The Concept of Street Theater and the Extent of the Impact of Society

Abstract

Street theater came into advancement in the mid twentieth century as a device to free the regular workers and brace unrest against the developed control. Its experience began in India in the midst of the period of against hostile to pioneer fight, essentially by the left-wing theater activists. In spite of the way that street theater, as a shape, bears close association together with the folk theater, it's much more a social correspondence process with a participatory approach, than a clear imaginative articulation. In a down to earth feeling of the term, street theater is a type of gathering dramatization that is played in open air, for the most part on the street, in school or college grounds, railroad station, showcase or in ghettos, where the gathering of artists can connect with a wide segment of groups of onlookers specifically, with the end goal of not just engage but rather to trigger activism. While the street plays are liable to meet certain aesthetical parameters similarly as different types of mainstream theater, it's essentially determined by the purpose of scattering messages of improvement, social liberation, and political change, frequently as a major aspect of a more extensive social and patriot development. Utilization of everyday dialects that are joined with tunes, move and folk expressions, least utilization of props or ensemble and no showy set-up are the key aesthetical components of street plays. The endeavor is made to keep the frame clear of any exaggeration and flush,

however the tone set to electric with a trial approach. This paper attempts to examine the part and capacity of street theater as a gathering advancement instrument that goes for bringing a social transformation.