Modern Theatre in India, particularly in North India, has contributed a lot to deface the Indian Culture at home and abroad; and it is continuing to do so. Most of the theatre shows are centred on a few selected themes: 'atrocities towards women and untouchables', 'justifying adultery and defying ethical values (in the name of women-liberty)' and 'portraying Indian social structure as demonic'. The sporadic and exce......ptional negative examples, which we seldom witness in our family or in our neighbourhood, are showcased as the characteristic feature of Indian society.
There is a lot of subjects so much important that with their adoption, theatre may elevate itself as an indispensable component of social life and education system. But these subjects never lured so called Indian Rang-Karmis. They are dam-pleased with their own 'fakes and fealths'.
To counter this evil, the repertory of FACES was formed as 'Nationalist Theatre' with an objective of steering theatre towards 'utilitarian creativity'.
The Nationalist Theatre of FACES under the stewardship of theatre doyen Sunita Bharti, is determined to salvage theatre from being a 'face of fakes' and transform it into 'face of facts'. This repertory, in its productions, showcases our tangible/intangible heritage, different aspects of Indian culture, traditions and 'core Indian knowledge' with an objective of educational, moral, spiritual and ethical upliftment of our society.
We are also looking forward for rescuing theatre from the 'relief-camp of government donations’ by transforming it in to an industry capable of providing creative opportunity and employment to theatre artists, who, at present, cannot live on their art.