Bhumika by Sachin Khedekar and Kshitij Patwardhan Becomes Part of Mumbai University’s TYBA Curriculum

It’s not every day that a stage production makes the leap from the footlights to a university lecture hall, but that’s exactly what’s happening with Bhumika, the Marathi play penned by writer Kshitij Patwardhan and brought to life by veteran actor‑director Sachin Khedekar. The University of Mumbai’s Department of Theatre Arts and Business Administration (TYBA) announced this month that the play will now feature as a core text for its third‑year students.

For those who might not be familiar, Bhumika is a tight‑knit drama that explores the shifting identities people assume in personal and professional spheres. Kshitij’s crisp, dialogue‑rich script is complemented by Khedekar’s nuanced direction, which, frankly, gives the piece a certain gravitas that resonates with both seasoned theatre‑goers and newcomers alike.

The decision to embed the play into the TYBA syllabus didn’t come out of thin air. According to a statement from the department, the curriculum committee was looking for contemporary works that could bridge theory and practice. “We wanted something that challenges our students analytically while still being performable on a modest stage,” the chairperson explained. “‘Bhumika’ ticked all those boxes.”

Students, on the other hand, are reacting with a mixture of excitement and a dash of nervousness—an understandable sentiment when your semester project now involves dissecting a living, breathing piece of theatre. “It’s cool that we get to study a play that’s actually being performed right now,” said Riya Mehta, a third‑year TYBA student. “But it also means we have to keep up with the production schedule, which adds a real‑world pressure.”

What’s perhaps more interesting is how the inclusion of Bhumika reflects a broader trend in Indian higher education: a push to modernise curricula by incorporating recent artistic works instead of relying solely on canonical texts. This move not only freshens up classroom discussions but also offers budding actors, directors, and playwrights a tangible benchmark for contemporary storytelling.

From the creators’ perspective, the academic endorsement feels like a validation of years of hard work. In a brief interview, Khedekar expressed his gratitude, noting, “When you write a play, you hope it connects with audiences. Seeing it become a study material for future theatre‑makers? That’s a different kind of applause.” Patwardhan echoed similar sentiments, adding that the play’s themes—identity, responsibility, and the masks we wear—are timeless, making it a perfect case study for students.

Practicalities are already being ironed out. The university plans to arrange a series of guest lectures, where Khedekar and Patwardhan will discuss the play’s development, its staging challenges, and the interplay between script and performance. These sessions are slated for the upcoming semester, giving students a rare opportunity to interact directly with the creators.

Ultimately, the inclusion of Bhumika into the TYBA syllabus is more than just an academic footnote; it’s a bridge between the world of professional theatre and the next generation of artists. Whether it sparks a new wave of Marathi dramas on campus or simply enriches a handful of coursework essays, the ripple effect is already being felt.