For the love of theatre in mother-tongue, a group of committed theatre workers established “Bhangima” on 4th August 1984 at Patna to spread the rich history, culture, tradition and literature of Mithilanchal. Registered under Societies Registration Act, 21, 1860 having Registration No. 655/1986.
“Bhangima” primarily aims to popularize and develop the Maithili theatre and at the same time it relate
s itself to the theatre activities at the state and national level. To accomplish its cherished goals and objectives, it draws inspiration from the cultural inheritance, study analysis, practice and experimentation of the traditional theatre forms of Bihar. Since its inception, “Bhangima” has established a tradition of play presentation on fixed dates in a year. Thus, a theatre calendar has emerged for the audience, on 4th -5th August (Inception Day Celebration) and 31st December (Year Ending Celebration- Thahakka). The troupe has presented more than 200 original and translated plays including children plays. Maithili Loknatya (Folk Drama), Kirtaniya Natak (Dramatic Form in Mithilanchal during 13th-19th Century), Mool Maithili Natak (Original Maithili Drama) alongside with Translated Plays, Chamber Dramas as well as staging of various Poems & Stories and many more types of stage plays are done by it. Besides staging of plays, it also publishes half-yearly theatre magazine named, “Bhangima”, to share the experiences of experimentation, translation of original plays from other Indian and Foreign languages and also essays on theatre by eminent theatre personalities of the country. Anybody having interest in theatre and plays can be members of “Bhangima”. The organisational format of the troupe is democratic and regularly maintains its accounts under double entry system and being audited by the Chartered Accountant. An Executive Committee is elected by the majority of the active members in every two years.
“Bhangima” is deeply concerned with the own-ness of Maithili theatre in respect of its presentation and acting style vis-à-vis contemporary theatres of the country and it is still experimenting with the “never say die” spirit.
