Bidesia style had been recognized by Theatre Practitioners and Theatre Critics & appreciated by audience throughout the country. Fascinating part is that this style has also influenced Modern Indian Theatre. Kala Sangam had staged Muktadhara in Bidesia Style in Bharangam, Delhi in 2000. Kolkata-based, Shyamanand Jalan (1934–2010) is credited for the renaissance period of modern Indian theatre and especially the Hindi theatre in Kolkata from the 1960s to the 1980s. He was the first to perform modernist Mohan Rakesh, starting with his magnum opus Ashadh Ka Ek Din (One Day in Ashad) in 1960 and in the coming years bridged the gap between Hindi theatre and Bengali theatre, by mounting Hindi productions of works by Bengali playwrights, like Badal Sircar's Evam Indrajit (1968) and Pagla Ghora (1971), which in turn introduced Sircar to rest of the country. He co-founded theatre group Anamika in 1955 with Pratibha Aggarwal, a Hindi writer and a great granddaughter of Bhartendu Harishchandra, which played a pioneering role in the revival of Hindi theatre., and remained with it till 1972, and during this period it created a large audience for Hindi theatre in Bengali speaking Kolkata. Subsequently, along with his wife Chetana Jalan, the well-known Kathak dancer and stage actress, and actor Kulbhushan Kharbanda, he left Anamika in 1971 and established Padatik (literally foot-soldier) theatre group in 1972, of which he was the founding director. This gave him a chance to venture into bolder themes, like those in Vijay Tendukar's plays like Gidhade (The Vultures) (1973) and Sakharam Binder (1979), and Mahashweta Devi's Hazar Chaurasi Ki Ma (Mother of 1084) (1978), with his new venture he stepped beyond Indianism, modernism, or experimentalism. Another theatre director, who practiced Hindi theatre in Kolkata, which is largely Bengali speaking area was Usha Ganguly (b. 1945), who founded Rangakarmee theatre group in 1976, known for its productions like Mahabhoj, Rudali, Court Martial, and Antaryatra. Apart from her, theatre directors like, Satyadev Dubey, Dinesh Thakur and Nadira Babbar also practiced Hindi theatre in Mumbai, till then home for Marathi and Gujarati theatre. In the 1960s and 70s, many actors from National School of Drama started working in Hindi films, though many continued theatre activities on the side. Many theatre actors and directors, like Om Shivpuri, who had formed Dishantar theatre group in Mumbai, and Dina Pathak worked successful in mainstream cinema as well, while many others, along with FTII, Pune actors,