decision did not do any credit to the Government. It is perhaps a useful thing to know that the relationship between the arts and the State is not a happy one. India Festival or Film Festivals notwithstanding it is not likely to improve either. Prasanna's 'Tughlaq5 was not liked by many. It has been our tradition and Jagannatha Pandit, the famous poet of the seventeenth century put it neatly: Dillishwaro wa Jagadishwaro wa (The lord of Delhi: the lord of the whole world). What Prasanna's production tried to do was not to look at Tughlaq as an Ishwara (The Lord) either of Delhi or of the world but simply as a fallible human being. The effort met with a very predictable response. We felt we should react to this phenomenon. Malini Bhattacharya traces the history of the IPTA in Bengal. Rekha Kamath discusses Brecht's theory of didactic theatre. So much for theatre. Arun Khopkar has just completed a book in Marathi on GuruDutt and his films (being translated in English and Hindi). Excerpts from his book are featured in this issue. Ashish Rajadhyaksha reviews the British Film Institute's book on Godard and his films. We include a set of drawings by Vivan Sundaram which he made during his trip to Mexico in 1978. In view of the feature on Marquez who embodies his concern about power in "fantastic structures' these drawings which are improvizations on a corresponding culture should be of interest. Let us repeat what we said last time. Join us in this endeavour. Contributions, donations, subscriptions, advertisements, responses to specific articles and arguments are all welcome. GPD