ABSTRACT
Between Visarjan of 1890 and Sarodatsav of 1908, there was what may well be considered as a lull of almost eighteen years in the Rabindranath’s serious theatrical activity. Admittedly, there were some sporadic attempts at the dramatic composition made during this interim period. The more Rabindranath experienced the power of the authoritarian state organ, the deeper grew his aversion for such impersonal and structured authorities. This is voiced through his protests against brutal measures by the repressive regimes – whether the British-perpetrated genocide in Amritsar or the Japanese intervention in China. The relocation to Santiniketan held two-fold benefits for Rabindranath. Apart from providing him with a space and ambience conducive to his innovations in the theatre semiology, this relocation also allowed him to experiment with the Santiniketan community itself and mould it as a model for his ideal swadeshi samaj.
