His first writing on theatre, on the actor Mei Fung Lang of Peking Opera, was rather insignificant. His next article was on
Jatra performances he saw in 1962; that was published in
Bohurupi patrika. His love with theatre intensified and he started interviewing contemporary stalwarts of Bangla theatre, e.g., Utpal Dutt, Badal Sircar, Sombhu Mitra, among others, for further clarifications on their works.
His assessment of Nandikar's 1969 production of
Tin Poysar Pala, and adaptation of Brecht's
Three Penny Opera:
"When we have a production of The Three Penny Opera which simply goes in for wild fun, we regard it as a compromise, a betrayal. The production has no point when there is serious political violence in Calcutta. ... This is status quo theatre, which means nothing to a generation that thinks in political terms.
Foucault's influence on him seems to be a later development. For instance, in 1986, he opines that in Vijay Tendulkar's play
Ghashiram Kotwal, 'power is defined 'horizontally' (in the sense in which Maurice Duverger uses it in his
The Idea of Politics, London, 1966)'. He does not bring in Foucaulding discourse of power yet. In his 2003 introduction to a collection of Tendulkar's plays (including Ghashiram Kotwal'), however, he sees them evolving around the hub of 'strong ethical concern exploring and critiquing the relations of power in all their complex ramifications' where power is 'what Michel Foucault defines as 'the relationship in which one wishes to direct the behaviour of another'.