World Theatre Day 2026 Webinar organised by RJS PBH-RJS POSITIVE MEDIA on 27th March .

World Theatre Day 2026 Webinar organised by RJS PBH-RJS POSITIVE MEDIA on 27th March .

THEATRE AS THE ARCHITECT OF PEACE: NATIONAL SYMPOSIUM CALLS FOR CULTURAL RESURGENCE AMIDST GLOBAL TURMOIL.

NEW DELHI -- In an era defined by rapid technological advancement and escalating global instability, the RJS Positive Broadcasting House (PBH) and RJS Positive Media convened a high-level national symposium to mark World Theatre Day. The event, titled Theatre and a Culture of Peace (Rangmanch aur Shanti ki Dhwani), served as both a celebration of the dramatic arts and a stern warning against the perceived inhumanity of the 21st century. The symposiums most significant takeaway was the unveiling of a nationwide roadmap leading to the release of the 7th RJS Granth, a monumental documentation of positive journalism scheduled for August 15, alongside the announced modernization of the historic Bihar Art Theatre in Patna.

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*World Theatre Day 2026* 27 March 

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Uday Kumar Manna, Founder and National Convenor of RJS PBH, opened the proceedings by framing theatre not merely as entertainment, but as the Fifth Veda. Drawing from Bharata Munis Natyashastra, Manna argued that theatre was designed to combine the elements of all four Vedas to provide moral and spiritual education to the masses. He emphasized that the current Positive Media Movement must reclaim the legacy of Bhartendu Harishchandra, the father of modern Hindi theatre, who used the stage to awaken national consciousness and challenge social exploitation during the 19th century. Manna noted that in the modern Hindi belt, the term drama has been unfairly reduced to a pejorative, often used to dismiss serious concerns. He called for a journalistic shift to restore the dignity of the medium and use it as a tool for national awakening.

The social implications of theatre were further expanded upon by TIFA26 Sarita Kapoor, a former lecturer with the Government of Delhi and the symposiums Co-organizer. Sarita Kapoor posited that the creation of art is the only barrier standing between human evolution and total destruction. She warned that if human sensitivity is allowed to die, the only remaining development will be the refinement of weaponry. Describing the world as a stage where every individual must perform with humanitarian values, Kapoor highlighted the historical roots of the medium, tracing its journey from the ancient Dionysian theaters of Athens to the communal bonding of the Ramlila in Indian villages. She argued that without theatre, the human spirit risks becoming a desert of mechanical existence, noting that even ancient tragedies were designed to help citizens vote for their preferred narratives of justice.

A major highlight of the symposium was the forensic update on the Bihar Art Theatre provided by its General Secretary, Kumar Abhishek Ranjan. Established in 1961, the same year as the inception of World Theatre Day, the institution is currently undergoing a massive economic and physical transformation. Ranjan announced that the theatre is being renovated into a state-of-the-art auditorium, boasting one of the largest stages in India. This modernization effort is significantly bolstered by the support of prominent Bollywood figures and alumni such as Pankaj Tripathi and Manoj Bajpayee. This connection between local theatre roots and mainstream cinematic success was presented as a vital economic model for sustaining regional artists. Ranjan was joined by Chairman Aran Das, who emphasized that the Bihar Art Theatre remains a beacon for performers who survived the lean years of the pandemic, standing as a testament to artistic resilience.

The discussion then pivoted to a critical examination of why formal theatre training has struggled to penetrate the rural heartlands of India. When challenged on the perceived lack of rural reach, Ramji Bali, Associate Professor at the National School of Drama (NSD), detailed the schools aggressive expansion through its Extension Program Department. Bali revealed that the NSD is specifically tasked with holding workshops in small towns and kasbas to bridge the urban-rural divide. Furthermore, the establishment of five regional centers in Bengaluru, Varanasi, Kashmir, Sikkim, and Agartala has ensured that talent from the North East and other remote regions is integrated into the national narrative.

Bali emphasized that in regions like Assam, theatre is still performed in Naamghars or temples as a ritualistic act of devotion, proving that the roots of Indian theatre remain decentralized and deeply spiritual. He noted the presence of folk traditions such as Maach, represented by figures like Sunder Lal Malviya, which continue to thrive outside the metropolitan gaze. Bali contrasted this with Greek theatre, which he argued is often treated as a historical artifact, whereas Indian performance remains a living, breathing tradition that has survived waves of colonial and cultural invasion.

The practical utility of theatre for the average citizen was another point of intense debate. Satish Anand, a veteran director and former Artistic Director of the Shriram Centre, argued that theatre serves as a school for character building rather than a mere vocation. When asked about the utility of drama for non-actors, Anand noted that theatre instills a sense of team spirit and mutual trust that is rare in other professions. Because theatre is a collective effort, it teaches individuals to trust their co-actors implicitly, a trait that translates into better civic behavior and professional collaboration.

Furthermore, Satish Anand highlighted the art of speaking and diction as essential tools for any career path. Whether an individual is a corporate executive, a teacher, or a bureaucrat, the clarity of thought and communication learned through theatre improves efficacy across all sectors. He argued that theatre injects sensitivity and communicative power into the human psyche, making a person a better citizen before they become a better performer.

The most philosophically dense segment of the symposium saw Satish Anand questioning the definition of 21st-century civilization. Anand expressed profound irony in the fact that humanity has reached the moon and Mars but remains incapable of preventing the slaughter of fellow humans on Earth. He took direct aim at global political rhetoric suggesting that peace can only be established through power. Anand countered this by stating that the power of weapons only leads to a silence of the graveyard, whereas the power of art leads to a culture of peace.

In a moment of high emotional impact, Anand shared a poignant personal reflection on the show must go on philosophy. He recalled a tragic event during a performance in Bihar where he had to continue his directorial duties despite the accidental death of his only son. This account served to illustrate the absolute, almost sacrificial commitment required by the stage, suggesting that theatre is a lifestyle of profound discipline and duty that transcends personal grief.

Bhanu Bharti, an eminent playwright and director, contributed a recorded message that synthesized the theme of the day. Bharti identified dialogue-deficiency or Samvad-heenta as the root cause of modern warfare and societal decay. He stated that theatre is the ultimate medium of dialogue, offering a two-way communication that engages human sensitivity. He argued that if humanity wishes to have a future, theatre must be moved from the margins of society to the very center of the civilizational map. History, Bhanu Bharti noted, is often a record of destruction, but theatre is a record of human connection.

The economic reality of the arts was also touched upon, specifically the tension between cinema and the stage. Satish Anand drew a sharp distinction between the economic juggernaut of cinema and the living art of theatre. While cinema can reach millions simultaneously, it is a recorded, static medium. Theatre is a shared voyage where the audience and the actor influence each other in real-time. This intimacy, the speakers argued, is why theatre remains a potent tool for social change even in the digital age, despite the challenges of funding and infrastructure.

The symposium concluded with a series of logistical announcements that underscore the RJS Positive Media movements momentum. Rakesh Manchanda of the Independence Day Team (TIFA-26) noted that theatre serves as a mirror to the fake acting often found in politics and bureaucracy. He called for theatre’s energy to be channeled into creating a war-free world through collective social action. Uday Shankar Singh, also of Team T-26, reflected on how school and college life drama once served as the primary vehicle for rural entertainment and suggested a return to those roots to combat the isolation caused by modern technology.

Two critical upcoming milestones were announced for the RJS community. A planning meeting for the August 15 Independence Day celebrations and the release of the 7th Granth is scheduled for March 29 at 4:00 PM in Connaught Place, New Delhi. This meeting will focus on the Seva Teerth initiative, which aims to present the documented history of Aazadi ka Amrit Mahotsav of positive media to the Government of India. Additionally, the symposium announced a specialized program titled Veeron Ki Ahimsa for March 31 to mark Mahavir Jayanti Co-organise by Nitin Mehta,MBE London UK.. This program will focus on the philosophy of non-violence as a heroic trait, further aligning with the symposiums theme of peace.

In his closing remarks, Uday Kumar Manna reaffirmed the movements commitment to documenting these dialogues for posterity. By weaving together the insights of National School of Drama professors, regional theatre leaders from Bihar, and veteran directors, RJS PBH aims to create a permanent historical record—a Positive Media Dialogue—that will serve as a blueprint for cultural peace for future generations. The symposium ended with a collective pledge to ensure that the sounds of peace generated on the stage eventually drown out the drums of war, cementing theatre's role as the architect of a more humane and sensitive global society.

Aakanksha Manna

Head Creative Team- RJS PBH-RJS POSITIVE MEDIA 

9811705015.