Assam’s cultural history is illuminated by a few towering personalities whose contributions transcended art and entered the realm of social transformation. Among them stands Natasurya Phani Sarma—an actor, playwright, director, filmmaker, thinker, and cultural reformer whose life laid the ethical and artistic foundation of modern Assamese theatre and cinema.
Phani Sarma did not merely act or direct plays and films; he redefined the purpose of art in Assamese society. At a time when theatre was largely entertainment-centric, and cinema was in its infancy, he transformed both into instruments of social consciousness, cultural identity, and moral inquiry.
For students preparing for APSC, UPSC, ADRE, Assam TET, and other competitive examinations, understanding Phani Sarma is essential—not just as a cultural figure, but as a case study in ethics, leadership, social reform, and soft power.
Early Life and Cultural Roots
Phani Sarma was born in 1910 in Tezpur, a town that later earned the title “Cultural Capital of Assam.” His early environment played a decisive role in shaping his artistic sensibility.
His father, Molan Sharma, was a respected theatre artist and expert associated with the historic Bana Rangamancha, one of the earliest organized theatre platforms in Assam. Theatre, therefore, was not an external influence—it was part of Phani Sarma’s upbringing.
From Gatekeeper to Actor
One of the most inspiring aspects of Phani Sarma’s life is his humble beginning. He started his professional life as a gatekeeper at Bana Rangamancha. Instead of seeing this role as limiting, he treated it as a learning opportunity—observing rehearsals, absorbing dialogues, understanding stagecraft, and learning discipline.
This phase of his life is frequently cited in examinations to illustrate:
- Social mobility through talent
- The dignity of labour
- Grassroots learning over privilege
Initiation into Theatre: Bana Rangamancha Era
As a young boy accompanying his father, Phani Sarma came in close contact with stalwarts such as:
- Indreshwar Borthakur
- Lalit Mohan Chowdhury
- Prafulla Barua
These interactions exposed him to classical acting styles, dialogue delivery, and theatrical ethics.
First Major Role
Phani Sarma began his stage acting career in 1928 with his debut performance as Emperor Akbar in the historical play Rana Pratap at the Ban Stage (Bana Rangamancha), Tezpur, marking his formal entry into Assamese theatre. His commanding stage presence—defined by his tall stature and powerful, resonant voice—quickly earned him recognition as a versatile actor, capable of portraying complex historical and socially nuanced characters.
This marked the formal beginning of his artistic career.
Kohinoor Opera and the Birth of a Theatre Movement
In 1930, Phani Sarma joined the legendary migratory theatre group Kohinoor Opera, which travelled across Assam—from Sadiya to Dhubri—bringing theatre to rural and semi-urban audiences.
Why Kohinoor Opera Was Important
- Introduced modern stage techniques
- Made theatre accessible to common people
- Encouraged co-acting on stage (a first in Assam in 1931)
- Helped professionalize theatre as a livelihood
Phani Sarma’s performances became one of the major attractions of the troupe. His ability to blend emotional realism with ethical seriousness set him apart.
Exam Insight (APSC GS-I):
Kohinoor Opera is often cited as a milestone in the evolution of Assamese mobile theatre.
Contribution to Assamese Mobile Theatre
Phani Sarma later played a key role in the development of mobile theatre, particularly with Purbajyoti Mobile Theatre, produced by Karuna Kanta Majumdar.
He directed multiple plays during its formative years, contributing to:
- Script discipline
- Actor training
- Audience engagement
Mobile theatre remains a unique Assamese cultural institution, and Phani Sarma is considered one of its early architects.
Entry into Assamese Cinema: A Historic Beginning
Joymati (1935) – The First Assamese Film
Phani Sarma entered cinema history by acting in Joymati (1935), the first Assamese film, directed by Rupkonwar Jyotiprasad Agarwala.
- Role: Gathi Hazarika
- Theme: Patriotism, sacrifice, resistance to tyranny
- Importance: Birth of Assamese cinema
This film was not commercially successful, but it was culturally revolutionary.
Joymoti (1935), recognised as the first Assamese film, occupies a foundational place in Indian cinema history. While the film is often discussed for the visionary direction of Jyoti Prasad Agarwala, its artistic strength was equally shaped by the powerful presence of Phani Sarma, one of the most respected figures of Assamese theatre and early cinema.
A celebrated stage actor, playwright, and director, Phani Sarma brought to Joymoti a depth of performance rooted in classical Assamese theatre. His participation gave the film dramatic credibility at a time when cinema was still viewed with social hesitation. Already a towering name on the stage, Sarma’s transition to film helped bridge traditional theatre and the emerging medium of cinema in Assam.
Produced and directed by Jyoti Prasad Agarwala and based on Lakshminath Bezbaroa’s play on the 17th-century Ahom princess Joymoti Konwari, the film starred Aideu Handique as Joymoti, alongside Phani Sarma in a pivotal role. His restrained yet intense performance complemented the film’s realistic tone and political undercurrents, setting a standard for serious acting in Assamese cinema.
Phani Sarma was not merely an actor in Joymoti; he was an integral part of its creative environment. According to Sarma himself, Chitraban Studio functioned as a film-training institute, where Agarwala trained actors in both performance and filmmaking techniques. As an experienced theatre artist, Phani Sarma absorbed and later disseminated this cinematic knowledge, influencing generations of Assamese performers.
The film’s innovative use of dubbing and re-recording technology, introduced after sound was found missing in a significant portion of the footage, was achieved under conditions that demanded exceptional discipline from the actors. Phani Sarma’s professionalism during this technically demanding process was crucial to the film’s completion and success.
Although Joymoti did not achieve commercial success upon release on 10 March 1935, its long-term cultural impact has been immense. The film’s emphasis on realism, politics, and a female protagonist was revolutionary for its time. Phani Sarma’s involvement added moral authority and artistic seriousness, reinforcing the film’s stature as a pioneering work rather than a mere experiment.
In later years, Joymoti received international recognition through screenings in India, Europe, and the United States, reaffirming its historical importance. For Phani Sarma, the film marked the beginning of his enduring legacy in Assamese cinema—a legacy that would later earn him the title “Natasurya”, acknowledging his unparalleled contribution to Assamese theatre and film.
Joymoti remains not only a testament to Jyoti Prasad Agarwala’s vision but also a defining milestone in Phani Sarma’s artistic journey, symbolising the moment when Assamese theatre’s finest talent helped give birth to Assamese cinema.
Indramalati (1939)
After the commercial failure of Joymoti (1935), Jyoti Prasad Agarwala faced a severe financial crisis. He had spent over ₹50,000 on the film and remained heavily indebted through the late 1930s. Despite these constraints, he managed to raise only ₹15,000 to fulfil his ambition of making a second film. In an effort to recover the losses incurred from Joymoti, he began work on Indramalati in late 1937.
Unlike his first film, Jyoti Prasad did not use Chitraban Studio for the outdoor shooting of Indramalati. Instead, he selected his family-owned Talbari at Harigaon, located about two kilometres from Tezpur Mission Chariali. Remarkably, the outdoor portions of the film were completed within seven days, often using a fixed camera position while changing sets and actor movements. The film ultimately used more than 15,000 feet of film reel.
Released in 1939, Indramalati achieved moderate commercial success, earning more than Joymoti and enabling Jyoti Prasad Agarwala to continue directing films thereafter. The filmmaker himself wrote the story, which centred on a romantic narrative featuring Indrajit as the hero and Malati as the heroine. Notably, Jyoti Prasad was the first Indian filmmaker to name a film after its lead characters, a practice that later became common in Indian cinema.
The role of Indrajit was played by Manoviram Baruah, while Raseswari Baruah (Hazarika) portrayed Malati. Renowned theatre actor Phani Sarma was again associated with Jyoti Prasad’s cinema, playing an important supporting role as Indrajit’s friend. The film also featured Dr Bhupen Hazarika, who appeared as a child artist at the age of 13 and rendered the song “Biswa Bijoyee Navajowan.” Compared to Joymoti, the casting process for Indramalati was relatively smooth.
The film had nine principal characters, played by Manoviram Baruah, Raseswari Baruah, Phani Sarma, Thanuram Bora, Lalit Mohan Choudhury, Khargeswar Agarwalla, Kashi Saikia, Bedananda Sarma, and Bhupen Hazarika. Other artists associated with the film included Jyoti Prasad Agarwala himself, Jnanaviram Barua, Mani Lahiri, and others.
Phani Sarma as a Film Director
Siraj (1948)
In Siraj, adapted from a short story by Lakshidhar Sarma, Phani Sarma developed a socially conscious play that advocated Hindu–Muslim unity during a period marked by communal tension. The narrative centres on the life of Sirajuddin Ahmed and foregrounds themes of religious tolerance, justice, and social harmony.
First staged in the 1940s, Siraj later found a wider audience through its adaptation into the 1948 film Siraj. The play and its cinematic version played a significant role in shaping regional discourse on interfaith understanding, reinforcing Phani Sarma’s commitment to theatre as an instrument of social reform.
Key Themes:
- Hindu–Muslim unity
- Humanism over communal identity
- Colonial-era social realities
Relevance Today:
Siraj is frequently referenced in discussions on secularism, national integration, and cultural harmony.
Piyali Phukan (1955)
Phani Sarma directed and acted in Piyali Phukan, portraying a historical freedom fighter.
The film emphasized:
- Resistance against British colonialism
- Assamese historical consciousness
- Moral courage and sacrifice
Later Film Appearances
- Lachit Borphukan (1961) – Rashid Khan
- Itu Situ Bahuto (1963) – Retired army officer
- Maniram Dewan (1964) – Maniram Dewan
Itu Situ Bahuto marked his final cinematic appearance.
| Year | Film | Role |
| 1935 | Joymati | Gathi Hazarika |
| 1937 | Devdas | Devdas |
| 1939 | Indramalati | Lalit |
| 1948 | Siraj | Siraj |
| 1955 | Piyoli Phukan | Piyoli Phukan |
| 1956 | Era Bator Sur | Haran |
| 1961 | Lachit Borphukan | Rashid Khan |
| 1963 | Ito Sito Bahuto | Retired Major |
| 1964 | Maniram Dewan | Maniram Dewan |
Source – Wikipedia
Phani Sarma, the Playwright: Theatre as Social Commentary
Though not prolific in number, Phani Sarma’s plays are regarded as intellectually and ethically rich.
Major Plays
- Bhoojara – Based on the Ahom-era rebellion (Konwar Mutiny)
- Another iconic performance by Phani Sarma was in Bhogjara (1957), in which he portrayed the despotic Ahom king Lakshmi Singha. Through intense dramatic expression, he vividly depicted the intrigue, moral decay, and eventual downfall of the royal court. Such roles underscored Sarma’s exceptional ability to invest historical narratives with emotional depth, thereby translating complex political themes into experiences that resonated with both rural and urban audiences.
- Another iconic performance by Phani Sarma was in Bhogjara (1957), in which he portrayed the despotic Ahom king Lakshmi Singha. Through intense dramatic expression, he vividly depicted the intrigue, moral decay, and eventual downfall of the royal court. Such roles underscored Sarma’s exceptional ability to invest historical narratives with emotional depth, thereby translating complex political themes into experiences that resonated with both rural and urban audiences.
- Siraj (Stage Version) – Staged over 100 times across Assam
- Among Phani Sarma’s most acclaimed performances was his portrayal of Siraj-ud-Daulah in the historical play Siraj. Performed over 100 times on mobile stages, the role earned him widespread recognition for his nuanced representation of the Nawab’s inner conflicts, moral dilemmas, and courage, leaving a lasting impact on audiences across Assam.
- Kiyo – Existential loneliness of artists
- Phani Sarma’s play Kiya is a deeply moving social drama rooted in his own lived experiences as a performer. The work draws inspiration from a tragic incident during a theatrical tour in Upper Assam, when Sarma received the devastating news of his son’s death while he was still on stage.
The play centres on an artist who dedicates himself selflessly to entertaining society, only to be met with neglect, poverty, and personal loss. Through this narrative, Kiya exposes the exploitative relationship between society and its creators, highlighting the emotional and material vulnerabilities of performing artists.
First staged by itinerant theatre groups of Assam, notably the Kohinoor Opera, Kiya struck a powerful chord with local performers and audiences alike. The play represents a turning point in Phani Sarma’s dramatic writing, marking a shift toward deeper introspective and socially critical themes.
- Nag-Pas –In Nag-Pas, Phani Sarma examines the corrosive impact of isolation and institutional corruption, presenting characters trapped in moral compromise within a decaying social order. The narrative follows individuals confronting ethical dilemmas amid political graft, mirroring the widespread post-Independence disillusionment in Assam, where weakening power structures led to erosion of public trust.
Staged largely by mobile theatre troupes during the 1950s and 1960s, Nag-Pas amplified demands for accountability and ethical governance. The play became a regular feature of regional theatre, noted for directly engaging with themes of administrative failure and moral decline
- Kola Bazar (Black Market) –In Kola-Bazar, Phani Sarma employs sharp comic satire to expose deep-rooted social injustices, particularly the exploitative black-market economy that intensified inequality and reinforced outsider dominance within Assamese markets. The play revolves around opportunistic traders and marginalized local communities struggling within deliberately skewed economic systems.
Through exaggerated humour—such as absurd bargaining sequences and caricatured profiteers—Sarma highlights economic disparities while avoiding overt moralising. First staged in Assam’s active theatre circuit in the mid-20th century, Kola-Bazar effectively used laughter as a vehicle for social critique, encouraging audiences to reflect on issues of cultural erosion, economic ethics, and fair trade.
His plays moved Assamese theatre away from mythology toward realism, psychology, and social critique.
Translation and Literary Contribution
Phani Sarma translated J.B. Priestley’s An Inspector Calls into Assamese, introducing:
- Western dramatic realism
- Ethical questioning of society
- Collective responsibility
This shows his global outlook and intellectual openness.
In An Inspector Calls into Assamese, he introduces the character Inspector Parasuram Kakoti to interrogate a prosperous upper-middle-class family in a fictional Assamese town. While the original play’s setting and characters were adapted to suit the Assamese socio-cultural context, the translation faithfully retained its central concerns of social responsibility, moral accountability, and collective guilt.
Like Priestley’s original work, the Assamese adaptation revolves around a celebratory family gathering that is disrupted by the arrival of a man claiming to be an inspector. Through systematic questioning, each family member is confronted with their indirect role in the suicide of a young working-class woman. The play offers a sharp critique of social inequality, class hypocrisy, and moral indifference, while clearly reflecting socialist ideals.
This translation is regarded as a significant enrichment of Assamese dramatic literature, highlighting Phani Sarma’s deep social awareness and his ability to reinterpret universal themes in a form that resonated strongly with local audiences.
Why Phani Sarma Is Important for APSC & Other Exams
1. Assam History & Culture (GS-I)
- Assamese theatre movement
- Mobile theatre evolution
- Cultural nationalism
2. Ethics, Integrity & Aptitude (GS-IV)
Phani Sarma’s life exemplifies:
- Integrity over profit
- Service through art
- Moral leadership
- Commitment despite hardship
3. Essay & Answer Enrichment
Topics like:
- Role of culture in nation-building
- Art as social responsibility
- Soft power and identity
4. Prelims Static GK
Frequently asked:
- First Assamese film
- Title “Natasurya”
- Associated personalities
- Famous plays and films
Contributions to Assamese Drama
Phani Sarma, honoured with the title “Natasurya” (meaning Sun of Drama), is regarded as a pioneering force in Assamese theatre. The title, conferred by the people of Assam, recognised his commanding stage presence, resonant voice, and innovative performances that illuminated Assamese drama during the early 20th century. His work successfully bridged traditional folk theatre with modern dramatic forms, setting artistic and ethical benchmarks for later generations of actors and directors.
Sarma played a decisive role in advancing socially conscious theatre in Assam through his active involvement in theatre troupes. He was associated with the Kohinoor Opera, Assam’s first mobile theatre group, established in 1930, and later formed his own mobile theatre units to stage plays across regions. These travelling troupes enabled theatre to reach wider rural and urban audiences, transforming drama into a medium of mass communication and social engagement.
A notable example of his commitment to protest theatre was his staging of Emuthi Chaul, his Assamese adaptation of Bijon Bhattacharya’s Nabanna, which exposed themes of famine, exploitation, and economic injustice. Through such productions, Sarma addressed contemporary issues including moral conflict, social inequality, and collective awakening, particularly in the post-Independence period.
His association with institutions such as Ban Theatre (Bana Rangamancha) and Bhramyaman Mancha further strengthened the reach of Assamese theatre. By combining social realism with organisational innovations like mobile theatre, Phani Sarma helped elevate Assamese drama from local entertainment to a respected cultural institution within India’s broader performing arts landscape.
Overall, Phani Sarma’s legacy lies in positioning Assamese theatre as a vital voice in India’s cultural and social discourse. His contributions not only reflected Assam’s socio-political realities but also ensured that regional drama played a meaningful role in the country’s cultural renaissance.
Family, Tragedies, and Legacy
Phani Sarma led a largely private family life in Assam. He was married and had six children—two sons and four daughters. Limited personal details are available in public records, reflecting his lifelong focus on artistic work rather than personal publicity.
A major personal tragedy occurred when one of his sons passed away while Sarma was performing on stage in Upper Assam. This devastating incident deeply affected him and later inspired his renowned play Kiya, which explores themes of artistic sacrifice, neglect of performers, and personal loss, drawing directly from his lived experience.
Phani Sarma passed away on 31 July 1970 in Tezpur, Assam, at the age of 59. His cremation site at Samadhi Kshetra near Kalibari, Tezpur, has since become a place of remembrance, where admirers and cultural organisations pay annual tributes.
In recognition of his immense contribution to Assamese theatre and cinema, Sarma has received extensive posthumous honours. A statue depicting him alongside Kalaguru Bishnu Prasad Rabha and Rupkonwar Jyoti Prasad Agarwala stands at the District Library, Guwahati, symbolising his stature among Assam’s greatest cultural figures. The honorific title “Natasurya” (Sun of Drama), conferred during his lifetime, continues to represent his lasting influence.
Further institutional recognition came with the establishment of the Natasurya Phani Sarma Award by the Government of Assam in 2004, which is awarded annually to outstanding contributors in theatre and cinema. These recognitions underline Sarma’s role as a foundational figure in Assamese performing arts.
Phani Sarma’s legacy endures through the continued relevance of his plays and performances, which have influenced generations of artists and enriched regional storytelling. His life and work remain central to understanding the evolution of Assamese theatre, cinema, and socially committed art.
Phani Sarma as Cultural Leadership
Phani Sarma’s life proves that art is governance by other means. Through theatre and cinema, he shaped values, questioned injustice, and strengthened Assamese identity.
For Assam, he is not merely a historical figure—he is a living influence.
“Theatre is not escape; it is encounter.”
In that encounter between truth and society, Natasurya Phani Sarma continues to shine.
Conclusion
Phani Sarma’s life reflects the idea that art can function as a form of governance. Through theatre and cinema, he shaped social values, questioned injustice, and strengthened Assamese identity. His creative work treated theatre and film not as escapist entertainment but as spaces of moral and social engagement, captured in the idea that “theatre is not an escape; it is an encounter.”
For Assam, Phani Sarma is not merely a historical figure but a continuing cultural influence. His artistic legacy extends into Assamese cinema, including his work in the film Kiya, which reflects the same ethical depth and social consciousness found in his theatrical contributions. Alongside this cultural tradition, Assamese literature has also explored early history; the novel examines the lives and emotions of the Tai people before their migration to the Brahmaputra Valley under Chaolung Siu-Ka-Pha, adding depth to Assam’s historical and cultural understanding.
In this encounter between truth and society, Natasurya Phani Sarma continues to remain relevant in Assam’s cultural history.