Taking mobile theatre in Assam as an example, Ina Ross questions in this article how professional, contemporary theatre can be successful in India, where it is considered to be a niche culture and economically precarious. She examines what would be needed for contemporary theatre in India to appeal to all segments of the population and asks how the theatre can compete with its omnipresent big brother, the cinema. A brief historical introduction to the mobile theatre movement is followed by an analysis of recent performances, complemented by interviews conducted with the major players in Assam's mobile theatre movement. The article shows that the success of mobile theatre is not to be found on the stage alone: it is also a social and societal model that is lived and experienced with the audience, and this ultimately is the key to its success. Ina Ross is a cultural manager with a focus on the performing arts. She has held the position of Associate Professor at the Ernst Busch Academy of Dramatic Art in Berlin, and since 2015 has been teaching arts management at the National School of Drama (NSD) in Delhi. She is the author of Wie überlebe ich als Künstler? (How to Survive as an Artist, 2013).

中文翻译：

---

印度的移动剧院运动：阿萨姆邦的成功故事

以阿萨姆邦的流动剧院为例，Ina Ross 在本文中质疑专业的当代剧院如何在印度取得成功，在印度，它被认为是一种小众文化，经济上岌岌可危。她研究了印度当代剧院需要什么才能吸引所有人群，并询问剧院如何与无所不在的老大哥电影院竞争。简要介绍了移动剧院运动的历史，然后分析了最近的表演，并辅以对阿萨姆邦移动剧院运动主要参与者的采访。文章表明，移动剧场的成功不仅仅在舞台上：它也是一种与观众一起生活和体验的社会和社会模式，这最终是它成功的关键。Ina Ross 是一位专注于表演艺术的文化经理。她曾在柏林恩斯特布希戏剧艺术学院担任副教授，自 2015 年以来一直在德里国家戏剧学院 (NSD) 教授艺术管理。她是作者Wie überlebe ich als Künstler?(如何以艺术家的身份生存, 2013)。