• A Bank Officer was being transferred who was involved in the corruption relating a Government scheme to help poor people. ( Play: Dukhiara Dukha Katha - 1988).
• In response to our theatre tribal people stopped truck load of Bamboos to revolt against deforestation. (Play: Kahapain Aatmahatya - 1992).
• The factory workers severely beaten our theatre team with a fear that the factory may get closed due the campaign through Natya Chetana theatre action against Industrial pollution. (Play: Chaita Charita - 1993).
• People raised voice at the labour contractors to demand the minimum wages declared by the government. (Play: Pachis Bhoota -1994).
• People decided consensus candidates for the “village committee” in many villages without getting into party politics. (Play: Taangia Chhap - 1996).
• Women audiences took immediate action by breaking alcohol shops on protest after looking at the play. ( Play : Bisa Bazar -1997).
• A play ended with a scene of cyclone which was performed just before the Super Cyclone and the audiences realised the necessity of Mangroves Forest for their lives and came out with nurseries to grow mangroves at the coastal region. (Play: Sapana ra Sapan - 1999) still continuing

PETA (Philippines)

PRIA (New Delhi)and

SRI. BADAL SIRCAR (Kolkata)

• In 1987, Philippines Educational Theatre Association (PETA) gave us the idea of making theatre through ‘non-artists’ using participatory method of theatre making.( workshop attended by Subodh)
• In 1989, Participatory Research In Asia (PRIA) helped us understanding the Mission-Vision-Strategy within a Organisational Management Training. Then in 1990 Subodh went through TOT (Training of Trainers), which strengthened believes on participatory methods when handling a group, organisation or Training/workshop situation.
• In 1991, Sri Badal Sircar, well known theatre personality of India, a great playwright and the founder of ‘Third and FreeTheatre’ concept in India, conducted an exclusive theatre workshop with us. He could create confidence about using the body as an principal instrument to create effective theatre, which can move place to place easily.

So Natya Chetana does theatre by taking care of the artistic formation like a sweet-cover of a medicine, which carries strong thinking process in its content. Natya Chetana is trying to project Natya (Theatre) for Chetana (Awareness) socially, politically and aesthetically.