Arnab Banerji is Assistant Professor of Theatre History and Dramatic Literature at Loyola Marymount University, Los Angeles. Arnab’s essays and reviews have been published in Theatre Journal, Theatre Topics, Asian Theatre Journal, TDR, BOOM California, Ecumenica, Theatre Symposium, Sanglap, Cerebration, SERAS, and Virginia Review of Asian Studies. His current research is in performances by the Indian diaspora, translations of Indian vernacular plays, and contemporary Bengali theatre. Arnab is married and lives with his partner Sayantika in Los Angeles. When he is not doing academic stuff, Arnab enjoys drinking specialty coffee, looking up restaurants around town, binge-watching The Office, and browsing through graphic novels.

• Setting the stage: an introductionPart 1: The city and its theatre1. The city of Kolkata2. The evolution of Bengali group theatrePart II: The material conditions of Bengali group theatre3. Can you train to be a laborer: training in and for Bengali group theatre4. No space to call home5. In the corridors of Shastri Bhavan: funding theatre in Kolkata6. From the page to the stage: organization and rehearsal in Bengali group theatrePart III: Case studies7. Rang-Roop: good ol' Bengali group theatre8. Revolution through play: the theatre of Theatre Formation ParibartakThe materialist semiotics of Bengali group theatre: some concluding thoughts

Arnab Banerji is Assistant Professor of Theatre History and Dramatic Literature at Loyola Marymount University, Los Angeles. Arnab’s essays and reviews have been published in Theatre Journal, Theatre Topics, Asian Theatre Journal, TDR, BOOM California, Ecumenica, Theatre Symposium, Sanglap, Cerebration, SERAS, and Virginia Review of Asian Studies. His current research is in performances by the Indian diaspora, translations of Indian vernacular plays, and contemporary Bengali theatre. Arnab is married and lives with his partner Sayantika in Los Angeles. When he is not doing academic stuff, Arnab enjoys drinking specialty coffee, looking up restaurants around town, binge-watching The Office, and browsing through graphic novels.

• Setting the stage: an introductionPart 1: The city and its theatre1. The city of Kolkata2. The evolution of Bengali group theatrePart II: The material conditions of Bengali group theatre3. Can you train to be a laborer: training in and for Bengali group theatre4. No space to call home5. In the corridors of Shastri Bhavan: funding theatre in Kolkata6. From the page to the stage: organization and rehearsal in Bengali group theatrePart III: Case studies7. Rang-Roop: good ol' Bengali group theatre8. Revolution through play: the theatre of Theatre Formation ParibartakThe materialist semiotics of Bengali group theatre: some concluding thoughts

Arnab Banerji is Assistant Professor of Theatre History and Dramatic Literature at Loyola Marymount University, Los Angeles. Arnab’s essays and reviews have been published in Theatre Journal, Theatre Topics, Asian Theatre Journal, TDR, BOOM California, Ecumenica, Theatre Symposium, Sanglap, Cerebration, SERAS, and Virginia Review of Asian Studies. His current research is in performances by the Indian diaspora, translations of Indian vernacular plays, and contemporary Bengali theatre. Arnab is married and lives with his partner Sayantika in Los Angeles. When he is not doing academic stuff, Arnab enjoys drinking specialty coffee, looking up restaurants around town, binge-watching The Office, and browsing through graphic novels.

• Setting the stage: an introductionPart 1: The city and its theatre1. The city of Kolkata2. The evolution of Bengali group theatrePart II: The material conditions of Bengali group theatre3. Can you train to be a laborer: training in and for Bengali group theatre4. No space to call home5. In the corridors of Shastri Bhavan: funding theatre in Kolkata6. From the page to the stage: organization and rehearsal in Bengali group theatrePart III: Case studies7. Rang-Roop: good ol' Bengali group theatre8. Revolution through play: the theatre of Theatre Formation ParibartakThe materialist semiotics of Bengali group theatre: some concluding thoughts