The greatest bard that the world has produced William Shakespeare indeed would be pleased that his oeuvre of work is being taught with great passion and using one of his favorite mediums of expression, aka the drama but having own ethnic underpinnings.

It is not difficult to understand why drama is being used as a medium of cultural expression. Drama in its very genesis is a medium of protest, protest by bringing in the cultural nuances with finesse. It is also an interesting fact that drama's usage to propagate the nuances of great works of English literature is being practiced more in the hinterland than in the main cities in the country. The reason may not be difficult to fathom. The curricula still has distinct underpinnings of English literature of Victorian era, while English as a subject has indeed become modernist in its outlook in the urban areas of the country.

Assam is one state where a mobile theatre hits the streets from the month of August and continues to traverse the undulating terrains of this state that makes news more for its insurgency, but seldom does this news item of an initiative of cultural renaissance makes it to the headlines. Akin to the jatra tradition of West Bengal the initiative of drama in Assam is known as Bhayammaman theatre that specializes in spreading the message of Shakespeare, and also includes contemporary issues as well. The USP of this cultural practice lies in the fact that it does not have parallels anywhere in the world what to talk of the country. Being an affair that runs for more than 8 months it provides employment to scores of people.

The difference of Bhayammaman theatre lies in the fact that its canvas is immense and it does not only relegate itself to bring into relief the folk traditions of the community, but uses a wide angle vision to bring about finest literary expressions from all over the world.

Another interesting aspect of the mobile form of theatre that it provides employment to the local population, apart from its ability to create awareness about the cultural diversity that is provided through drama. The sense of identity with the dramatic exposition is owing to the fact that the dialogues of the drama are written in the local language.

Another initiative of this kind is also being enacted in the mofussil districts in Karnataka, the districts being Shimoga and Bellary. A theatre institute has come up in Ninasam, Heggodu village where the local people are participating with vigor in practicing the craft of drama as espoused of the greats of the Victorian era, but again in the local language Kannada. Girish Karnad would indeed be mightily pleased that the craft of drama that he has been espousing through his initiatives is also prospering with elan in the hinterland of his state as well. The craft being practiced in Heggadu is into its 60th year and indeed underlines the importance that drama has been accorded for expanding the cause of culture, literature, arts and crafts. The man who started this tradition was Subbana, who was conferred the Magsaysay Award for its initiative.

Drama indeed has great chance to survive in the mofussil towns and backwaters of the country, as there are very few distractions that the big cities bring on the table during the rehearsals. Besides, the time constraint is never a factor, therefore it is always an easy proposition to increase the tribe of fan followers, as the natural settings can mesmerize and expand the breed of converts.

Theatre is not limited by technology for its expansion and it scores over cinema on this count and this is precisely the reason why it continues to prosper in the hinterlands of our country with panache and vigor. Drama is the platform that has the ability to preserve and facilitate the continuum of ethnicity that characterizes a culture and tradition.