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Choiti Ghosh uses everyday objects to make ideas visible onstage. Her work is rooted in object theatre: a practice in which an object can suggest a home, a memory or a feeling without being animated into a puppet character. Across devised performances and collaborations with actors, she has brought that approach to stories ranging from Homer’s Odyssey to life in Delhi’s outskirts and the Sundarbans.
What is object theatre?
In object theatre, ordinary things become theatrical signs. An artist considers a work’s themes, distills them and chooses objects that can carry those ideas. The object does not have to move or speak, as a puppet often does; its shape, material or presence can prompt an audience to imagine something beyond the thing itself. As Ghosh put it in a 2016 Scroll.in profile, “Just by being there, an object can evoke a thought or a feeling.”
The form is not limited to performances devised entirely around objects. Ghosh also introduced object-theatre imagery into Outer Dilli, a scripted, realistic play. In the examples described by Scroll in 2016, a dollhouse stood for a home, a schoolroom window suggested freedom and introspection, and a paper frog helped stage a scene. The objects enriched the play’s world without turning it into conventional puppet theatre.
How Ghosh found her way to object theatre
Ghosh’s path crossed several kinds of theatre. Scroll’s 2016 profile says she had been involved in theatre from childhood and worked with Habib Tanvir’s Naya Theatre, Katkatha Puppet Arts Trust and director Sunil Shanbag. Katkatha invited her to perform and trained her in puppetry in 2004. She later studied object theatre in an intensive 2010 course at the Institut International de la Marionnette in France, taught by Belgian artist Agnès Limbos.
#1 Best Overall
Ghosh recalled learning from Tanvir, “From Habib saab, I learnt the theatre of jugaad.” She added, “He could perform anywhere.” The remarks capture a resourceful outlook on performance, but her object-theatre practice has its own focus: using familiar things to carry meaning, whether or not they are animated.
Tram and the range of her productions
Ghosh began Tram Theatre with colleagues in 2011 to focus on object theatre in India, according to Tram Arts Trust’s biography. The organization’s description of her work spans directing, performing, workshops, training and mentorship, festival design and museum experiences. Tram’s team page identifies her as a founder and secretary; a 2025 Chicago International Puppet Theater Festival biography calls her artistic director. Those pages do not give clear update dates, so they should be read as the organizations’ published descriptions rather than confirmation of her current office title.
Rank #2
The productions documented in Scroll’s 2016 profile show how differently objects can function, and how the form can serve different audiences:
| Work | Approach and subject | Audience or context stated by the source |
|---|---|---|
| Nostos (2011) | Tram’s first object-theatre performance drew on Homer’s Odyssey. | Presented at the Prithvi Theatre Carnival. Ghosh said she chose the source because she had studied the epic in college. |
| Bird’s Eye View (2011) | Centered on a messenger pigeon during wartime. | Presented at the National School of Drama’s Bharat Rang Mahotsav. |
| Alice in Wonderland (2014) | Inspired by Lewis Carroll’s story rather than a direct adaptation; the profile mentions objects including smiley balls. | The profile does not state an age range. |
| Outer Dilli (2016) | A scripted play about a migrant family on Delhi’s outskirts, incorporating object-theatre imagery developed for actors. | A work for older audiences, unlike Ghosh’s usual productions for young viewers aged 8–13, according to the profile. |
| A Museum of Ordinary Objects (2016) | A pop-up museum organized by Tram with Harkat Studios and Extensions Art. | For people of all ages, according to the profile. |
| Maati Katha | A collaborative project engaging with Sundarbans life and stories through traditional and contemporary doll-makers. | The 2025 Chicago festival program lists Ghosh as co-director; its page provides the production context. |
In Nostos and Bird’s Eye View, objects belonged to performances built around particular stories. In Outer Dilli, the technique entered a scripted play, where objects could suggest a larger setting or idea. The museum project took the approach beyond a conventional performance and welcomed all ages. The available descriptions do not establish that every object in these projects was used in the same way—or animated as a character.
Rank #3
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Recognition and continuing work
Tram’s biography lists Ghosh as a 2011 recipient of the Sahitya Rangabhoomi Vinod Doshi Fellowship. Scroll reported in 2016 that she was selected for the Sangeet Natak Akademi Ustad Bismillah Khan Yuva Puraskar for puppetry; a later festival biography also records that award in 2016. The Chicago festival’s 2025 biography describes her as coming from five generations of theatre-makers, a biographical detail rather than a statistic about the wider theatre field.
Tram’s published biographies describe workshop and training activity, but do not establish a current booking calendar. For her work, the clearest through-line is artistic rather than institutional: an object need not imitate a person to have theatrical force. In Ghosh’s hands, a small, ordinary thing can invite an audience to see a larger story.
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