integrates organizational ecology, community aesthetics, and sustainability economics. It advances understanding of how small, regionally bound theatre groups can recalibrate artistically while preserving cultural specificity and social relevance. The research offers practical implications for theatre practitioners, funders, policymakers, and cultural managers seeking scalable approaches to revive decentralised theatre ecosystems without compromising artistic integrity. The main conclusion posits that sustainable revival hinges on a symbiotic relationship between community ownership, adaptive dramaturgy, and diversified, credible funding strategies, supported by structured mentorship and archival practice. Recommendations include establishing a formal community-of-practice for regional ensembles, creating a modular revenue framework combining performance rights, local sponsorship, and micro-grants, institutionalizing youth and elder mentor partnerships, and implementing a standardized monitoring and evaluation protocol to track cultural impact and audience development over time.